Ousmane Dembele pays tribute to Diogo Jota with heartfelt celebration after scoring in Club World Cup
The Paris Saint-Germain forward mimicked Jota's trademark gaming celebration after netting in his side's 2-0 Club World Cup quarter-final win over Bayern Munich.
Tributes have flooded in from across the football world for Jota, 28, and his brother Andre Silva, 26, after their tragic deaths in the early hours of Thursday morning.
His former Liverpool team-mates and manager Arne Slot were in attendance at his funeral in Gondomar, Portugal on Saturday.
Former Portugal team-mate Pedro Neto displayed a shirt in tributes to the pair before Chelsea 's 2-1 win over Palmeiras, while Joao Cancelo and Ruben Neves welled up with tears before Al-Hilal's 2-1 defeat by Fluminense.
Dembele and Jota were never team-mates but the Frenchman was still eager to remember him, copying the gaming celebration which the Liverpool star famously whipped out after scoring a 94th-minute winner against Tottenham in 2023.
More to follow.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
The Guardian
28 minutes ago
- The Guardian
Women's Euro 2025: England and Wales reaction ahead of Norway v Finland
Update: Date: 2025-07-06T07:25:05.000Z Title: Preamble Content: Greetings everyone and welcome to matchday five of the Euros. England and Wales will be waking up with headaches this morning after chastening defeats in their tournament openers yesterday. In a match between two teams whose pre-tournament run-ins were dominated by talk of who wasn't in their squads as much as who was, France unmistakably looked better equipped and slicker last night against an England side who stirred too late. Was starting with the still-recovering Lauren James too much of a gamble? What should Sarina Wiegman do for the Netherlands game? All thoughts welcome. And the Dutch will be tough opponents, as they demonstrated in their 3-0 steamrollering of Wales, who fought hard on their tournament debut in front of magnificent support in the stands and who had their moments in the first half but were always second best. Meanwhile, later today we return to Group A, with Norway meeting Finland in Sion. Both won their opening games, with Finland perhaps doing so more convincingly though the talent in Norway's ranks makes them favourites today. Later on the hosts, Switzerland, take on Iceland having been a tad unlucky to lose their opener. Anyway, stay tuned for the latest news, previews and reaction.
Telegraph
32 minutes ago
- Telegraph
So you want to be a writer? Here's some (polite) advice from the best
The persistent allure of Shakespeare and Company, Paris's most mythologised bookshop, has long been its ability to function both as a kind of temple and as a performance space. Shakespeare and Co is associated with both the history of modernism and the Beats: the original shop, founded in 1919 by Sylvia Beach, was the site of the publication of Ulysses, and when George Whitman opened a shop of the same name, at a different location nearby, it became a place of pilgrimage for the likes of Allen Ginsberg, Henry Miller and Anaïs Nin. Now, under the stewardship of Whitman's daughter, also Sylvia – and certainly in this collection of interviews, edited by the novelist Adam Biles – the shop continues to attract plenty of famous authors and names, who are regularly hosted to do public talks. And talk they most certainly do. The Shakespeare and Company Book of Interviews offers 20 conversations with writers who have appeared at the shop over the last decade or so. The names of the novelists, short story writers and non-fiction authors are mostly Anglophone and Anglo-American – George Saunders, Percival Everett, Rachel Cusk, Geoff Dyer are just some – with a few francophone and international presences (Annie Ernaux, Meena Kandasamy) thrown in to interrupt the inexorable drift towards the Anglosphere. There's a brief introduction by Whitman and a foreword from Biles, the bookshop's literary director and all-round in-house interlocutor. Otherwise, what we're left with is a loose transcript of exchanges – by turns illuminating, meandering, sharp, glib and ruminative – about books, ideas and the writing life. As a document of the current literary moment, it's perhaps uneven, but also rather revealing. The format is simple. Each chapter reproduces a recorded interview from one of the shop's live events – which is also typically released as a podcast – lightly edited and mercifully short. It's a winning approach. The unguarded setting – a small Parisian bookshop, a live audience, a fellow writer asking questions – often coaxes from the guests a nice, informal exchange of ideas. Writers who can often seem rather verbose and stage-managed – George Saunders, say, or Karl Ove Knausgaard – come across here as lucid and personable. One of the things that the book demonstrates most clearly is that the idea of the 'writer' has become rather diffuse. Save the venue, no unifying theme or thread really binds the interviews together: we get theoretical physicist Carlo Rovelli, talking about his book The Order of Time, for example, alongside Reni Eddo-Lodge on Why I'm No Longer Talking to White People About Race. These days, novelists are also often simultaneously essayists, memoirists, activists and cultural critics. Olivia Laing, for example, reflecting on her book about the curses and blessings of urban life and solitude, The Lonely City, glides effortlessly from discussing art to sex to psychiatry in little more than 10 pages of transcript. Like many of the authors, Laing is intellectually supple, charismatic and finely attuned to the needs of the audience. These reflections on writing are various, and often fascinating: Marlon James, for example, reveals that after a long day's work he tends to crash and burn 'and cry about my miserable life'; George Saunders talks about his life as an 'aspiring Buddhist', and Leïla Slimani reflects on the challenges of writing about the psychology of children. At its best, the book presents writers trying to think aloud rather than simply performing thought. Percival Everett is a case in point: a writer who resists the very format of the interview itself. Wry, dry and reluctant to indulge in interpretation or self-revelation, he dispatches many of Biles's questions about his Booker-shortlisted novel James with an easy shrug. Asked about his hopes for his work, he replies, 'Most of the time I just hope that when I'm driving down the freeway the other driver stays on his side of the road.' This refusal is pointed. In a literary culture where authors are often expected to expound upon their work and sum it up into neat little paraphrases, Everett's resistance is a demonstration of integrity. As such, the collection's tone varies throughout. Some writers approach the interview as a site of intellectual play – Cusk does so brilliantly – while others treat it as a promotional stop over. Colson Whitehead 's chat, for instance, is extraordinarily smooth, with him reciting the origin story of The Underground Railroad in the same press-friendly cadences one suspects he may have used elsewhere. The conversation with Claire-Louise Bennett – the author of Checkout 19 – by contrast, is a brisk, personal and lively exchange, offering more insight per page than most: she's at once frank, funny and revealing. The idea of 'Paris' as an exclusive home-from-home for the literary elite hovers politely in the background throughout the book. It's rarely discussed, but you can sense the effect the city exerts on the writers, with its subtle invitation to cosmopolitanism and a certain café-theoretic fluency. And even more noticeably – for better or worse – Shakespeare and Company now presents itself not so much as a bohemian curiosity of that city but as a high-end cultural export: a kind of unofficial literary embassy for English-language publishing in France, complete with its own tote bags. It's notable that few of the writers engage seriously with French literature or culture – save Nobel Prize-winner and memoirist Annie Ernaux, of course, whose conversation, translated by Alice Heathwood, is one of the strongest in the collection. Compared to the other writers, Ernaux is trenchant and unsentimental. She reminds us how rare it is to hear a writer speak directly, without stylised modesty or career-consciousness, about class, gender and politics. But Ernaux is the exception. Most of the writers here speak in the rather careful language of contemporary publishing, which means that the interviews can tend towards the predictable: 'This was a book where I wanted more than anything else that the book that's in my head comes on the page'; 'I'm a big believer that when I write, I show up to work'; 'my process is very intuitive and very iterative'; 'The voice gives me absolutely everything.' This is no fault of Biles, who is a genial host rather than a probing interlocutor: he draws writers out but seldom challenges them. The effect is that one finishes the book both entirely satisfied and yet curiously uninformed: this is what literary conversation sounds like when everyone is being terribly well-behaved. Ultimately, this is both the book's great strength and its weakness. As a time-capsule of early 21st-century literary decorum, it's essential: all of the authors here are smart, likeable, articulate, politically aware, vaguely progressive and professionally successful. But it's also perhaps symptomatic of a literary climate that privileges affability over aesthetic risk. You won't find here the combative energy of, say, a 1960s or 1970s Paris Review interview with Robert Lowell, Marianne Moore or William Gaddis. That kind of personality – prickly, unreconciled, unreconstructed – is either unwelcome or extinct. This is because literary culture has changed, just as the bookshop has changed: Shakespeare and Company today is no longer the domain of exiles or provocateurs but of visiting authors on European tours, filmed, streamed, and politely applauded. The authors are engaged in reiterating a kind of contract between writer and reader: trust me, I've thought about this; I'll try not to bore you; we're in this together; and, fundamentally, everything is fine. As a performance, this is both pleasing and reassuring. As an insight into the messy, irrational, perverse work of writing, it's incomplete. If there's one thing missing here, then, it's dissent. Not rudeness or incivility as such – who wants any more of that, in a world of endless online hot-takes, take-downs and click-bait? – but a simple willingness to say what might be even slightly unpalatable or unresolved. This book, for all its charm and clarity, rarely risks that. Then again, perhaps its most eloquent testimony is unintended: that today, even in the heart of literary Paris, the truly novel idea is the one we don't yet quite know how to speak aloud. ★★★☆☆
The Guardian
38 minutes ago
- The Guardian
Estêvão shows Chelsea he can form dangerous partnership with Palmer
The good news for Chelsea is that Cole Palmer and Estêvão Willian will be on the same team when they next share a pitch. Even better, it seems two of the most gifted young forwards around already have a connection. They were on opposite sides in Philadelphia on Friday night but friends when it was over, sharing a warm embrace after Chelsea's victory over Palmeiras in the Club World Cup, swapping shirts and perhaps thinking about how much fun they are going to have at the expense of opposition defences when they line up together next season. It was a heartwarming sight. Palmer offered a reminder that he remains the main man at Chelsea, performing with craft and intelligence during a first half in which he opened the scoring in smooth fashion, but Estêvão vied for centre stage on his final appearance for Palmeiras. It was an extraordinary performance given the context. Anticipation has been building ever since Chelsea agreed a £52m fee with Palmeiras for Estêvão in May 2024. The 18-year-old has remained on an upward trajectory after staying with Palmeiras for one more season, but any hopes of keeping the hype machine from going into overdrive with a player regarded as the best Brazilian youth product of his generation had disappeared long before he found himself trying to knock his future employers out of the Club World Cup. The pressure on Estêvão was extreme. He has delivered a string of wonderful goals and performances for Palmeiras over the past 12 months but he has been criticised by the Brazilian media during his time in the US. Abel Ferreira, the charismatic Palmeiras manager, has had to leap to the youngster's defence. There have been some tense press conferences. Nonetheless it was only human nature to wonder if Estêvão was capable of performing against Chelsea. Would his heart really be in it? Would he hold back? Would he be too desperate to impress? Now, of course, the challenge will be keeping expectations at realistic levels when Estêvão arrives in England. He has been called Messinho (Little Messi) because of his dribbling ability but is determined to follow his own path. This kid is fearless. Questions about whether he will be able to adapt to the physicality of the Premier League are standard. Against Chelsea, there could be no better taste of what defenders in England are like than by being marked by Marc Cucurella. The Spaniard is tenacious, niggly, and very good at his job. It was striking to watch him kick lumps out of Estêvão during the first half. It was as if Cucurella was trying to see if the kid was made of the right stuff. The response was resounding. Estêvão kept looking for the ball and kept trying to make things happen. At one point he darted in from the right, surging across the grass, Cucurella left desperately trying to cling on to his shirt. It was easy to imagine Cucurella going back into the dressing room after full time and telling his teammates that they won't have to worry about whether that slight, spindly kid on the Palmeiras right will be able to do it on a wet, windy Tuesday night in Stoke. Only, the rest of Chelsea's players had already seen it for themselves. It was Estêvão who dragged Palmeiras into the contest, spinning into space in the 53rd minute and catching Robert Sánchez out by shooting from the tightest of angles. The ball flew past a startled Sánchez, who could not even be blamed for being beaten at his near post, and when it went in there was no holding back from Estêvão as he celebrated. Palmeiras could not quite get the job done, though. Afterwards the mood was bittersweet. Named the player of the match, Estêvão was obliged to speak to the media. He sat next to Ferreira and thanked the man who treats him as a son. Ferreira was tender, whispering advice to Estêvão whenever he seemed unsure what to say. 'I love this guy so much,' Estêvão said. 'I thank God that Abel and Palmeiras are in my life.' Ferreira, ignoring the pain of losing to a late own goal, returned the praise. He spoke of Estêvão's talent but also described him as an amazing person. The Portuguese admitted that he was unsure if Estêvão was big enough when he was promoted to the first team, only for those doubts to go away soon enough. 'He looks slim, but he is strong,' Ferreira said. 'I told Estêvão: 'We are excited for you to join,' but he didn't understand a single word I said,' Palmer offered. Sign up to Football Daily Kick off your evenings with the Guardian's take on the world of football after newsletter promotion That nod towards the language barrier was a reminder that Estêvão must be given time to settle in England. 'Take care of him,' Ferreira said, sounding a lot like Sven-Göran Eriksson urging the English media to protect Wayne Rooney in 2006. 'It's the first time he will leave his country. In England the sun appears two or three times a year and the night comes early but Chelsea have conditions to support him.' It is good that there is no pressure on Enzo Maresca to rush Estêvão. Chelsea have plenty of attacking options and know that leaving South America will not be easy. Even so, it is telling that there is no plan to send Estêvão out on loan. Chelsea know they have a special talent on their hands. No wonder they cannot wait to see Estêvão and Palmer together.
