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Michelle Obama opens tour for new book, ‘The Light We Carry’

Source image: https://abcnews.go.com/Entertainment/wireStory/michelle-obama-opens-tour-book-light-carry-93388710

WASHINGTON — Michelle Obama says it helps to focus on what you can control when you feel out of control.

Among the things she could control during the death and isolation of the pandemic, the racial unrest and threats to democracy were her spools of yarn and her knitting needles.

She labels such thinking the “power of small,” and she writes in her new book, “The Light We Carry: Overcoming in Uncertain Times,” that by focusing on a small task like knitting she was able to get through the worry, anxiety and stress of the past few unsettling years.

“The interesting thing about knitting and using your hands and making something is that it is meditative,” the former first lady said Tuesday night at the Warner Theater in Washington, where she kicked off a monthlong, six-city publicity tour to promote the book.

“In so many ways, it is like a faith,” she said, seated on stage with a friend, former daytime talk-show host Ellen DeGeneres, who engaged Mrs. Obama in nearly 90 minutes of often humorous conversation. “It’s a thing that shuts your worrying mind and lets your hands take over.”

And therein lies the power, she said.

“I think about the knit and the purl, and the knit and the purl, and a row and a row and a row,” the former first lady said, naming different stitches and techniques used in knitting. “And if you keep it up, and you’re focused, you have a sweater.”

In the book, published Tuesday, she shares the contents of her “personal toolbox” — the habits and practices, attitudes and beliefs, and even physical objects that she uses to overcome her feelings of fear, helplessness and self doubt.

“This book is meant to show you what I keep there and why, what I use professionally and personally to help me stay balanced and confident, what keeps me moving forward even during times of high anxiety and stress,” she wrote in the introduction.

The 58-year-old wife of former President Barack Obama and mother of adult daughters Malia and Sasha wrote that the book, her third, is not a how-to manual, but rather is a “series of honest reflections on what my life has taught me so far.”

“Keep in mind, too, that everything I know, all the various tools I lean on, have come to me only through trial and error, over years of constant practice and reevaluation,” she wrote. “I spent decades learning on my feet, making mistakes, adjustments, and course corrections as I went. I’ve progressed only slowly to where I am today.”

“The Light We Carry” is Mrs. Obama’s first new work since the 2018 release of her bestselling memoir, “Becoming,” which has sold more than 17 million copies worldwide, by far the most popular book by a previous first lady or modern president, including her husband.

As first lady, she wrote “American Grown,” a book about the produce garden she had planted at the White House in 2009.

Mrs. Obama opened the tour in Washington and has events planned at Philadelphia’s The Met, Atlanta’s Fox Theatre, the Chicago Theatre and San Francisco’s Masonic before the tour closes at the YouTube Theater in Los Angeles.

Seated in a plush purple chair on stage at the nearly 100-year-old Washington theater, Mrs. Obama discussed her feelings after the 2016 election in which her husband was succeeded by Donald Trump. Coincidentally, Trump announced a third run for president during her appearance.

“If you guys recall, I said, ‘Don’t vote for this guy,'” she said, meaning Trump, who sought to undo much of Obama’s record as president. “It hurt because you wonder — was it a rebuke of the eight years, the sacrifice we made? Was it complacency? What was it?”

The former first lady also discussed overcoming her fear of change and coming to the realization that she could not stand in the way of her husband’s desire to run for president in 2008. He had given her veto power over his decision.

“Opportunity is on the other side of that,” she said, speaking of fear.

She also talked about the pandemic, saying her family handled it better than most because they were already used to isolation from the eight years they lived in the White House “bubble.”

She spoke about how hard it was as first lady — and still is — to make new friends she can trust, and how fun it is to watch her daughters “adult” as they share an apartment in California. The girls had returned to Washington to live with their parents during the pandemic.

Sasha had completed one semester at the University of Michigan before she came back home. Malia, who was enrolled at Harvard, spent her senior year at home and ended up missing out on a graduation ceremony because of COVID-19. So her parents staged a ceremony in their backyard, complete with commencement speakers.

“It was me, and Barack,” Mrs. Obama said, laughing. “We told her how lucky she was. She got us both.”

Source: https://abcnews.go.com/Entertainment/wireStory/michelle-obama-opens-tour-book-light-carry-93388710

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Vatican Swiss Guard slayings back in spotlight with new book

ROME — The mother of a Swiss Guard member accused of committing one of the most sensational crimes in recent Vatican history – fatally shooting his commander and the senior officer’s wife before killing himself — is turning to the United Nations and Pope Francis in hopes of getting some closure nearly a quarter-century after the slayings.

Muguette Baudat was on hand Tuesday as her lawyer, Laura Sgro, a veteran defense attorney in Vatican criminal trials, detailed her efforts to pry information out of the Vatican and access the court file into the May 4, 1998 slayings that are recounted in Sgro’s new book, “Blood in the Vatican.”

“I’ve been waiting for more than 24 years, so I don’t expect anything,” Baudat said at a book launch event. But she added: “The book is very important.”

Within hours of the slayings, the Vatican spokesman announced that Baudat’s 23-year-old son, Cedric Tornay, a noncommissioned Swiss Guard officer, had killed Col. Alois Estermann and Estermann’s Venezuelan-born wife, Gladys Meza Romero, with his service revolver and then turned the gun on himself. The spokesman said a buildup of resentment over a reprimand by Estermann and the denial of a decoration, combined with a ″peculiar″ psychology, led to Tornay’s violent acts.

Nine months later, in February 1999, the Vatican released a 10-page summary of its internal investigation that confirmed its initial assessment. It concluded that Tornay was solely responsible for the murder-suicide but added that his marijuana use and a brain cyst the size of a pigeon’s egg could have impaired his reasoning.

Baudat spent two decades campaigning for more information and hired Sgro in 2019, asking for the Vatican investigation to be reopened. She said her request was not spurred by a belief that the Vatican was responsible, but rather to end the secrecy with which it has always handled the case.

Last year, the Vatican secretary of state intervened personally in the case and asked the Vatican tribunal to pay “particular attention” to Baudat’s request. Sgro was granted access to the court file.

In the book, Sgro details what she found in the file, as well as the conditions imposed on her by the Vatican prosecutor for viewing it: She wasn’t allowed to make copies but could only view the documentation in the tribunal, with two gendarmes standing behind her back monitoring her at all times. She was allowed to take some notes but not too many since she was explicitly barred from copying the text. She had to submit her notes to the prosecutors’ office after each viewing session, which took place over the course of a year.

And what she discovered in reading the court file, she said Tuesday, “confirmed all the doubts that the mother had about an investigation conducted in an absolutely superficial way.”

Sgro noted that at least 20 people were allowed access to the crime scene in the moments after the slayings, including chaplains, monsignors and the Vatican spokesman, none of whom wore protective gear. No fingerprints or blood samples were taken, and no DNA tests performed.

A handwriting analysis of a letter, purportedly from Tornay to his mother and foreshadowing the killings, was done on a photocopy, not the original document. The corpses were moved around the Estermann apartment, as was furniture, according to 38 photographs taken by a Vatican newspaper photographer that were in the court file. Autopsies were performed not in a hospital morgue but in the crypt of a chapel inside the Vatican walls.

“After one hour, Cedric was given up as the guilty one and the investigation was built around this, and this is absolutely the most alarming thing,” Sgro said.

The lawyer alleged that the conditions in which she was forced to work to view the file, as well as the mother’s long fight to find information about her son, constituted human rights violations that should be taken up by the U.N. Human Rights Council in Geneva.

There was no indication Tuesday whether the U.N. might take up her case, since such complaints must show a consistent pattern of “gross violations” of human rights, such as the policy of apartheid in South Africa.

Sgro said she had little other recourse since the Holy See is not a signatory to the European Convention on Human Rights, and therefore not a party to the European Court of Human Rights in Strasbourg, where such appeals would normally be heard. The Holy See enjoys observer status at the U.N. and has received criticism from U.N. human rights experts over the clergy sexual abuse scandal.

Sgro said she sent a copy of “Blood in the Vatican” to Pope Francis and he responded with a personal letter. His response, she said, gave her hope that the Vatican might be ready to acknowledge that its original investigation was flawed and that Tornay’s legacy might somehow be rehabilitated even if he is confirmed as the killer.

“It’s a small drop after 24 years of silence,” Sgro said. “Let us hope this drop becomes a glass of water, then a lake.”

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Clarence Gilyard, ‘Die Hard’ and ‘Matlock’ actor, dies at 66

Clarence Gilyard Jr., a popular supporting actor whose credits include the blockbuster films “Die Hard” and “Top Gun” and the hit television series “Matlock” and “Walker, Texas Ranger,” has died at age 66

NEW YORK — Clarence Gilyard Jr., a popular supporting actor whose credits include the blockbuster films “Die Hard” and “Top Gun” and the hit television series “Matlock” and “Walker, Texas Ranger,” has died at age 66.

His death was announced this week by the University of Nevada, Las Vegas, where he taught stage and screen acting. Additional details were not immediately available Tuesday.

“Professor Gilyard was a beacon of light and strength for everyone around him at UNLV,” the school’s film chair, Heather Addison, said in a statement. “Whenever we asked him how he was, he would cheerfully declare that he was ‘Blessed!’ But we are truly the ones who were blessed to be his colleagues and students for so many years.”

Gilyard was a Moses Lake, Washington, native. He had a prolific career as an actor, starting in the 1980s with appearances in “Diff’rent Strokes,” ”The Facts of Life” and other shows. He then appeared in two of the biggest movies of the decade: “Top Gun,” in which he played Sundown, a radar intercept officer, and “Die Hard,” when he was featured as a villainous computer maven whose one liners included “You didn’t bring me along for my charming personality.”

In the 1990s, he was on the side of law enforcement in “Matlock,” playing opposite Andy Griffith, and “Walker, Texas Ranger,” which starred Chuck Norris. His other credits include “The Karate Kid: Part II,” a stage production of “Driving Miss Daisy” and an appearance alongside “Die Hard” star Bruce Willis in a commercial for DieHard batteries.

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Review: Slice into the holiday spirit with ‘Violent Night’

The holiday season is upon us and how better to celebrate than watching Santa slip several pool balls into a Christmas stocking, swing them in the air menacingly and see him cave in someone’s face?

Such is “Violent Night,” a film that clearly no one wanted but somehow nicely acts as a chaser to all the sticky sentimentality this time of year. It is billed as an “alt-Christmas action-comedy” and it may be a litmus test of who is your real tribe: If you think watching Santa try to strangle a guy with Christmas lights is funny, this is the film for you.

Directed by Tommy Wirkola, “Violent Night” has taken the season’s naughty or nice dichotomy deeply to heart, offering pounds of gore and wounds that spurt mini-fountains of blood along with tooth-aching sweetness about believing in Santa and the true meaning of Christmas.

It’s easy to initially dismiss it as an “SNL” digital short that got high on its own tinsel but there is a sort of perverse glee to seeing Santa suck on the tip of a candy cane until it is a sharp shard and then plunge it into a bad guy’s neck. Isn’t it time for Kris Kringle as a sociopath?

Few people can balance all these demands as Santa except David Harbour, who specializing in gruff-on-the-outside, sweet-on-the-inside teddy bears. This time, his beard soaked in blood, he must save an ultra-rich family from a murderous group of home invaders with automatic weapons and military training.

On his side: “Christmas magic,” which he reveals multiple times he does not understand and which allows the screenwriters — Pat Casey and Josh Miller — a yuletide-sized logical loophole. They’ve even given Santa an origin story as a centuries-old Viking raider with a fondness for crushing skulls with a hammer. He’d be on the naughty list, naturally.

We initially meet Santa in the present day at an English pub. It’s Christmas Eve and he’s hammered. There are other men dressed as Santas this night, but they’re just pretenders, like “Bad Santa.” He’s the real thing.

Tonight, Santa is worn-out and fed-up. The children these days just demand more and more presents — just grubby consumers. He even calls them junkies. “I forgot why I started doing it in the first place,” he says. “Maybe this is my last year.”

During his rounds, he happens to linger too long at the Lightstone family compound in Connecticut. A ruthless gang has just stormed inside hoping to relieve the family of $300 million and trapping Santa with just his magic bag of presents and a pent-up desire to hurt people.

John Leguizamo, so often the comedy relief in films, here is as heavy as it gets, an anti-Christmas madman who tortures with a nutcracker and gets some of the best over-the-top lines like “Christmas dies tonight” and “Time to kill Santa.” The film soon moves into “Die Hard” territory as terrorists play cat-and-mouse with a good guy inside the building.

Santa connects with one of the hostages — a little girl (Leah Brady, sparkling like an ornament) — who still believes in Santa. “You are more than the presents you bring,” she tells him. And so he proves that Christmas is indeed alive by systematically murdering every single bad guy and girl with a sledgehammer, aided by his new friend’s “Home Alone” boobytrapping skills and all to a soundtrack of Christmas songs by Burl Ives, Bryan Adams and Slade.

This is not a Norman Rockwell vision of Santa, of course. He has a torso full of tattoos and sutures his own wounds with Christmas tree ornament hooks. He vomits, impales baddies in spiky Christmas decorations and uses the sharp parts of a pair of ice skates with surgical precision. Few films have earned their R rating better. All that’s missing is you as long as you think it’s time to add a little blood to Christmas?

“Violent Night,” a Universal Pictures release that opens nationwide in theaters Friday, is rated R for “strong bloody violence, language throughout and some sexual references.” Running time: 112 minutes. Two and a half stars out of four.

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MPAA definition of R: Restricted. Under 17 requires accompanying parent or adult guardian.

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Online: https://www.violentnightmovie.com

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Mark Kennedy is at http://twitter.com/KennedyTwits

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