The opening of San Fermin Festival in Pamplona — and other news in pictures
The Times
The Times
Fireworks over Blackpool Pleasure Beach, which stayed open until late to allow punters to ride their favourite rollercoasters by night
GREGG WOLSTENHOLME/BAV MEDIA
The Calgary Stampede in Canada is hosted on the territories of the Blackfoot Confederacy of First Nations and includes the world's largest outdoor rodeo as well as stand-up comedy and Nashville country music
AMY HARRIS/INVISION/AP
Children choose kittens for adoption during the AdoptMe Days festival in Kyiv, Ukraine, where more than 50 shelters, animal-protection organisations and volunteers introduced visitors to rescued animals
SERGEI SUPINSKY/AFP/GETTY IMAGES
DANNY LAWSON/PA
Tibetan women in Kathmandu, Nepal each carry a ceremonial khata, a scarf woven from pure cotton, as a symbol of devotion to gift to their spiritual leader, the 14th Dalai Lama, on his 90th birthday
NIRANJAN SHRESTHA/AP
Blythe Scott prepares for Joy, her solo show of paintings of the east coast of Scotland, at the Morningside Gallery in Edinburgh
PHIL WILKINSON
Still waters at Leigh-on-Sea in Essex on Saturday before thunderstorms rolled across the county on Sunday
BEN JONES FOR THE TIMES
Children in costume parade on the streets of Dakar in Senegal as part of the Tamkharite celebrations, in which local culture combines with the Sunni Muslim festival of Ashura to celebrate the day when Moses and the Israelites were saved from the tyranny of the Pharaoh in Egypt
CARMEN ABD ALI/AFP/GETTY IMAGES
Pygmy goats at the Dalscone Farm outdoor park in Dumfries have gone viral after pictures were posted online of them wearing knitted hats to keep them warm during chilly weather
Participants stroll along the parade route in eye-catching outfits during Cologne Pride
THILO SCHMUELGEN/REUTERS
A telephoto lens makes the moon appear giant above the Suleymaniye Mosque in Istanbul, Turkey on Sunday
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Daily Mail
an hour ago
- Daily Mail
Toronto film festival's embarrassing groveling after refusing to show Oct. 7 massacre movie for fear of upsetting Hamas
The CEO of the Toronto International Film Festival (TIFF) issued a groveling apology after he refused to show a documentary on the October 7 massacre over fears it would upset Hamas. The festival was set to show 'The Road Between Us: The Ultimate Rescue', directed by Barry Avrich, which follows the story of retired IDF general Noam Tibon during and after the attack that saw around 1,200 people killed and 251 taken hostage. But, on Wednesday TIFF announced it was pulling the film because Hamas did not give organizers permission to use bodycam footage shot by terrorists, according to Israeli media. In response, Israel 's Foreign Minister, Gideon Sa'ar, slammed the organizers, and likened their decision to cancel the movie due to a lack of Hamas 'clearance' to asking for Adolf Hitler's approval for Auschwitz footage, reported i24NEWS. After controversy unfolded about the announcement, TIFF CEO Cameron Bailey issued an apology stating that 'claims that the film was rejected due to censorship are unequivocally false.' The Canadian film critic added he was trying to find a way to show the film after all and that it was 'never my intention to offend or alienate anyone...' 'Given the sensitive and significant nature of the film's subject, I believe that it tells an important story and contributes to the rich tapestry of perspectives in our lineup – stories that resonate both here at home and around the world. 'I want to be clear: claims that the film was rejected due to censorship are unequivocally false. 'I remain committed to working with the filmmaker to meet TIFF's screening requirements to allow the film to be screened at this year's festival. I have asked our legal team to work with the filmmaker on considering all options available,' he added. The festival had originally approved the film, which follows Tibon on his mission to save his son, his wife and two daughters who were attacked by Hamas-led terrorists at their home on Kibbutz Nahal Oz on October 7. The documentary uses bodycam footage filmed by the terrorists themselves during the massacre, which was the single deadliest day in Jewish history since the Holocaust. The film was pulled by TIFF due to the prospect of disruptive anti-Israel protests at the festival, which will run from September 4-14, as well as concerns about copyright, Deadline reported. 'The invitation for the Canadian documentary film "The Road Between Us: The Ultimate Rescue" was withdrawn by TIFF because general requirements for inclusion in the festival, and conditions that were requested when the film was initially invited, were not met, including legal clearance of all footage,' the organizers said in a statement. 'The purpose of the requested conditions was to protect TIFF from legal implications and to allow TIFF to manage and mitigate anticipated and known risks around the screening of a film about highly sensitive subject matter, including potential threat of significant disruption. 'As per our terms and conditions for participation in the festival, 'TIFF may disqualify from participation in the Festival any Film that TIFF determines in its sole and absolute discretion would not be in TIFF's best interest to include in the Festival.' Tibon, an ex-IDF general and a staunch critic of Israeli Prime Minister Benjamin Netanyahu's judicial overhaul, drove from his Tel Aviv home to southern Israel on the morning of October 7 to help the communities attacked on the border. Since that day, he has been vocal about his opposition to the Israeli government. The filmmaking team behind the documentary told Deadline: 'We are shocked and saddened that a venerable film festival has defied its mission and censored its own programming by refusing this film. 'Ultimately, film is an art form that stimulates debate from every perspective that can both entertain us and make us uncomfortable. 'A film festival lays out the feast and the audience decides what they will or won't see. 'We are not political filmmakers, nor are we activists; we are storytellers. We remain defiant, we will release the film, and we invite audiences, broadcasters, and streamers to make up their own mind, once they have seen it.' Reacting to the film's cancellation, the documentary's subject Tibon said it was 'absurd and outrageous.' The Toronto festival surrendered to pressure and threats, choosing to silence and erase October 7. 'Barry Avrich's documentary tells a human, not political, story, documenting the grim reality of Israel's darkest day. The claim that it cannot be screened because it lacks "usage rights" for Hamas footage from that day is absurd and outrageous - and an insult to the victims. 'Freedom of expression is the courage to present and hear challenging content, even if it is uncomfortable for some audiences.'
The Independent
7 hours ago
- The Independent
Doughnut giant launches spellbinding new range
Krispy Kreme is launching a limited-edition range of five Harry Potter -inspired doughnuts and a Golden Snitch Latte – but only in the U.S. and Canada. The new doughnut collection, available from 18 August to 14 September, includes designs inspired by the four Hogwarts houses and the Sorting Hat. On 23 August, Krispy Kreme will host a "Houses of Hogwarts day," offering a complimentary glazed doughnut to customers dressed in Harry Potter attire. Separately, Cinnabon is celebrating its 40th anniversary by offering its Classic Cinnamon Roll for US$1.25 on 22 August. This Cinnabon offer is valid from 12 p.m. to 4 p.m. local time, with a limit of one discounted roll per customer.
The Guardian
10 hours ago
- The Guardian
Slow jams, smash hits and Popeye samples: Carly Rae Jepsen's 20 best songs – ranked!
Carly Rae Jepsen loves to squirrel away killer songs for her now-standard B-side collections. The opener to The Loveliest Time (the companion to 2022's The Loneliest Time) evinces several CRJ trademarks: a love of odd production in the drily funky guitar and playful percussion, breathy falsetto – and obsessive, intense lyrics about being willing to do anything for love. You can plot Jepsen songs on a spectrum of 'laser-eyed intensity' to 'dreamy reverie'. This Kiss, from her first pop album Kiss (after her dreary post-Canadian Idol debut, 2008's Tug of War), epitomises the former, with EDM-era synths that rattle and gleam like arcade machines and a sledgehammer vocal performance about wanting forbidden pleasures. CRJ is a fiend for pure sensation who literally called an album Emotion: often her lyrics skip over any specific object of affection and cut straight to the feeling, as a song later in this list spells out. So when she sings 'he never wants to strip down to his feelings' on this pained ballad from Emotion Side B, you know it's terminal. Anyone who's only ever heard the radioactively perky Call Me Maybe and (wrongly) considers CRJ a one-hit wonder might be stunned to learn that she's elite at genuinely sultry come-ons. No Drug Like Me lives up to its narcotic premise – a risky cliche to sell – with its slinky, muted boogie and Jepsen's gasped promises to 'blossom for you'. Avant garde collaborators love Jepsen, but unlike, say, Caroline Polachek or Charli xcx, she's never made leftfield cool her brand. Those moments feel more like surprise gems in her enjoyably wayward catalogue: All That, made with Ariel Rechtshaid and Dev Hynes, is a sparkling devotional that forms a perfect period trifecta with Sky Ferreira's Everything Is Embarrassing and Solange's Losing You. The verse to Joshua Tree is all sharp, hungry anticipation of – what else – some kind of sensory high. Jepsen makes it worth the wait when the tension breaks into a chorus of rapturous satisfaction, à la Jessie Ware's sultrier disco moments: 'I need it / I feel it,' Jeppo sings, her unusually fragmentary lyrics evoking the strobe-lit half-memories of an ecstatic night out. The cutely funky Boy Problems solidified CRJ's gay icon status – you'll seldom see a crowd yell louder than when she sings, 'Boy problems, who's got 'em?' – and gave the concept a self-aware spin, acknowledging how bored her friends are of hearing about her messy love life. The sing-songy chorus sends up her predicament and is totally addictive. Intended for Jepsen's scrapped second album Curiosity, Tiny Little Bows got a glow-up from its coffee shop-pop demo to the machine-tooled whirling strings and snapping bass of its incarnation on Kiss. The lyric about chasing Cupid and his dinky arrow makes little sense (how do you think it goes with those tiny little bows? Err, fiddly?) yet hits like the best of Scandi-pop nonsense. CRJ had failed to clear this song's sample of He Needs Me, from Disney's 1980 Popeye film. So, naturally, she went to Disneyland and got Mickey Mouse to sign a fake contract approving it, then sent it to the publishers: 'The big star boss says it's OK.' They relented, and thank god, otherwise this slice of flirty madness, with its chorus that ascends like a starlet climbing a light-up staircase on a TV special, would never have existed. ''Cause I want what I want / Do you think that I want too much?' could be the Jeppo MO. On Gimmie Love, she lunges for, then suddenly withdraws from her crush, scared by the enormity of the feeling. It echoes within the cavernous, bass-wobbling production, offset by her effervescent vocals – and a determined cheerleader chant pivot in the middle eight. No stranger to gothic intensity, Jepsen sings that she's 'forever haunted by our time' on this sleek, sumptuous recollection of a formative romance. It was originally written for a scrapped disco album, its cool bass and enveloping sparkle hinting at a student of the French touch sound. The Sound offers a rarity in the Jeppo catalogue: unequivocal exasperation, anger flashing as she rebukes an unpredictable lover. 'Love is more than telling me you want it,' she sings over an abrupt beat, craving – once again – the feeling. The tender piano in the verses drives home what she's missing. Not to accuse co-producer Jack Antonoff of recycling, but this song's bass/percussion intro very much recalls his work on Lorde's Hard Feelings/Loveless. Anyway, it sets up a fantastically feral CRJ moment: 'I wanna do bad things to you!' she rhapsodises, with teeth-baring pep to rival early Madonna and robotic zip out of the Daft Punk playbook. Jepsen's lead singles have sometimes failed to recreate former glories: see Call Me Maybe redux I Really Like You, a red herring for the depth of Emotion. But for the first taste of The Loneliest Time, she ditched her bangers-first approach for this gorgeous, dusky Rostam collab, a pandemic rumination on memory. Charli has form for drawing out unexpected sides of well-known artists, and the first taste of mixtape Pop 2 showed off an unusually, captivatingly desolate CRJ. The pair spun a tale of powerless self-sabotage in relationships, their Auto-Tuned voices fluttering 'all alone, all alone, all alone' over AG Cook and Easyfun's tweaky ghost-in-the-machine ballad. Jepsen may be as good a successor to Kylie as we've ever had: a beloved, benign pop presence with an endless thirst for cheeky disco. Shy Boy is Minogue-worthy: a commanding, tart invitation to the dancefloor, although CRJ fabulously overplays her hand in a wordy bridge that reveals just how frazzled desire has left her. One billion times better than a song written for an animated kids' film about a ballerina should be, Cut to the Feeling is raw Jepsen ID: she's sticking her hand straight in the socket of desire, and conducting it through the rowdy, euphoric chorus, written at peak leaping-around tempo. It's basically Run Away with Me 2.0, but this is a song about overcoming reason, so just give in to it. The first time I heard Call Me Maybe I thought it 'wasn't that catchy'. Like biting into a chilli and declaring it 'not very spicy', only to be left weeping and demanding pints of milk, its delirious strings, pogoing beat and Carly's nuclear-force yet endearingly innocent crush got the better of me. And rightly so. Emotion arrived a year after Taylor Swift's 1989, the latter laden with lyrical Easter eggs that clearly identified her songs' subjects. Emotion hit certain listeners hard because it felt so free from subtext, hungering instead for BIG FEELINGS shot straight to the heart. The brazen sax and 'oh-oh-whoa / OH-OH WHOA!' of RAWM are a direct hit. The moment a crush becomes reality is rare and beautiful. Often, it simply never happens. If it does turn into a relationship, that moment of tingling anticipation can still only happen once. Here, Jepsen and Rostam precisely capture the feverishness of finally being so close to someone's face, you can feel their breath. Their subtle rapture softens the arpeggiated judder of Robyn's Call Your Girlfriend into a beat that rushes like adrenaline, the song's body heat contrasting the parched desperation in Jepsen's voice. It skips the cathartic peak of many of her hits to circle this precious feeling, willing it to last as long as possible.
