Entertainment
Criticism by Winter Olympic athletes of Trump policies mirror reaction to iconic 1968 protest
History is once again unfolding at the Milan-Cortina Winter Games as Team USA members break records and score dominant triumphs.
But as the Games move into their second week, a different and more provocative history is starting to repeat itself, casting a politically charged shadow over the event.
Champion skier Mikaela Shiffrin, snowboarder Chloe Kim, and freestyle skiers Hunter Hess and Chris Lillas are among the top athletes who have been vocal about their uneasiness in representing their home country during a period of deep political crisis revolving several volatile issues, including the violent federal crackdown in Minnesota by Immigration and Customs Enforcement agents and the Trump administration’s attacks nationwide on immigrants and the LGBTQ+ community.
“It brings up mixed emotions to represent the U.S. right now,” Hess said at a press conference last week. “Just because I’m wearing the flag doesn’t mean I represent everything that’s going on in the U.S.”
Trump blasted Hess’ comments in a Truth Social post, calling him “a real Loser,” adding, “He says he doesn’t represent his Country … If that’s the case, he shouldn’t have tried out for the Team, and it’s too bad he’s on it. Very hard to root for someone like this.”
Commenting on the athletes in an interview with CNN, Vice President JD Vance, who was attending the Games, said the athletes who are critical should expect “some pushback.”
Vance, who was booed when he was shown on a large screen during the opening ceremonies, added, “You’re there to play a sport, you’re there to represent the country and hopefully win a medal. Most Olympic athletes, whatever their politics, are doing a great job, certainly enjoy the support of the entire country, and I think recognize that the way to bring the country together is not to show up in a foreign country and attack the president of the United States, but it’s to play your sport and to represent the country well.”
Vice President JD Vance and his wife Usha at the Winter Olympics opening ceremony in Milan on Feb. 6. Vance said athletes should expect pushback if they criticize the country.
(Natacha Pisarenko/AP)
The outspokenness of the Winter Olympic athletes echoes a dramatic protest by Olympians Tommie Smith and John Carlos which electrified the 1968 Summer Games in Mexico City. The sprinters, who placed first and third respectively in the 200 meter race, spoke not with words but with black-gloved raised fists on the victory stand, producing one of the most iconic images in Olympic history.
As the national anthem played following their victories, Smith and Carlos expressed their anger about racial injustice in America by bowing their heads and raising their fists. The gesture provoked a seismic reaction internationally while infuriating Olympic officials who claimed Smith and Carlos used the world stage to humiliate their home country.
Smith and Carlos’ salute to Black Power is explored in HBO Max’s documentary “Fists of Freedom: The Story of the ’68 Summer Games.” The 1999 Peabody Award-winning film chronicles the fiery moment and its aftermath for Smith and Carlos, who earned both heroic praise and pointed condemnation.
George Roy, who produced and directed “Fists of Freedom,” said “there are similarities between what happened in 1968 and what’s going on now. The similarities are it’s the Olympics and the United States, and in both cases there are athletes saying they wish they could be a little prouder given the current state of things.”
U.S. athletes Tommie Smith, center, and John Carlos, right, hold their fists up in protest after winning medals at the 1968 Summer Olympic games.
(AP)
However, Roy, who has won multiple Emmys and is the founder of Jersey Line Films, added that there are marked differences.
“What Smith and Carlos did was so consequential because it affected them directly,” he said. “They were protesting along with millions in their community. Their point was that they were good enough to represent their country. But when they got back to the real world, they would have trouble getting into restaurants or finding an apartment.”
He added, “It was just more personal than what is happening now.”
In an interview included in the documentary, Smith said the gesture by him and Carlos was often misinterpreted.
“As soon as the national anthem was playing, my glove is going toward God,” said Smith. “The Black fist in the air was only in recognition of those who had gone. It was a prayer of solidarity. It was a cry for help by my fellow brothers and sisters in the country who had been shot, who had been bitten by dogs … It was a cry for freedom.”
He added, “I don’t like the idea of people looking at it as negative. It was nothing but a raised fist in the air and a bowed head to the American flag. Not symbolizing a hatred for it.”
Though he heard cheers, he also heard boos and jeers.
“Fists of Freedom” contains several interviews from sports and media figures who were present or covered the proceedings and had strong opinions about the gesture.
Bob Paul, who was the press secretary for the United States Olympic Committee in 1968, said, “[Smith and Carlos] were wrong. You are supposed to observe due order and decorum to the nth degree at every victory ceremony.”
Veteran TV sportscaster Brent Musburger, who at the time was a columnist with the Chicago American newspaper, wrote: “Airing one’s dirty laundry before the entire world during a fun and games tournament was no more than a juvenile gesture. Smith and Carlos looked like a couple of Black-skinned storm troopers.”
Incensed, Olympic committee head Avery Brundage ordered the sprinters to be expelled from the Games.
Despite the uproar, experts said the salute by Smith and Carlos was a defining moment for Black people, galvanizing the Civil Rights Movement. However, the two men encountered personal and professional difficulties when they returned home.
Both Smith and Carlos have participated in speaking engagements in recent years. They could not be reached for comment.
“We’re not Antichrists,” said Smith in “Fists of Freedom.” “We’re just human beings who saw a need to be recognized.”
Desert Warrior, 2026.
Directed by Rupert Wyatt.
Starring Anthony Mackie, Aiysha Hart, Ben Kingsley, Ghassan Massoud, Sharlto Copley, Sami Bouajila, Lamis Ammar, Géza Röhrig, Numan Acar, Nabil Elouahabi, Hakeem Jomah, Ramsey Faragallah, Saïd Boumazoughe, and Soheil Bostani.
SYNOPSIS:
An honorable and mysterious rogue, known as Hanzala, makes himself an enemy of the Emperor Kisra after he helps a fugitive king and princess in the desert.
With aspirations of being a historical epic harkening back to the sword and sandal blockbusters of yesteryear, Rupert Wyatt’s seventeenth-century Arabia tale is about as generic and epically dull as one would expect from a film plainly titled Desert Warrior. Yes, there appear to be real locations here, and there are some admittedly sweeping shots of various tribes storming into battle on horseback and camels, but it’s all in service of a mess that is both miscast and questionable as the work of a filmmaking team of mostly white creatives.
The story of Emperor Kisraa (Ben Kingsley, a distracting presence even with only one or two scenes) rounding up women from other tribes to be his concubines, which inevitably became the catalyst for a revolution led by Princess Hind (Aiysha Hart), uniting all the divided clans and strategizing battle plans for flanking and poisoning, is undeniably ripe for cinematic treatment. The problem is that what’s here from Rupert Wyatt (and screenwriters Erica Beeney, Gary Ross, and David Self) is less than nothing in the primary creative process; no one seems to have a connection to Arabic heritage or culture, but they have made a flat-out boring film that is often narratively incoherent.
Following the death of her father and escaping the clutches of oppression, the honorable Princess Hind joins forces with a troubled, nameless bandit played by Anthony Mackie (he totally belongs here…), who seems to be here solely to give the movie some star power boost without running the risk of white savior accusations. Whatever the case may be, it’s jarring, but not quite as disorienting as how little screen time he has despite being billed as the lead and how little characterization he has. It is, however, equally disorienting as some of the other names that show up along the way.
As for the other factions, Princess Hind talks to them one by one, giving the film an adventure feel that fails to capitalize on using beautiful scenery in striking or visually poignant ways at almost every turn; the leaders of these tribes also often have no character. There also isn’t much of an understanding of why these tribes are at odds with one another. This movie is filled with dialogue that consistently and shockingly amounts to vague nothingness. Nevertheless, each tribe doesn’t take much convincing to begin with, meaning that not only is the film repetitive, but it’s also lifeless when characters are in conversation.
That Desert Warrior does occasionally spring to life, and a bloated 2+ running time is a small miracle. This is typically accomplished through the occasional fight scene between factions that also serves to demonstrate Princess Hind coming into her own as a warrior. When the tribes are united in a massive-scale battle, and that plan is unfolding step by step, one certainly sees why someone would want to tell this story and pull it off with such spectacle. However, this film is as dry as the desert itself.
Flickering Myth Rating – Film: ★ ★ / Movie: ★ ★
Robert Kojder
https://www.youtube.com/watch?v=embed/playlist
Entertainment
Eddie Murphy’s son and Martin Lawrence’s daughter welcome first child: ‘That baby gonna be funny!’
Eddie Murphy is celebrating not just his lifetime achievement award, but also the arrival of his third granddaughter, perhaps the funniest baby alive.
Murphy’s son Eric and Martin Lawrence’s daughter Jasmin have welcomed their first child together, baby Ari Skye.
On Saturday, Murphy was honored with the 51st AFI Life Achievement Award at a gala in Hollywood and told reporters that he had recently celebrated back-to-back milestones.
“I just had my first grandson two months ago, and I had my third granddaughter two weeks ago. And I turned 65 a month ago,” he told “Entertainment Tonight” ahead of the gala. “It’s raining blessings on me.”
The ceremony celebrated his storied career across comedy and film, and featured tributes from fellow funnyman Dave Chappelle and “Shrek” co-star Mike Myers. The special will premiere May 31 on Netflix.
The “Dr. Dolittle” star also gushed about his new grandbaby to E! News, and told the outlet that being honored for his work was “a wonderful thing” but that his legacy wasn’t his work.
“My legacy to me is my children,” he said.
Asked whether he or Lawrence offered their kids any parenting advice as they prepared to welcome Ari Skye, Murphy said he’s more of a lead-by-example kind of dad.
“You don’t give advice like that,” he told the outlet. “Your kids don’t go by your advice. Your kids go by the example you set. They watch you. Stuff you be saying, they don’t even pay that no mind. They watch and see what you do.”
In March, Jasmin and Eric posted photos from their lavish baby shower on social media. The shindig included a three-tiered pink cake, pink cocktails garnished with meringue that looked like clouds and balloons galore. “The most beautiful and special celebration for our baby girl,” the couple captioned the post. “Thank you to our parents and everyone that made this day so magical! Ari Skye Murphy, you are SO loved already!!”
Excitement around Ari Skye’s arrival had been brewing in the media long before the couple even announced they were expecting. Murphy joked about a potential grandbaby when Jasmin and Eric were dating back in 2024, during an interview with Gayle King.
“They’re both beautiful,” he said. “They look amazing together. And it’s funny — everybody’s like, ‘That baby gonna be funny!’ Like our gene pool is just going to make this funny baby.”
Murphy agreed, saying: “If they ever get married and have a child, I’m expecting the child to be funny.”
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