Claw Machine Games Are Rio de Janeiro’s New Public Enemy 

A claw machine stands at a toy store in Rio de Janeiro, Wednesday, Aug. 28, 2024. (AP)
A claw machine stands at a toy store in Rio de Janeiro, Wednesday, Aug. 28, 2024. (AP)
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Claw Machine Games Are Rio de Janeiro’s New Public Enemy 

A claw machine stands at a toy store in Rio de Janeiro, Wednesday, Aug. 28, 2024. (AP)
A claw machine stands at a toy store in Rio de Janeiro, Wednesday, Aug. 28, 2024. (AP)

Rio de Janeiro — already notorious for street muggings, corrupt politicians, ruthless militias and Kalashnikov-toting drug traffickers — has a new public enemy: plushies. Or, more specifically, the joystick-controlled claw machines that dispense them.

On Wednesday, Rio police carried out 16 search warrants targeting the machines that elicit exhilaration among children and adults alike. But police said the claw machines defraud users who believe scoring stuffed animals to be a test of skill. In fact, they are games of chance — just like slot machines — and therefore illegal, according to their press office.

Officers seized claw machines, laptops, tablets, cell phones, a firearm and — yes — furry friends. They are investigating whether organized crime groups may be the invisible hand behind the claw because they already run slot machines and a popular lottery known as “Animal Game” across the city. Police in Brazil’s southern Santa Catarina state carried out an additional three search warrants Wednesday as part of the same operation.

It marked the second such police crackdown, following another in May during which officers apprehended 80 machines. Not only were those machines stocked with counterfeit plushies, but subsequent analysis of their programming found winning pulls were permitted only after a set number of attempts, police said in their statement Wednesday. Facilitating such sporadic, successful snags is an electrical current to the otherwise enfeebled claw so it holds fast to its prize, the statement said.

That programming isn’t disclosed to naive users, including children liable to blow their pocket money on what’s effectively a crap shoot. Claw machines can be found in Rio’s shopping malls, subway stations, supermarkets, arcades and toy stores.

Among Rio’s claw aficionados is Alessandra Libonatti, 41, who has played for nearly three decades. She remembers the machines causing a stir when they first appeared in the city; she had only seen them before in movies. These days she tends to play once a week, whether alone or at the mall with friends who share her “peculiar” hobby.

She likes the low-investment adrenaline rush and, by her own account, she’s a talented clawmaster who has honed her techniques to maximize success, from scouting the stuffed animal landscape to precise positioning of the claw. She treasures a manatee with jaguar spots that she pulled in on a trip to the nation’s capital with friends.

“When I pass by a machine, I give it a look to see if there’s a stuffed animal that makes it worth it to play,” she told The Associated Press. “Because it’s not always worth it; sometimes it’s clearly a waste of money.”

Claw machines may have been feats of skill in decades past, but most modern machines have built-in programming allowing operators to predetermine their profitability, said Jeremy Hambly, a claw game aficionado from the Milwaukee area. His ClawStruck YouTube channel shows how many different models work, he previously told the AP. He said odds should be posted prominently on machines for users to review.

Most US states consider claw machines games of chance and specifically exempt them from gambling statutes, as long as they comply with certain rules specific to those states. According to industry officials, it’s in arcades’ best interests to have customers win so they’ll keep playing.

But lately it’s tough going for Rio’s claw connoisseurs, Libonatti said. And she chalks that up to changes made to the machines that didn’t escape her exacting eye.

“The current machines are crap. The claws are weaker,” she wrote in a text message to a friend in April, reviewed by the AP.

“Amiga, yessssss!” her friend replied. “I went back to the machines where I always got (stuffed animals) in recent weeks and they’re soooooo weak!”

Local online media outlet G1 dubbed the phenomenon the “weak claw scam.”

The nearly 13,000 stuffed animals police detained in May were initially destined for destruction, but a request from state lawmakers found favor with a judge who spared them. Instead, police donated the plushies to families who lost their homes in the massive floods of southern Rio Grande do Sul state, particularly children in shelters.

The fate of the stuffed animals seized Wednesday was still unclear.



300 Artists Sign Open Letter Opposing Israel Participation in Venice Film Festival

Of Dogs and Men (AE Content)
Of Dogs and Men (AE Content)
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300 Artists Sign Open Letter Opposing Israel Participation in Venice Film Festival

Of Dogs and Men (AE Content)
Of Dogs and Men (AE Content)

Around 300 filmmakers have signed an open letter opposing two Israeli films set to screen at the Venice Film Festival, held from 28 August to 7 September 2024.
Among the signatories are Italian filmmaker Enrico Parenti, actors Niccolò Senni, Simona Cavallari and Chiara Baschetti, in addition to a number of Arab filmmakers and actors — including two-time Oscar-nominated filmmaker Hany Abu-Assad and actor Saleh Bakri.
It seemed awkward to show two Israeli films at the Venice Film Festival while the war in the Gaza Strip was still in full swing, particularly that the festival administration had earlier opposed Russian participation because of the war in Ukraine.
The letter by filmmakers and artists is aimed at Dani Rosenberg’s Hebrew-language film Al Klavim Veanashim (Of Dogs and Men). The director is known for films that address the issue of the relationship between Palestinians and Israelis. His new film is set against the backdrop of the ongoing war in Gaza.
The second is Amos Gitai’s Why War. The latter stars French actors Irene Jacob, Mathieu Amalric and Micha Lescot. It is a fictional movie filmed against the backdrop of current events in Gaza. However, reports said that it does not address it directly.
According to the Hollywood Reporter, the open letter is entitled No Artwashing at 81 Mostra Del Cinema di Venezia.
“We, the undersigned artists, filmmakers and cultural workers, reject complicity with the Israeli regime of apartheid and oppose the artwashing of its Gaza genocide against Palestinians at the 81st Film Festival in Venice,” the letter said.
It added, “Two films screening at the Festival—Of Dogs and Men and Why War—were created by Israeli production companies that are complicit in whitewashing Israel’s oppression against Palestinians.”
In another paragraph, the letter said the Venice Film Festival has remained silent about Israel’s atrocities against the Palestinian people.
“This silence outrages us deeply. As art and film workers around the world, we call for effective and ethical measures to hold apartheid Israel to account for its crimes and system of colonial oppression against Palestinians,” it wrote.
The festival has not issued any reaction or comment. But any response will likely include denying the festival’s support for what is happening in Gaza and its adhering to the separation between art and politics.
In recent years, the Venice festival had faced similar but less important protests when it decided to screen films by directors Roman Polanski, Luc Besson and Woody Allen, who have been accused of sexual harassment on multiple occasions.
At the time, Venice Film Festival boss Alberto Barbera defended his decision, stating that he is “a festival director, not a judge.”
But the protest by filmmakers opposing the screening of two Israeli films constitutes an uncommon development. Therefore, the festival must find justifications beyond those mentioned earlier.
Danny Rosenberg's Of Dogs and Men is about a young girl searching for her missing dog in the midst of the ongoing war.
Amos Gitai's Why War, a movie considered by some Arab critics to be a left-wing anti-government film, is said to be more of a backstory than a report on the present events although it builds on them.