Telegraph nominated for 18 Press Awards
Our revelation that the Oxford-AstraZeneca Covid vaccine had been branded 'defective' in a multi-million-pound landmark legal case is nominated for scoop of the year.
The category for best news podcast includes Ukraine: The Latest, which has now reached 100 million downloads and continues to provide daily updates and analysis.
Robert Mendick is nominated for news reporter of the year, Laura Donnelly for health journalist of the year, Neil McCormick for critic of the year and Matt Pritchett for cartoonist of the year.
Danielle Sheridan, defence editor, is shortlisted for specialist reporter of the year for revealing the contents of a speech by the head of the British Army, in which he warned that the British public would be called up to fight if the UK went to war.
A picture of a sodden Rishi Sunak announcing the general election last May, above the headline 'Things can only get wetter', is a contender for front page of the year.
Szu Ping Chan is nominated for business and finance journalist of the year for her agenda-setting scoop that Rachel Reeves, the Chancellor, was preparing to reveal a multi-billion-pound black hole in the public finances.
There are nominations for Jeremy Wilson and Oliver Brown in Sport, Chris Leadbeater and Greg Dickinson in travel, and Ben Butcher in data.
Simon Townsley is shortlisted for photographer of the year for assignments including his astonishing images of drug addicts on the streets of Vancouver.
Meanwhile, the excellence in diversity category includes The Telegraph's Media Literacy Programme, which works with schools to introduce teenagers to the world of trusted news journalism.
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San Francisco Chronicle
26 minutes ago
- San Francisco Chronicle
DC unemployment rate is the highest in the US for the third straight month
WASHINGTON (AP) — The seasonably adjusted unemployment rate in Washington, D.C., was the highest in the nation for the third straight month, according to new data released Tuesday by the Bureau of Labor Statistics. D.C.'s jobless rate reached 6% in July, a reflection of the mass layoffs of federal workers, ushered in by President Donald Trump's Department of Government Efficiency, earlier this year. An overall decline in international tourism — which is a main driver of D.C.'s income — is also expected to have an impact on the climbing unemployment rate in the District. Neighboring states also saw an uptick in unemployment rates in July — with Maryland at 3.4% (up from 3.3%) and Virginia at 3.6% (up from 3.5%), according to the state-by-state jobless figures. Since the beginning of Trump's second term, federal workers across government agencies have been either laid off or asked to voluntarily resign from their positions. Those actions have drawn litigation across the federal government by labor unions and advocacy groups. In July, the Supreme Court cleared the way for Trump administration plans to downsize the federal workforce further, despite warnings that critical government services will be lost and hundreds of thousands of federal employees will be out of their jobs. The latest D.C. Office of Revenue Analysis figures show that payments made to unemployed federal workers have been climbing month-over-month. In April, unemployed workers received $2.01 million in unemployment payments. By June, that figure reached $2.57 million. The DC Fiscal Policy Institute argues that the federal worker layoffs will exacerbate D.C.'s Black-white unemployment ratio. The latest nationwide unemployment rate according to the BLS is 4.2% — South Dakota had the lowest jobless rate in July at 1.9%. In addition, international tourism, a major source of D.C., to the U.S. is declining. Angered by Trump's tariffs and rhetoric, and alarmed by reports of tourists being arrested at the border, some citizens of other countries are staying away from the U.S. and choosing to travel elsewhere — notably British, German and South American tourists, according to the World Travel & Tourism Council. A May report from the organization states that international visitor spending to the U.S. is projected to fall to just under $169 billion this year, down from $181 billion in 2024 — which is a 22.5% decline compared to the previous peak. The latest jobs numbers come after the Republican president and a group of GOP governors have deployed National Guard troops to D.C. in the hopes of reducing crime and boosting immigration enforcement. City officials say crime is already falling in the nation's capital.
Los Angeles Times
26 minutes ago
- Los Angeles Times
‘The Twisted Tale of Amanda Knox' dramatizes the events around a case that drew a media spectacle
Amanda Knox, who became an international headline in 2007, when, as an American student spending a year in Perugia, Italy, she was (wrongly) accused of the murder and sexual assault of her British roommate, Meredith Kercher, is now the subject, and executive producer, of 'The Twisted Tale of Amanda Knox,' an eight-part docudrama premiering Wednesday on Hulu. (Her boyfriend of one week, Raffaele Sollecito, also wrongly accused, does not seem to have garnered similar attention, which might tell you something about misogyny in the prurient press, and its audience.) The 'Twisted Tale' in the title — odd for a story of murder, rape and false imprisonment — suggests that we're about to see something sort of delightful, like 'The Marvelous Misadventures of Flapjack' or 'The Epic Tales of Captain Underpants,' an impression underscored by a prologue in the style of 'Amélie,' the whimsical French film the couple was elsewhere watching on the night of the murder; it ties the victim, the accused and her prosecutor/persecutor together in a sort of fairy tale. Like the very long end-title 'any similarity' disclaimer, concluding 'The series includes Amanda Knox's perspective on events related to the murder of Meredith Kercher,' it allows the series to be something less than true: a tale. People tell themselves stories to live, to haul out that Joan Didion quote once again, which unavoidably requires making up stories about other people. These events involved a lot of people, only one of whom is an executive producer of this series, based on her memoir, 'Waiting To Be Heard.' (Knox co-wrote the finale, as well.) One assumes that some of those other people might see this project as exploitation, or object to how they've been represented, though any dissenting voices will be drowned by a publicity machine that will market this as a true story, disclaimer aside. In light of the series, Knox has been recently profiled in the New York Times, alongside star Grace Van Patten, and in the Hollywood Reporter, alongside fellow executive producer and scandal survivor Monica Lewinsky, who encouraged her to make the series. These are qualities — faults? — 'Twisted Tale' shares with every docudrama ever, a problematic genre much beloved by filmmakers and actors; still, as frequently as such projects arise, especially in the age of true crime, we wouldn't still be talking about 'Citizen Kane' today if it simply had been 'Citizen Hearst.' We should at least keep in mind as responsible viewers and citizens that what we're seeing here, however factual in its crucial points, scrupulous in its details, and engaging in its philosophy, and however faithfully the actors embody their real-life models, it's unavoidably an impression of the truth, built out with imagined scenes and conversations and made to play upon your feelings. It isn't journalism. And to be clear, when I speak of these characters below, I'm referring only to how they're portrayed in the series, not to the people whose names they share. Created by K.J. Steinberg ('This Is Us'), the series is well-acted, well-written, impressively mounted, tonally contradictory, chronologically disjointed, overlong, stressful, exhausting, interesting both for its subject and stagecraft, and briefly inspirational, as Amanda (Van Patten) — arrested, jailed, convicted, acquitted, re-convicted and definitely re-acquitted — becomes a voice in the innocence movement ('My freedom mattered and I was going to make the most of it as long as I had it') and returns to Italy, a wife and mother, for something like closure. Echoing the 2016 Netflix documentary 'Amanda Knox,' which tells the story (up to that point) in a streamlined but thought-provoking 90 minutes, there has been some care to represent different points of view, with episodes dedicated to Raffaele and prosecutor cum investigator Giuliano Mignini (Francesco Acquaroli), also introduced 'Amélie'-style. (As to Kercher, we hear only that 'she likes to sunbathe and dance and read mystery novels' — though anything more would be presumptuous.) Raffaele, the superhero-loving son of a troubled mother, made himself into a 'protector.' Mignini, who lost a brother to 'lawlessness,' sees his work as heaven-sent — though he was also inspired by Gino Cervi as Georges Simenon's detective hero in the 1960s TV series 'Le inchieste del commissario Maigret.' (He adopts that character's pipe and hat.) 'I made a vow to God,' he says, narrating, 'no matter the disapproval or dissent, deviant, ritual murders would not go unpublished on my watch.' On the basis of Amanda being a loud American, and a self-described weirdo, whose response to news of the murder struck some as insufficiently emotional; from bits and pieces of supposed physical evidence, later discounted; and from Mignini's own notions — including his feeling regarding the body, that 'only a woman would cover a woman with a blanket' — the police quickly assemble an elaborate, completely imagined theory based on a sex game gone wrong. (That Knox was in possession of a vibrator and some condoms and brought men to the apartment she shared with Kercher and two Italian girls seemingly branded her, in 2007, as a pervert.) Subjected to an extremely long interrogation without adequate representation in a language she imperfectly understands, and in which she has trouble making herself understood — detective superintendent Monica Napoleoni (Roberta Mattei) is the angry Javert — Knox signs a false confession that also implicates her sometimes boss, Patrick Lumumba (Souleymane Seye Ndiaye). She quickly recants, to little avail. (Knox has not been acquitted of slandering Lumumba.) That the actual killer is arrested, and convicted, merely causes the police to rewrite their story a little, while still focusing on Amanda and Raffaele. The press runs leaks and accusations from the authorities; and a fascinated public eats it up, spitting out opinions onto social media. Director Michael Uppendahl employs a variety of styles to get the story told. Some scenes are so natural as to seem improvised; others employ heavy tactics — an assaultive sound design, flash cuts — to evoke the pressure Amanda is under, from both the self-satisfied authorities and a hectoring press. (Paparazzi is an Italian word, after all.) Stirring music underlies her final statement to the court; a letter sent by Amanda to Mignini is lit from within, like the deadly glass of milk in Hitchcock's 'Notorious.' While not inappropriate to a story in which fictions swamp facts, these zigs and zags can pull you out of the story rather than drawing you deeper in. As Amanda, Van Patten (of the Van Patten acting/directing dynasty — Dick, Joyce, Tim, Vincent, with Grace's sister Anna playing Amanda's younger sister) is quite remarkable, switching between English and an ever-improving Italian. Acquaroli, quietly astonishing, brings humanity and the merest touch of weary humor to his stubborn policeman. Sharon Horgan plays Amanda's intense, demanding mother, with John Hoogenakker as her more subdued father. In a scene pulled straight from the 'Amanda Knox' documentary, a reporter asks him when there'll be a film: 'The longer you wait the less her story is going to be worth.' 'We do not think of our daughter as a hot property,' he replies. Meta.
Los Angeles Times
an hour ago
- Los Angeles Times
Ozzy Osbourne's family wants to ‘wait a bit longer' before airing documentary, BBC says
The BBC has offered an explanation for its recent decision not to air a documentary about late rock legend Ozzy Osbourne. In a statement to BBC News on Tuesday, the British broadcaster said it opted to hold back the documentary centered on the musician's final years out of respect for Osbourne's loved ones who are still mourning the Black Sabbath frontman's death. Osbourne died July 22 of a heart attack at the age of 76. 'Our sympathies are with the Osbourne family at this difficult time. We are respecting the family's wishes to wait a bit longer before airing this very special film,' the BBC said, adding that it will confirm a new air date 'shortly.' BBC turned heads on Monday after it pulled 'Ozzy Osbourne: Coming Home' from its programming lineup before it was supposed to air later that evening. A BBC spokesperson confirmed to several outlets that the film 'has moved in schedule' and that the broadcaster would confirm details about a new air date 'in due course,' but did not provide a reason for the pivot. Osbourne, who lived with Parkinson's disease, died two weeks after his farewell concert at his hometown of Birmingham, England. The BBC announced its documentary on Aug. 7, revealing that 'Ozzy Osbourne: Coming Home' would chronicle the English rockstar's final years, from his health issues to the preparations for his grand finale. The documentary was filmed over three years and also features Osbourne's wife Sharon Osbourne and children Kelly and Jack Osbourne. The pair also have another daughter together: Aimee Osbourne. The documentary started out as a series, then titled 'Home to Roost,' but evolved into a one-hour film due to the rocker's deteriorating health. 'We hope it brings comfort and joy to Ozzy's fans and viewers as they remember and celebrate his extraordinary life,' BBC Head of Commissioning, Documentaries, Clare Sillery said in August. Osbourne was laid to rest in Birmingham during a private funeral last month. A public celebration of Osbourne's life preceded the burial. Thousands of Black Sabbath fans honored the musician's legacy as his hearse, followed by his wife and children, made its way through Birmingham, the Associated Press reported.
