Kevin Spacey has been charged with groping the 18-year-old son of a Boston TV anchor in 2016 — the first criminal case brought against the Oscar-winning actor since his career collapsed amid a string of sexual misconduct allegations over a year ago.

Spacey, 59, is due in court Jan. 7 on the resort island of Nantucket to be arraigned on a charge of indecent assault and battery, Cape and Islands District Attorney Michael O’Keefe said in a statement Monday. Spacey could get up to five years in prison if convicted.

A criminal complaint was issued by a clerk magistrate at a hearing Thursday, O’Keefe said.

Shortly after the charge became public, Spacey posted a video on YouTube titled “Let Me Be Frank,” breaking a public silence of more than a year.

In a monologue delivered in the voice of Frank Underwood, his character on Netflix’s “House of Cards” who was killed off after the sexual misconduct allegations emerged, he said: “Of course some believed everything and have just been waiting with bated breath to hear me confess it all; they’re just dying to have me declare that everything they said is true and I got what I deserved. … I’m certainly not going to pay the price for the thing I didn’t do.”

He added, “Soon enough, you will know the full truth.” The three-minute video ended with a burst of cliffhanger music.

A spokeswoman for the actor did not immediately respond to messages seeking comment.

Former news anchor Heather Unruh came forward in November 2017 to say the actor stuck his hand down the pants of her son, who was 18 at the time, and grabbed his genitals at the Club Car Restaurant on Nantucket in July 2016. Her son fled the restaurant when Spacey went to use the bathroom, Unruh said at the time.

Unruh said her son didn’t report the assault right away because he was embarrassed.

“The complainant has shown a tremendous amount of courage in coming forward,” Mitchell Garabedian, a lawyer for Unruh’s son, said in a statement Monday. “Let the facts be presented, the relevant law applied and a just and fair verdict rendered.”

Spacey remains under investigation on suspicion of sexual assault in Los Angeles for an incident that allegedly occurred in 2016. Prosecutors declined to file charges over a 1992 allegation because the statute of limitations had run out.

He has also faced accusations of sexual misconduct from his time as artistic director of London’s Old Vic Theatre.

The two-time Oscar winner was among the earliest and biggest names to be ensnared in the #MeToo movement that was sparked by sexual assault and harassment allegations against Hollywood studio boss Harvey Weinstein in October 2017.

His first accuser, actor Anthony Rapp, said Spacey climbed on top of him on a bed when Rapp was 14 and Spacey 26. Spacey said he did not remember such an encounter but apologized if the allegations were true. Spacey also used the statement to disclose he is gay.

Other accusers followed Rapp’s lead. 

Spacey was subsequently fired from “House of Cards,” the political drama in which he starred for five seasons, and his performance as the oil tycoon J. Paul Getty was cut from the completed movie “All the Money in the World” and reshot with actor Christopher Plummer. Some other projects he was involved in were shelved.

The case against Spacey represents a rare criminal prosecution in the #MeToo era. Weinstein is awaiting trial in New York, but many other cases have been too old to prosecute, and some accusers have declined to cooperate with authorities.
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As Supreme Court justice Ruth Bader Ginsburg recovers from surgery on Friday for early stage lung cancer, two new films are paying tribute to her life and many accomplishments. VOA’s Penelope Poulou reports how the senior justice of Court’s liberal wing is being portrayed on film.
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As Supreme Court justice Ruth Bader Ginsburg recovers from surgery on Friday for early stage lung cancer, two new films are paying tribute to her life and accomplishments. 

The documentary “RBG” by filmmakers Julie Cohen and Betsy West, chronicles the Justice’s life-long legal battles for gender equality, her appointment to the Supreme Court by an overwhelming vote of 96 to 3 in 1993 and her rise as a pop culture icon in America. The feature “On the Basis of Sex,” by Mimi Leder, another female filmmaker, offers a dramatized portayal of the beginnings of Justice Ginsburg’s illustrious career and her fight for women’s rights, through the lens of her personal life and marriage. 

Leder’s film follows Justice Ginsburg’s challenges in a man’s world, starting with her first year as a law student at Harvard, in 1954. She was one of nine female students among more than 500 men, a situation that did not please the law school’s dean, played by Sam Waterston. The film shows him demanding to know why they are occupying seats that could have otherwise gone to young men. 

“On the Basis of Sex” also looks into Ginsburg’s private life as a wife and mother. At some point she was supporting her convalescent husband, who had suffered testicular cancer, by attending both her classes and his.

​Daniel Stiepleman, the film’s screenwriter, is Justice Ginsburg’s nephew. He told VOA that apart from her legal acumen and advocacy for women’s rights, he wanted to share his first-hand experience of Ginsburg’s equal partnership with her husband, renowned tax law attorney, Martin Ginsburg. 

“My wife and I have always looked up to aunt Ruth and uncle Marty as our role models for what a marriage is supposed to be like,” he explained. “They shared the load raising their kids, getting food on the table, and taking care of the house, and we knew that that’s how we wanted to be as well. And so, for me, this was an opportunity to share our good fortune to have them as role models with the rest of the country, the rest of the world.”

Actor Armie Hammer interprets Martin Ginsburg. He says he felt privileged to learn about the man’s character from Ruth Bader Ginsburg herself. “We were very lucky to have time with Justice Ginsburg in her private chambers in the Supreme Court. She invited us in and she was very generous with her time. More than actually answering any of my questions, I learned everything I needed to know about the relationship, [because] the minute his name came up she started smiling. And I could feel that love was very much alive.” Hammer predicts the film will inspire audiences, especially women during the #MeToo era. “I think it is great for women to see a movie about a woman who changed the world without needing superpowers.” 

Ginsburg herself is portrayed by Felicity Jones. It was a role she found, to say the least, challenging. She told VOA, “It was nerve wracking! You don’t enter into that lightly so it was about becoming her in every single way and doing justice to her story.” She also says that though the events surrounding Ruth Bader Ginsburg’s life have been dramatized for the sake of entertaiment, they speak truth to power. “It is so important that it does entertain but at the same time, it’s about getting a message into this world and about saying ‘look what men and women can achieve when they work together, when they have absolute equality.’”

The documentary “RBG,” by Julie Cohen and Betsy West, chronicles Justice Ginsburg’s life from her birth to an immigrant Jewish family in Brooklyn, New York, to her rise as a pop culture icon after publications and websites coined her as “Notorious R.B.G.” In between were legal victories for gender equality in arguments before the Supreme Court, and her appointment as a Justice in 1993, becoming the second woman on the Court.

“I am 84 years old and everybody wants to take a picture with me,” says a mischevious Justice Ginsburg. She has been hailed as a pioneer for gender equality, a tenacious Supreme Court Justice, determined to work as long as she can make a difference on the bench. In 2011, a year after the death of her husband, Justice Ginsburg spoke with VOA’s Julie Taboh about her legacy. “I hope that I will be remembered as someone who loves the law, loves her country, loved humanity, prizes the dignity of every individual, and works as hard as she can, with whatever talent she has to make the world a little better than it was when I entered it,” she said.

Her dedication for justice and rule of law gave rise to a huge following. Her 

as well as merchandise featuring her picture in her iconic Supreme Court robe and lace collar. Chocolatier Sue Cassidy says her company, Choukette, has dedicated a chocolate box to Ginsburg as part of its Phenomenal Women chocolate line. “She has her own box, and we can’t keep them in stock. They are just selling like crazy.”

Justice Ginsburg has spoken highly of both films depicting her life. Filmmaker Mimi Leder says that the Justice offered advice for “On the Basis of Sex” and fact-checked it. “She saw the film and she gave me a hug and a kiss, and that alone was incredible. I feel that women will be inspired not just in this country, but all over the world by the legacy of Ruth Bader Ginsburg, which is her fight for equality, inclusion, her fight against injustice.”
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You don’t often get a second chance to make a first impression, unless, of course, you’re one of the world’s most popular dinosaurs.

“It’s a different profile, a much more impressive profile in many ways, a pretty scary large animal, as opposed to a lighter, swifter animal,” says the Field Museum’s Director of Exhibitions, Jaap Hoogstraten, who has courted the leading lady of the dinosaurs since she arrived in Chicago nearly twenty years ago.

“Since we put her up in 2000, we’ve made discoveries about the pose. We’ve added the gastralia, which are the belly ribs which changes the outline of Sue quite a bit. Sue is much bulkier.”

The belly ribs are not a new discovery… they’ve existed since the fossil was recovered from obscurity in the rock formations of South Dakota in the early 1990s. That was the beginning of a long legal and physical journey for the world’s largest Tyrannosaurus rex skeleton. Known as Sue, named for paleontologist Sue Hendrickson who discovered it, the well-preserved specimen arrived as the star attraction in Stanley Hall at the Field Museum in 2000.

But scientists only recently learned how the belly ribs fit onto the overall specimen, which now fundamentally changes what we know about the Tyrannosaurus Rex. 

After a nearly year-long transition to a new exhibit specifically designed for her, Sue will look different to the millions who have seen the dinosaur before. 

“I didn’t really realize that Sue weighed nine tons in real life,” says Hilary Hansen, project manager at the Field Museum. “I think really adding this gastralia, these belly ribs, really changes the profile for Sue, and you can get a sense of how formidable and imposing it must have been to share an environment with this animal.”

Hansen explains that the new exhibit doesn’t just change our understanding of the animal itself, such as the fact it probably couldn’t run, but it also show visitors Sue’s natural environment, and place in history.

“What we’re trying to do is bring together everything about Sue that was all over the museum into one space so our visitors can see this as a one stop shop for all things Sue.”

“It pushes what we know about T-Rex forward,” says Hoogstraten, including possible answers to how Sue met her fate.

“One possibility is that there was an infection, and that she possibly starved to death.”

The Field museum typically welcomes over one million visitors a year, a number Hilary Hansen expects to spike when the new Sue exhibit opens to the public just in time for the holiday rush.

“For the next three weeks or so, we’re expecting between seven to ten thousand visitors coming through a day.” Some, revisiting an old friend with a new look. 

But even though science marches on, one mystery about Sue remains. 

Despite the name, experts are still not sure if the dinosaur behind this fossil was male or female.
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A Venetian cloth dyer’s son, Tintoretto spent his entire career in Venice, becoming widely considered the last great painter of the Renaissance.

The lagoon city’s churches and palazzi essentially serve as a permanent retrospective of this native son’s formidable talents in using dramatic color, bold brushstrokes and daringly innovative perspective on often-enormous canvasses.

Still, curators here have encountered challenges when mounting tributes this year to mark the 500th anniversary of his birth.

Some of Tintoretto’s paintings couldn’t be included in the main exhibition, hosted at the landmark Palazzo Ducale (Doges’ Palace), because they couldn’t fit through its 16th-century stone doorways.

And several Venetian churches, where the painter did much of his best work, balked at loaning their masterpieces. Not surprisingly, they are eager for visitors making the Tintoretto pilgrimage to visit their venues and not just the stellar show, which, since opening in September, has drawn more than 100,000 visitors.

​On to Washington

After it closes here Jan. 6, the exhibition travels to the National Gallery of Art in Washington for a four-month run starting March 10. That will be the first Tintoretto retrospective outside of Europe.

When Venice last hosted a Tintoretto retrospective, in 1937, church paintings were cut out of their frames, rolled up and carted off to the exhibition. That method would be met with horror by today’s art world, especially since nearly a score of Tintoretto paintings were recently restored, thanks to the Save Venice organization.

“The churches generally felt, and we understood, it didn’t make sense to move his masterpieces across the city,” said Robert Echols, a Boston-based art historian who is one of the curators. Some of those church works will go to the U.S. exhibition, however.

Weeding out impostors

Some of Tintoretto’s greatest works can never travel, of course, and are being celebrated here.

In the Chapter House in the Scuola di San Rocco, admirers can lie on their backs to see Tintoretto’s work, which has been likened to the monumental achievement of Michelangelo in the Vatican’s Sistine Chapel. Thanks to new lighting and strategically placed mirrors, the Chapter House last month had its own renaissance of sorts. Now visitors can see details in what before had seemed like a gloomy, cavernous room.

Echols and co-curator Frederick Ilchman, chair of European art at the Museum of Fine Arts in Boston, devoted much of their art historian careers to weeding out paintings that had been dubiously attributed to Tintoretto, whittling down what had been a list of 468 works to just more than 300 paintings of his authorship.

“Tintoretto, to some extent, is a painter who was a victim of his own success,” Echols said.

Tintoretto, a pseudonym of Jacopo Rubusti, obtained so many commissions, particularly in his later years, that he farmed out some work, notably to his son, Domenico. While his genius was acknowledged in his own day, some works done by imitators or his workshop had been incorrectly attributed to Tintoretto in successive centuries.

Tintoretto cleverly maneuvered to snag commissions from nobles and churches during the heady years of the sea-going Most Serene Republic of Venice.

“The Shakespeare play is not the ‘Merchant of Florence,’ it’s the ‘Merchant of Venice,’” Ilchman noted, recounting how Tintoretto sometimes offered discounts to ensure commissions didn’t go to his rivals, which included Tiepolo, Titian and Veronese.

Scandalous at times

Tintoretto’s imaginative use of perspective and his dynamic, inventive interpretations of mythological and religious themes are on convincing display, including one that sparked scandal in his day. In “St. Louis, St. George and The Princess,” a dragon’s head emerges from between the legs of a woman and from under her billowing, burnt-orange gown.

In the “The Abduction of Helen,” the kidnapped woman, with a nipple poking out above her blouse, seems to be tumbling out of the frame toward the viewer.

Tintoretto had an impressive production of portraits. The exhibition displays many of his finest in a long, narrow hall, as if in a noble family’s own palazzo.

Riveting self-portraits — one of Tintoretto in his 20s on loan by the Philadelphia Museum of Art, and another of Tintoretto as an old man sent by the Louvre — open and close the retrospective.

The Venice show to honor Tintoretto’s birth anniversary began in 2018. The companion Washington show starts in 2019. The different years are fitting, for, while the year of his death, 1594, is undisputed, and his grave prominent in a Venice church decorated with some of his masterpieces, historians aren’t sure just when he was born. The artist’s birth year is often written as 1518/1519.
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During the Christmas season, nights are bright across the United States, as families, businesses and churches put up outdoor light decorations — a simple string of white lights along a roof edge, to elaborate displays with moving figures and music. VOA’s Deborah Block shows us a few of the beautiful light displays in the Washington area.
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A father-son business in Damascus, Maryland, is achieving success by restoring old, rusty cars into magnificent-looking vehicles. This is thanks to the work and inspiration of Bobby and Andy Cohen, who are featured in a multiseason television show “Junkyard Empire.” Maxim Moskalkov filed this report for VOA.
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