Democratic Party lawmakers Kim Seung-won, Kim Han-kyu, Park Sang-hyuk and Lee Hae-sik, members of the party’s Criminal Procedure Act revision task force, submit a partial revision bill at the National Assembly on Thursday. Photo by Asia Today
July 9 (Asia Today) — South Korea’s ruling Democratic Party introduced a revision to the Criminal Procedure Act on Thursday that would abolish prosecutors’ supplementary investigation power.
The bill would remove prosecutors as investigative agents while strengthening their authority to request supplementary investigations from police. The party said the measures are intended to reduce investigative gaps.
The Democratic Party’s task force on revising the Criminal Procedure Act submitted the bill to the National Assembly’s bill office. The proposal would completely separate investigation and indictment. It would abolish prosecutors’ supplementary investigation power while strengthening their authority to request further investigations and introducing the power to request the replacement of investigators, increasing oversight of investigative agencies.
Kim Han-kyu, the party’s senior deputy floor leader for policy, told reporters after submitting the bill that the revision is designed to adjust investigative authority, strengthen checks and supervision over investigative agencies and enhance protections for victims and complainants ahead of the planned Oct. 2 launch of new investigation and prosecution agencies.
The Democratic Party removed the legal basis for prosecutors’ direct investigations from the bill. But it added a one-month deadline for police to complete supplementary investigations requested by prosecutors. In cases in which the statute of limitations is about to expire, prosecutors would be allowed to set a shorter deadline. The bill also allows one extension.
If a judicial police officer assigned to a supplementary investigation is deemed inappropriate to handle the case, the head of the prosecution office would be allowed to request the replacement of the investigator. The bill also allows supplementary investigations to be assigned to another investigative agency.
Prosecutors’ authority to demand corrective measures would also be strengthened. Even before a case is referred to prosecutors, if a prosecutor confirms that an investigative agency conducted an improper investigation, the prosecutor would be allowed to receive the case from judicial police and transfer it to another investigative agency.
Police would also be required to submit investigative records and lists of materials to prosecutors in cases they decide not to refer for prosecution.
The bill strengthens victim protection provisions. If an improper investigation is suspected, suspects as well as complainants, victims and legal representatives would be allowed to file reports about the case. Prosecutors receiving such reports would be allowed to demand corrective measures from the investigative agency or transfer the case to another agency.
The Democratic Party plans to review the bill Friday at the National Assembly Legislation and Judiciary Committee together with previously submitted bills.
Rep. Kim Seung-won said the committee’s first bill review subcommittee plans to meet once or more than twice a week to conduct an intensive and swift review.
The EU has allocated import quotas for steel to its trading partners on Tuesday in an attempt to fight growing overcapacity from foreign producers.
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The measure comes amid rising tensions between the EU and china China, where most of the global steel surplus originates.
Seeking to shield its market from global overcapacity, EU legislators agreed last April to increase existing tariff-free steel quotas to 18.3 million tonnes per year while doubling tariffs beyond those quotas to 50 percent
The EU’s closest allies, such as the UK, Switzerland and Ukraine, are concerned that their own exports to the EU could be drastically affected by the new measures, and have heavily lobbied the European Commission in recent weeks for preferential access to the EU market.
“We are providing market participants with predictability through clear and transparent quota distribution rules, while applying a fair and objective methodology,” EU Trade Commissioner Maroš Šefčovič said in a statement.
Protectionist move
The protectionist move comes as global steel overcapacity is expected to grow to 721 million tonnes by 2027, according to the OECD, a volume that could threaten jobs across the entire EU steel sector.
The EU came under even greater pressure last year when the US imposed 50 percent tariffs on steel imports, rerouting the global surplus to the European market.
“They built a wall around their market, steel was hitting that wall and was coming back to our market in greater numbers,” a senior EU official said. “That is why we introduced a safeguard measure which followed an investigation.”
The EU is also fighting unfair trade practices across the board with 80 other measures already in place, among them anti-dumping duties, most of which target cheap steel imports from China.
Pressed by its closest allies to ease the measures to their benefit, the Commission announced on Tuesday that half of the 18.3 million tonnes allowed to enter its market each year will be allocated to partners bound by free trade agreements with the bloc, including India, Switzerland and the UK.
Many of the countries that have clinched a trade deal with the EU will be allocated country-specific quotas proportionate to the volumes traded with the EU between 2022 and 2024.
A special status has also been granted to Ukraine to support the country while it remains at war and ensure a certain level of exports to the EU.
How well do you remember your U.S. history class from high school or college? Did some of the key moments in America’s 250 years of existence involve Larry David playing a founding father? OK, maybe not, but it’s fun to imagine what that would be like. And that’s precisely what David and Jeff Schaffer have done with their new HBO series “Life, Larry and the Pursuit of Unhappiness.”
The series, premiering Friday, is a timely look at some of America’s big moments in history with a comedic twist that will remind viewers of “Curb Your Enthusiasm,” partly because it also features some cast members from the show. The series arrives on the cusp of the 250th anniversary of America’s founding, and offers an alternative history that’s still steeped in facts. Schaffer stopped by Guest Spot to talk about creating the series with David and what it was like to work with former President Obama.
Speaking of laughter, if you like yours with a whole lot of drama, FX dropped the final season of “The Bear” Thursday on Hulu. The series, which premiered in 2022 and made phrases like “cousin,” “yes, chef,” and “every second counts” memorable, ties up a lot of strings for its crew of chefs. Jeremy Allen White and Ayo Edebiri, the actors who were at the center of the show for five seasons, spoke to us about “The Bear” coming to a close, where their characters end up and what it feels like to leave them behind (be forewarned, the interview has lots of spoilers).
The finale feels like a fitting end to one of the best shows of the past decade (so far) — but we won’t say much more. Enjoy each episode like a multi-course meal at a fine-dining restaurant. You’ll want to savor each bite before it’s over.
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Also in this week’s Screen Gab, our writers recommend an animated series with monsters and mystery and a documentary about one of America’s greatest bands. I’ll get my flags, fireworks and BBQ supplies ready in the meantime. — Maira Garcia
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Recommendations from the film and TV experts at The Times
Bobby and Romy in Disney+’s “The Doomies.”
(Disney)
“The Doomies” (Disney+)
If you’re missing “Widow’s Bay,” and like cartoons, here’s another tale of monsters loose in a coastal tourist town, with the difference that the town, called “Ouimpre,” is decidedly on the Atlantic coast of northwest France. (It’s a Franglais pun.) There are half-timbered buildings; what used to be a Camembert factory after it was a beret factory; a cafe that serves crepes, not pancakes; and boulangeries, not bakeries. (It’s a French production; Disney encouraged animator Andrés Fernandez to go local.) As in “Stranger Things,” which no one may be missing by now, the protagonists are kids — Romy, who is excitable and impulsive, and Bobby, who is neither — abetted by a formidable female teenage demon slayer and a lighthouse keeper with occult knowledge. The series is energetic, funny and character-driven — even the monsters. The action is well-staged and intense, the color palette moody and evocative, and the design not at all reminiscent of a hundred other cartoons, which makes the show refreshing as well as fun. — Robert Lloyd
Earth, Wind & Fire in HBO’s “Earth, Wind & Fire (To Be Celestial vs. That’s The Weight Of The World)”
(Jeffrey Mayer / HBO)
“Earth, Wind & Fire (To Be Celestial vs. That’s the Weight of the World)” (HBO Max)
Even if you think you don’t know Earth, Wind & Fire, chances are they’ve soundtracked a wedding, bar mitzvah, awkward office party or some other memorable celebration in your life. Somewhere between “Shining Star,” “Let’s Groove” and “September,” the band mastered the art of coaxing three or four generations of a family onto the same dance floor. Questlove’s new documentary explores how that happened. If his recent Sly Stone film examined how genius can curdle into self-destruction, this one asks a different question: How did Earth, Wind & Fire founder Maurice White build something that lasted? Abandoned by his mother as a child, White set out to create not just a band but a family, assembling a sprawling ensemble around a musical and spiritual vision. Questlove is too thoughtful a filmmaker to sand down the rough edges. White emerges as both inspiring and flawed: a gifted bandleader, spiritual seeker and demanding perfectionist whose drive sometimes came at a personal cost. Drawing on interviews with everyone from former bandmates to Stevie Wonder, Lionel Richie and Barack and Michelle Obama, Questlove builds a portrait of White that never shies away from his contradictions. In the process, he shows how White’s fascination with spirituality, Egyptology and the cosmic unknown shaped both the band’s music and mythology. You may occasionally wish the film lingered longer on the performances themselves (for a reminder of what made Earth, Wind & Fire such a formidable live act, start with the 1975 concert album “Gratitude”). But by the end, you have a deeper appreciation for the band’s unlikely feat: turning something so eccentric into something so universal. — Josh Rottenberg
Guest spot
A weekly chat with actors, writers, directors and more about what they’re working on — and what they’re watching
Larry David in “Life, Larry and the Pursuit of Unhappiness.”
(John Johnson / HBO)
Is Larry David about to be the most entertaining (and crankiest) history teacher America has ever had?
To celebrate the arrival of the nation’s semiquincentennial, the comedian teamed up with Barack and Michelle Obama’s Higher Ground Productions to revisit the truth of our history with some comedic chaos. The result is “Life, Larry and the Pursuit of Unhappiness,” a seven-episode sketch comedy series from the mind of David and his longtime “Curb Your Enthusiasm” collaborator Jeff Schaffer that pairs reenactments of seminal milestones from America’s past with David’s misanthropic humor — or, as its creators dub it, “‘Curb’ in costume.” Subtitled “An Almost History of America,” it features a star-studded roster of actors dressing up in period clothes alongside David, including “Curb’s” Jeff Garlin, J.B. Smoove and Susie Essman, as well as Bill Hader, Kathryn Hahn, Jon Hamm and Jerry Seinfeld. The first episode premieres Friday at 9 p.m. ET/PT on HBO and will stream on HBO Max.
Over a video call, Schaffer discussed the show’s genesis, former President Obama’s improv skills and the British TV series that has him entertained. — Yvonne Villarreal
Tell me about getting into business with the Obamas. Their production company approached Larry. How did it evolve into this?
Larry and President Obama know each other a little bit. They really enjoy each other’s company, or at least Larry enjoys needling Obama, and Obama really enjoys needling Larry. The moment that we all met together to have our first meeting, the first thing Obama does — I’ve never met the president [prior]— he starts just ragging on Larry’s golf game, and how he wears so much sunscreen on the golf course. And Larry just goes to President Obama, “Oh, I’m sorry, my dad’s not from Kenya.” And that’s how it started. They have a great rapport and they wanted to do something special for the 250th [anniversary]. Larry says no to everything — his best friend can be having a premiere of a movie, and Larry will go, “Where is it in Hollywood?” But Larry’s not going, that’s too far. When this came around, Larry was like, “Huh, that’s actually pretty interesting.” He responded right away to the historical nature of it because, as he would say, he’s an American history buff.
The genesis for Larry and I is that we had done a tiny test run of this with that FTX ad for the Super Bowl a few years back. I don’t know, whatever happened to those people — I’m sure they’re fine — but he remembered how much fun he had being in costume. And honestly, I think he forgot how much he hated being in a wig. It’s like childbirth, enough time had passed.
Given the sort of tenor of the times, why does this type of comedic look at America’s history feel like the appropriate way to mark this anniversary?
It’s the 250th and I get that celebrating the country right now may feel like throwing a birthday party for your friend who’s in rehab — he’s all f— up — but we still love him, right? There’s a way to look at the country’s history, warts and all, the two steps forward and the one step back. And I think one of the best ways to do that is through comedy.
Going back to President Obama — what are the negotiations to get him to appear in it? Or was that on the table from the beginning?
Once I saw the two of them interact together, that became my primary mission. We’ll write the sketches, and we’ll do the documentary stuff, we’ll make it all historical and fun, whatever, but we have to get you two on screen together. It was also sort of the promise of the show, too. When I originally talked to Amy Gravitt at HBO about it, I remember I said, “What if I could give you a show that brought together two people half of America loves?”
What was it like directing them in a scene together? He gives the opening remarks at the start of the show.
He is a truly inspiring, amazing human being who also happens to have great comedic timing. He and Larry get into a groove immediately, which is very fun, and it was honestly one of the coolest things I’ve ever done in my life, directing them. The president said, “I guess I like being annoyed by Larry. Once we get together, I start sounding like him.” It’s like Larry’s this black hole of negativity that sucked Obama in for these brief periods of time; it was just fun.
Is he good at improv then on the spot like that?
Yes, he is. He’s got some really funny stuff in the sketch they’re in together that is all him — 100% the president.
Do you have a favorite moment from this first episode — it features the Declaration of Independence, segregation and Rosa Parks.
There’s different things in each of them. The thing that I’m most excited about is when you don’t know what the next one’s going to be, and then when the narration for the little documentary section starts, and it starts talking about Rosa Parks, I can just see [viewers] going, “Oh no …” That’s a great “Curb” feeling. It’s a comedy horror film — “Oh no, don’t do that, oh no.” Then you get sucked in.
We tried really hard to make sure that production-wise, there’s historical accuracy, so it really felt like you were in this moment. Then Larry gets dropped in, and all hell breaks loose. Same thing with World War I — I got to shoot a whole bunch of World War I fighting — and there’s Larry pretending to be dead. One of the things that attracted us to it in the very beginning was the idea of the juxtaposition between these big dramatic moments and then Larry. History is writ large, and Larry writes so small and that dynamic is fun for us.
One of the great things about a show like this — or what’s come before, like “Drunk History” — are the lessons that can be learned. Is there something you learned while filming this series or a takeaway you had in looking back at our history?
There are things I did not know. One of the things that was also enjoyable is being able to talk about modern things in a historical context, even with that phone. We don’t write dialog — we write some, but it’s basically like doing “Curb.” Larry knew that people were going to ask some questions about the phone, but I just was peppering these people with questions about all of the modern stuff, and just watching Larry get angrier and angrier at these people. At a certain point, the membrane of actor, of character to real human being was breached. He was so mad at them, but that’s what making the show is. Actually, at the end of the our shoot, President Obama said to me, “I see how it works. Larry makes the world uncomfortable, and you make sure the world makes Larry uncomfortable.” That’s literally how we make the show.
Would this format work for current historical events? How do you think, 250 years from now, a reboot of this show would tackle something like telling the story of the UFC fight on the White House lawn?
That’s the problem — we’ve entered an era of America parodying itself. It’s insane. One of my good friends, Dave Mandel, used to do a “Veep” and he’s like, “What do you do now?” I think what we tried to do, and you’ll see as you go further into episodes, we try to address a lot of things that are happening right now through a historical lens. So we might be back in colonial times, and we might be back in the ‘50s, but we’re actually talking about something that’s happening right now.
Before I let you go, what is the TV show or movie out right now that you’re telling everyone to watch?
I just started watching “Steve and Alice” [Hulu, Disney+]. It’s so well done; it’s so dark and funny and really engaging.
What’s the comfort show or movie you return to again and again?
I can pretty much put on any “Lord of the Rings” [HBO Max] movie anywhere and not be able to get my butt off the seat.
