内容摘要：“It’s easy playing with good players,” Diggins said. “A lot of us are very confident in who we are as basketball players and what we can do. And so, we kind of learn how we can complement each other and use each other to get what we want.”

“It’s easy playing with good players,” Diggins said. “A lot of us are very confident in who we are as basketball players and what we can do. And so, we kind of learn how we can complement each other and use each other to get what we want.”

) more agency; to expand that notion of “fair” beyond skin tone; to reframe that problematic prince. But all that updating adds up to a mishmash of a fable, caught in between now and once upon a time.It wouldn’t be an earthshattering observation to note that a 1930s cartoon, let alone a 19th century German folk tale, might not be entirely in line with contemporary culture. Most of these Disney live-action remakes have carried with them more than a few notes of correction and atonement for the past — a laudable goal that means a generation of kids might not need a brief history lesson to go along with an old classic.

But it’s a tricky thing reworking a fable that’s been around two centuries, and that’s doubly true when leaping from the two-dimensional fantasy realm of animation to the more complicated land of flesh and bone. Webb’s “Snow White” has been a veritable case study for the headaches that can arise when a window into the real world is cracked open. Everything from Israel’s war in Gaza (Zegler and her co-star Gal Gadot, who plays the wicked stepmother, have differing opinions), the humanity of little people (there’s a reason “and the Seven Dwarfs” has been stripped from the title) and the alleged “woke”-ness of the production have been fuel for what we can gently refer to as online debate.Despite some gloriously lush production design, “Snow White” — innocent of most of those backlashes though not all — can’t quite thread the needle. Even the new songs (by Benj Pasek and Justin Paul) that are good (“Waiting on a Wish”) struggle to fit in alongside old standbys. Zegler does a spirited job remaking a classic Disney princess into a more modern woman; when she sings, the movie gets a lift. The last thing that’s wrong with this “Snow White” is Zegler’s casting.But like scaffolding that’s been left up too long, the strain of renovation shows in Webb’s film, particularly in its awkward handling of Dopey, Sneezy and company. The seven dwarfs, like the fawns and squirrels, are rendered in CGI. You could argue that this acknowledges the artificiality of a dated and offensive trope. But it also gives “Snow White” an uncanny quality, with all human characters but the dwarfs being played by real people. As if to Band-Aid over this, one of the woodsmen is played by an actor of short stature (George Appleby) whose presence seems like yet another atonement, only one for this “Snow White,” not 1937’s.

You might be thinking: But what about the movie? The problem with “Snow White” is that you never stop thinking about these much-strategized and sometimes superficial efforts to recontextualize the original movie. Erin Cressida Wilson’s screenplay remakes Snow White’s story as less a princess awaiting her Prince Charming (the song “Someday My Prince Will Come” has been jettisoned) than an heir to a throne who loses her gumption. Though taught as a child to be “fair” as a leader by her father king (Hadley Fraser), Snow White has lost any ambition by the time Gadot’s Evil Queen takes over the kingdom.Gadot sinks her teeth into the Evil Queen, a spikey, slinky villain who moves with a metallic rustle (the costumes are by Sandy Powell). But she feels cut off from the movie, without the lines that would elevate her flamboyant performance into something memorable. The prince has been altogether scrubbed; instead Andrew Burnap plays the blandly cocksure bandit Jonathan who encourages Snow White not to wait for her father’s rescue.

Presumably one of the reasons to bring actors into remakes of animated classics would be to add a warm-blooded pulse to these characters. Zegler manages that, but everyone else in “Snow White” — mortal or CGI — is as stiff as could be. You’re left glumly scorekeeping the updates — one win here, a loss there — while pondering why, regardless of the final tally, recapturing the magic of long ago is so elusive.

“Snow White,” a Walt Disney Co. release is rated PG by the Motion Picture Association for violence, some peril, thematic elements and brief rude humor. Running time: 109 minutes. Two stars out of four.BOULDER, Colorado, EE.UU. (AP) — Un hombre armado con un lanzallamas improvisado gritaba “Palestina libre” y arrojó un artefacto incendiario contra un grupo que se reunió para llamar la atención sobre la situación de los rehenes israelíes en la Franja de Gaza, informaron las autoridades policiales el domingo. Ocho personas resultaron heridas, incluidas algunas que sufrieron quemaduras.

El sospechoso, Mohamed Sabry Soliman, de 45 años, fue internado en la cárcel del condado Boulder, al norte de Denver, y se esperaba que enfrentara cargos en relación con el ataque, investigado por el FBI como un acto terrorista. Datos en línea no mostraban en un principio cuándo comparecería ante el tribunal.El episodio de violencia en el popular centro comercial peatonal de Pearl Street, una zona de cuatro cuadras en el centro de Boulder, tuvo lugar en el contexto de una guerra entre Israel y Hamás que sigue desatando tensiones globales y ha contribuido a un aumento de la violencia antisemita en Estados Unidos. El ataque ocurrió al comienzo de la festividad judía de Shavuot, que se celebra con la lectura de la Torá, y apenas una semana después de que un hombre, que también gritó “Palestina libre”, fuera acusado formalmente por asesinar a disparos a dos empleados de la embajada de Israel frente a un museo judío en Washington.

Al otro extremo del país, la Policía de Nueva York dijo que había aumentado su presencia en sitios religiosos de la ciudad para el Shavuot.“Lamentablemente, este tipo de ataques se están volviendo demasiado comunes en todo el país”, dijo Mark Michalek, agente especial a cargo de la oficina de campo del FBI en Denver. “Este es un ejemplo de cómo los perpetradores de violencia continúan amenazando a las comunidades en todo el país”.