New York — “The Fall Guy,” the Ryan Gosling-led, action-comedy ode to stunt performers, opened below expectations with $28.5 million, according to studio estimates Sunday, providing a lukewarm start to a summer movie season that’s very much to be determined for Hollywood.

The Universal Pictures release opened on a weekend that Marvel has regularly dominated with $100 million-plus launches. (In 2023, that was “Guardians of the Galaxy Vol. 3” with a $118 million debut.) But last year’s strikes jumbled this year’s movie calendar; “Deadpool & Wolverine,” originally slated to open this weekend, is now debuting in July.

So in place of a superhero kickoff, the summer launch went to a movie about the stunt performers who anonymously sacrifice their bodies for the kind of action sequences blockbusters are built on. Going into the weekend, forecasts had the film opening $30 million to $40 million.

“The Fall Guy,” directed by former stuntman and “Deadpool 2” helmer David Leitch, rode into the weekend with the momentum of glowing reviews and the buzz of a SXSW premiere. But it will need sustained interest to merit its $130 million production budget. It added $25.4 million in overseas markets.

Working in its favor for a long run: strong audience scores (an “A-” CinemaScore) and good reviews (83% fresh on Rotten Tomatoes). Jim Orr, distribution chief for Universal, believes things line up well for “The Fall Guy” in the coming weeks.

“We had a very solid opening,” said Orr. “We’re looking forward to a very long, very robust, very successful run throughout the domestic box office for literally weeks if not months to come.”

But the modest start for “The Fall Guy” hints at larger concerns for the film industry. Superhero films haven’t been quite the box-office behemoth they once were, leading studios to search for fresher alternatives. “The Fall Guy” seemed to check all the boxes, with extravagant action sequences, one of the hottest stars in the business, a director with a track-record for crowd pleasers and very good reviews.

But instead, the opening for “The Fall Guy,” loosely based on the 1980s TV series, only emphasized that the movie business is likely to struggle to rekindle the fervor of last year’s “Barbenheimer” summer. “The Fall Guy” stars one from each: Gosling, in his first post-Ken role, and Emily Blunt, of “Oppenheimer.” Both were Oscar nominated.

“It’s going to be a very interesting, nontraditional summer this year,” said Paul Dergarabedian, senior media analyst for Comscore.

In part because of last year’s work stoppages, there are fewer big movies hitting theaters. Expectations are that the total summer box office will be closer to $3 billion than the $4 billion that’s historically been generated.

“The summer season is just getting started, so let’s give ‘The Fall Guy’ a chance to build that momentum over time. It’s a different type of summer kickoff film,” said Dergarabedian. “There’s always huge expectations placed on any film that kicks off the summer movie season, but this isn’t your typical summer movie season.”

In a surprise, No. 2 at the box office went to the Walt Disney Co. rerelease of “Star Wars: The Phantom Menace.” The first episode to George Lucas’ little-loved prequels collected $8.1 million over the weekend, 25 years after “Phantom Menace” grossed $1 billion.

Last week’s top film, the Zendaya tennis drama “Challengers,” slid to third place with $7.6 million in its second week. That was a sold hold for the Amazon MGM release, directed by Luca Guadagnino, dipping 49% from its first weekend.

The Sony Screen Gems supernatural horror film “Tarot” also opened nationwide. It debuted with $6.5 million, a decent enough start for a low-budget release but another example of horror not quite performing this year as it has the last few years.

Estimated ticket sales for Friday through Sunday at U.S. and Canadian theaters, according to Comscore. Final domestic figures will be released Monday.

 

1. “The Fall Guy,” $28.5 million.

2. “Star Wars: The Phantom Menace,” $8.1 million.

3. “Challengers,” $7.6 million.

4. “Tarot,” $6.5 million.

5. “Godzilla x Kong: The New Empire,” $4.5 million.

6. “Civil War,” $3.6 million.

7. “Unsung Hero,” $3 million.

8. “Kung Fu Panda 4,” $2.4 million.

9. “Abigail,” $2.3 million.

10. “Ghostbuster: Frozen Empire,” $1.8 million.
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RIO DE JANEIRO — Madonna put on a free concert on Copacabana beach Saturday night, turning Rio de Janeiro’s vast stretch of sand into an enormous dance floor teeming with a multitude of her fans.

It was the last show of The Celebration Tour, her first retrospective, which kicked off in October in London.

The “Queen of Pop” began the show with her 1998 hit Nothing Really Matters. Huge cheers rose from the buzzing, tightly packed crowd, pressed up against the barriers. Others held house parties in brightly lit apartments and hotels overlooking the beachfront. Helicopters and drones flew overhead, and motorboats and sailboats anchored off the beach filled the bay.

“Here we are in the most beautiful place in the world,” Madonna, 65, told the crowd. Pointing out the ocean view, the mountains and the Christ the Redeemer statue overlooking the city, she added: “This place is magic.”

Madonna performed her classic hits, including Like a Virgin and Hung Up. For the introduction to Like a Prayer, her head was completely covered in a black cape, a rosary gripped in her hands.

The star paid an emotional tribute to “all the bright lights” lost to AIDS as she sang Live to Tell, with black and white photos of people who died from the illness flashing behind her.

Later, she was joined on stage by Brazilian artists Anitta and Pabllo Vittar.

Rio spent the last few days readying itself for the performance.

An estimated 1.6 million people attended the show, G1 reported, citing Rio City Hall’s tourism agency. That is more than 10 times Madonna’s record attendance of 130,000 at Paris’ Parc des Sceaux in 1987. Madonna’s official website hyped the show as the biggest ever in her four-decade career.

In recent days, the buzz was palpable. Fans milled outside the stately, beachfront Copacabana Palace hotel, where Madonna is staying, hoping to catch a glimpse of the pop star. During the sound check on the stage set up in front of the hotel, they danced on the sand.

By midday Saturday, fans crowded in front of the hotel. A white-bearded man carried a sign saying, “Welcome Madonna you are the best I love you.”

Flags with “Madonna” printed against a background of Copacabana’s iconic black and white waved sidewalk pattern hung from balconies. The area was packed with street vendors and concert attendees kitted out in themed T-shirts, sweating under a baking sun.

“Since Madonna arrived here, I’ve been coming every day with this outfit to welcome my idol, my diva, my pop queen,” said Rosemary de Oliveira Bohrer, 69, who sported a gold-colored cone bra and a black cap.

“It’s going to be an unforgettable show here in Copacabana,” said Oliveira Bohrer, a retired civil servant who lives in the area.

Eighteen sound towers were spread along the beach to ensure that all attendees could hear the hits. Her two-hour show started at 10:37 p.m. local time, nearly 50 minutes behind schedule.

City Hall produced a report in April estimating that the concert would inject 293 million reals ($57 million) into the local economy. Hotel capacity was expected to reach 98% in Copacabana, according to Rio’s hotel association. Fans hailing from across Brazil and even Argentina and France sought out Airbnbs for the weekend, the platform said in a statement. Rio’s international airport had forecast an extra 170 flights during May 1-6, from 27 destinations, City Hall said in a statement.

“It’s a unique opportunity to see Madonna, who knows if she’ll ever come back,” said Alessandro Augusto, 53, who flew in from Brazil’s Ceara state — approximately 2,500 kilometers from Rio.

“Welcome Queen!” read Heineken ads plastered around the city, the lettering above an image of an upturned bottle cap resembling a crown.

Heineken wasn’t the only company seeking to profit from the excitement. Bars and restaurants prepared Like a Virgin cocktails. A shop in the downtown neighborhood famed for selling Carnival attire completely reinvented itself, stocking its shelves with Madonna-themed costumes, fans, fanny packs and even underwear.

Organization of the mega-event was similar to New Year’s Eve, when millions of people gather on Copacabana for its fireworks display, local authorities said. That annual event often produces widespread thefts and muggings, and there was some concern such problems might occur at Madonna’s show.

Rio state’s security plan included the presence of 3,200 military personnel and 1,500 civilian police officers on standby. In the lead-up to the concert, Brazil’s navy inspected vessels that wished to position themselves offshore to follow the show.

A number of huge concerts have taken place on Copacabana beach before, including a 1994 New Year’s Eve show by Rod Stewart that drew more than 4 million fans and was the biggest free rock concert in history, according to Guinness World Records. Many of those spectators also came to see Rio’s fireworks show, though, so a more fitting comparison might be to the Rolling Stones in 2006, which saw 1.2 million people crowd onto the sand, according to Rio’s military police, the newspaper Folha de Sao Paulo reported at the time.

Ana Beatriz Soares, a fan who was at Copacabana on Saturday, said Madonna has made her mark across the decades.

“Madonna had to run so that today’s pop artists could walk. That’s why she’s important, because she serves as an inspiration for today’s pop divas,” Soares said.

“And that’s 40 years ago. Not 40 days, 40 months. It’s 40 years,” she said.
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CHENGDU, China — In 2018, the censors who oversee Chinese media issued a directive to the nation’s entertainment industry: Don’t feature artists with tattoos and those who represent hip-hop or any other subculture. Right after that, a well-known rapper, GAI, missed a gig on a popular singing competition despite a successful first appearance. Speculation went wild: Fans worried that this was the end for hip-hop in China. Some media labeled it a ban.

The genre had just experienced a banner year, with a hit competition-format TV show minting new stars and introducing them to a country of 1.4 billion people. Rappers accustomed to operating on little money and performing in small bars became household names.

The announcement from censors came at the peak of that frenzy. A silence descended, and for months no rappers appeared on the dozens of variety shows and singing competitions on Chinese TV.

But by the end of that year, everything was back in full swing. What had looked like the end for Chinese hip-hop was just the beginning. “Hip-hop was too popular,” says Nathanel Amar, a researcher of Chinese pop culture at the French Center for Research on Contemporary China. “They couldn’t censor the whole genre.”

Since then, hip-hop’s explosive growth in China has only continued. It has done so by carving out a space for itself while staying clear of the government’s red lines, balancing genuine creative expression with something palatable in a country with powerful censors.

The effort has succeeded: Today, musicians say they’re looking forward to an arriving golden age.

Much of the energy can be found in Chengdu, a city in China’s southwestern Sichuan region. Some of the biggest acts in China today hail from Sichuan; Wang Yitai, Higher Brothers and Vava are just a few of the names that have made Chinese rap mainstream, performing in a mix of Mandarin and the Sichuan dialects.

Although Chinese rap has been operating underground for decades in cities like Beijing, it is the Sichuan region — known internationally for its spicy cuisine, its panda reserve and its status as the birthplace of the late leader Deng Xiaoping — that has come to dominate.

The dialect lends itself to rap because it’s softer than Mandarin Chinese and there are a lot more rhymes, says 25-year-old rapper Kidway, from a town just outside Chengdu. “Take the word ‘gang’ in English. In Sichuanese, there’s a lot of rhymes for that word ‘fang, sang, zhuang,’ the rhymes are already there,” he says.

Part of the city’s hip-hop lore centers around a collective called Chengdu Rap House or CDC, founded by a rapper called Boss X, whose fans affectionately call him “Xie laober” in the Sichuan dialect. The city has embraced rap, as its originators like Boss X went from making music in a run-down apartment in an old residential community to performing in a stadium for thousands.

“When I came to mainland China, they showed me more love in like three or four months than I ever received in Hong Kong,” says Haysen Cheng, a 24-year-old rapper who moved to the city from Hong Kong in 2021.

The price of going mainstream means the underground scene has evaporated. Chengdu was once known for its underground rap battles. Those no longer happen, as freestyling usually involves a lot of curse words and other content the authorities deem unacceptable. These days it’s all digital, with people uploading short clips of their music to Douyin, TikTok’s Chinese version, to get noticed.

Rarely can a single cultural product be said to have originated a whole genre of music. But the talent competition/reality TV show The Rap of China has played an outsized role in building China’s rap industry.

The first season, broadcast on IQiyi, a web streaming platform, brought rap to households across the country. The first season’s 12 episodes drew 2.5 billion views online, according to Chinese media reports.

In the first season, the show relied on its judges’ star power to draw in an audience. Two winners emerged from the first season: GAI and PG One. Shortly after their win, the internet was awash with rumors about the less than perfect doings of PG One’s personal life. The Communist Youth League also criticized one of his old songs for content that appeared to be about using cocaine, very much violating one of the censor’s red lines.

Then came the 2018 meeting where censors reminded TV channels of who could not appear on their programs, namely anyone who represented hip-hop. PG One was finding that any attempts to release new music were quickly taken down by platforms. The platform, IQiyi, even took down the entire first season for a while.

But by late summer 2018, fans were excited to hear that they could expect a second season of The Rap of China, though there was a rebrand. The name in English stayed the same, but in Chinese the show’s name changed from China Has Hip-Hop to China Has ‘Shuochang,’ a term that also refers to traditional forms of storytelling. Regulators had given the go-ahead for hip-hop to continue its growth in China, but artists had to obey the government censors. Hip-hop had to stay away from mentions of drugs and sex. Otherwise, though, it could proceed.

“It was a success for the Chinese regulators,” Amar says. “They really succeeded in coopting the hip-hop artists.”

With tight censorship on the entertainment industry and a ban on mentions of drugs and sex in lyrics, artists have reacted in two ways. Either they wholeheartedly embrace the displays of patriotism and nationalism or they avoid the topics.

Some, like GAI, have fully taken on the government’s mantle in the mainstreaming of hip-hop. He had won The Rap of China with a song called Not Friendly in which, in classic hip-hop fashion, he dissed other rappers. Just a few years later, Gai is singing about China’s glorious 5,000 years of history on the CCTV’s Spring Festival New Year’s Gala broadcast.

The red lines have also pushed artists to be more creative. But developing a genuine Chinese brand of rap remains a work in progress. Hip-hop got its start from New York’s boroughs of Brooklyn and the Bronx, where rappers made music from their tough circumstances. In China, the challenge is about finding what fits its context.

Wang Yitai, who was a member of Chengdu’s rap collective CDC, is now one of the most popular rappers in China. His style has infused mainstream pop sounds.

“We’re all trying hard to create songs that not only sound good, but also topics that fit for China,” Wang says. “I think hip-hop’s spirit will always be about original creation and will always be about your own story.”
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LOUISVILLE, KENTUCKY — Twenty horses stampeding toward the first turn in a battle for position. A screaming crowd of 150,000 and maybe some showers that dampen the Churchill Downs dirt strip.

It’s the 150th Kentucky Derby. Beyond a couple early wagering favorites, it’s a wide-open race.

Post time is 6:57 p.m. Saturday. The forecast calls for 27 Celsius (81 Fahrenheit) with a 60% chance of scattered showers and thunderstorms.

That kind of weather could benefit six horses that have won in the mud or slop before, including early favorites Fierceness and Sierra Leone. The others with experience on messy surfaces are Dornoch, Just a Touch, Mystik Dan and Society Man.

The Derby will answer the perennial question of which 3-year-old can best handle running 1¼ miles in front of the biggest crowd they will ever see and hear.

Fierceness and jockey John Velazquez will break from the No. 17 post, which has never produced a derby winner.

The costliest colt in the 20-horse field is Sierra Leone at $2.3 million.

“A lot of times you buy an expensive horse like that, and they can’t run,” said Peter Brandt, one of the six owners. “We’ve very, very lucky he’s made it this far. We’re looking forward to this race but also looking forward to the future of taking care of this horse.”

Conversely, Larry Demeritte shelled out just $11,000 to buy Saratoga West. The 74-year-old Bahamas native has won 180 races and nearly $5 million in purse money since he started training in 1984. Demeritte is just the second Black trainer since 1951 to saddle a horse for the derby.

“This is truly amazing how we got to this position with this horse,” he said.

The Derby winner earns $3.1 million from the record purse of $5 million.

For the second straight year, Japan has two entries: Forever Young and T O Password. The country has never won the race.

This year’s race is one for the ages, too. D. Wayne Lukas, the 88-year-old trainer with four derby wins, saddles Just Steel. Frankie Dettori, the famed Italian jockey, is back to ride Society Man at age 53 after a 24-year absence.

Trainer Todd Pletcher, who saddles Fierceness, is in the derby for the 24th year and it never gets old. He’s won it twice.

“If anything, it just becomes more nerve-wracking,” he said.
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PARIS — Freshly cooked bread, select cheeses and a broad veggie offer will be among the meals to be offered to athletes and visitors during the 2024 Paris Olympics — including, of course, gourmet dishes created by renowned French chefs.

About 40,000 meals are expected to be served each day during the Games to the more than 15,000 athletes from 200 different countries housed at the Olympic village.

Visitors, too, will be able to enjoy some specially created snacks at the different venues.

French food services company Sodexo Live!, which was selected to oversee the catering at the athletes’ village and 14 venues of the Paris Games, said it has created a total of 500 recipes, which will notably be offered at a sit-down eatery for up to 3,500 athletes at the village, meant to be the “world’s largest restaurant.”

“Of course, there will be some classics for athletes, like pasta,” said Nathalie Bellon-Szabo, global CEO of Sodexo Live! But the food will have a “very French touch.”

Athletes will also have access to “grab and go” food stands, including one dedicated exclusively to French cuisine cooked up by chefs.

Renowned French chef Amandine Chaignot, who runs a restaurant and a café-bistro in Paris, on Tuesday unveiled one of her recipes based on the iconic croissant.

“I wanted the recipe I suggested to be representative of the French terroir, but I wanted athletes to enjoy it at the same time,” she told The Associated Press. “It was quite obvious for me to make a croissant that I could twist. So, you have a bit of artichoke puree, a poached egg, a bit of truffle and a bit of cheese. It’s both vegetarian and still mouthwatering.”

Every day, during the July 26-August 11 Games, a top chef — including some awarded with Michelin stars — will cook in front of the athletes at the Olympic Village, “so they’ll be able to chat and better understand what French cuisine is about — and to understand a bit of our culture as well,” Chaignot said.

Daily specials will be accompanied by a wide range of salads, pastas, grilled meat and soups. Cheeses will include top quality camembert, brie and sheep’s milk-based Ossau-Iraty from southwestern France.

The Olympic Village will also feature a boulangerie producing fresh baguettes and a variety of other breads.

“The idea is to offer athletes the chance to grab a piping-hot baguette for breakfast,” said baker Tony Doré, who will be working at the Olympic Village’s main restaurant.

Athletes will even be able to participate in daily bakery trainings, and learn to make their own French baguette, said Doré.

In an effort to provide as many options as possible, meals offered will revolve around four cuisines: French, Asian, African and the Caribbean and international food.

Paris 2024 organizers have promised to make the Games more sustainable and environment-friendly — and that includes efforts to reduce the use of plastic. To this effect, the main restaurant at the village will use only reusable dishes.

Additionally, organizers say all meals will be based on seasonal products and 80% will come from France.

Plant-based food will represent 60% of the offer for visitors at the venues, including a “vegetarian hot-dog,” said Philipp Würz, head of Food and Beverage for the Paris 2024 Committee.

There’s “a huge amount of plant-based recipes that will be available for the general public to try, to experience and, hopefully, they will love it,” said Würz.

The urban park at the Place de la Concorde, in central Paris, will offer visitors 100% vegetarian food — a first in the Games’ history. The place will be the stage for Paris 2024’s most contemporary sporting disciplines: BMX freestyle, 3×3 basketball, skateboarding and breakdancing.
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KASHAN, Iran — The historic Kashan bazaar in central Iran once sat on a major caravan route, its silk carpets known the world over. But for the weavers trying to sell their rugs under its ancient arches, their world has only unraveled since the collapse of Iran’s nuclear deal with world powers and wider tensions with the West.

Rug exports, which exceeded $2 billion two decades ago, have plummeted to less than $50 million in the last year in the Persian calendar that ended in March, according to government customs figures. With fewer tourists coming and difficulties rising in making international transactions, Iranian rugs are going unsold as some weavers work for as little as $4 a day.

“Americans were some of our best customers,” said Ali Faez, the owner of one dusty carpet shop at the bazaar. “Rugs are a luxury product and they were eager to buy it and they used to make very good purchases. Unfortunately, this has been cut — and the connection between the two countries for visitors to come and go has gone away.”

Kashan’s rug-weaving industry has been inscribed in UNESCO’s list of the world’s “intangible cultural heritage.” Many of the weavers are women, with the skills needed for the Farsi weaving style passed down from generation to generation, using materials like vine leaves and the skins of pomegranate fruit and walnuts to make the dyes for their threads. A single rug can take months to make.

For decades, Western tourists and others would pass through Iran, picking up rugs as gifts and to take back home. After the 1979 Islamic Revolution, the U.S. increased sanctions on Iran’s theocratic government over the U.S. Embassy siege, Tehran’s links to militant attacks and other issues.

But in 2000, the outgoing administration of former President Bill Clinton lifted a ban on the import of Iranian caviar, rugs and pistachios.

“Iran lives in a dangerous neighborhood,” then-Secretary of State Madeleine Albright said at the time. “We welcome efforts to make it less dangerous.”

By 2010, with concerns rising over Iran’s nuclear program, the U.S. again banned Iranian-made Persian rugs. But in 2015, Iran struck a nuclear deal with world powers which greatly reduced and drastically lowered the purity of Tehran’s stockpile of enriched uranium. The rug trade was allowed once again.

Three years later, in 2018, then-President Donald Trump unilaterally withdrew the U.S. from the nuclear deal. Since then, Iran began enriching uranium at near-weapons-grade levels and has been blamed for a series of attacks at sea and on land, including an unprecedented drone-and-missile attack targeting Israel last month.

For the carpet weavers, that’s meant their wares were once again banned under U.S. law.

“It started when Trump signed that paper,” Faez told The Associated Press, referring to the renewed sanctions. “He ruined everything.”

Abdullah Bahrami, the head of a national syndicate for handwoven rug producers, also blamed the collapse of the industry on the Trump sanctions. He put the value of exports to the U.S. as high as $80 million annually prior to the sanctions.

“The whole world used to know Iran by its rugs,” Bahrami told the state-run IRNA news agency in March.

Making things worse is what carpet sellers see as a drop in tourists to Kashan as well. High-value American and European tourism in Iran has largely stopped, the daily Shargh newspaper warned last year. Ezzatollah Zarghami, Iran’s minister of tourism, insisted in April that 6 million tourists visited the country over the last 12 months, though that likely includes religious pilgrims as well as Afghans and Iraqis with less spending money.

But even those tourists that do show up face the challenge of Iran’s financial system, where no major international credit card works.

“I had a Chinese customer the other week. He was struggling to somehow make the payment because he loved the rug and didn’t want to let go of it,” Faez said. “We have to pay a lot of commission to those who can transfer money and have bank accounts abroad. Sometimes they cancel their orders because they don’t have enough cash with them.”

The collapse of the rial currency has left many Iranians also unable to purchase the handwoven rugs. Wages in the industry are low, leading to a growing number of Afghan migrants working in workshops around Kashan as well.

Designer Javad Amorzesh, one of just a few of Kashan’s old-school artists, said his orders have fallen from 10 a year to just two. He has laid off staff and now works alone in a cramped space.

“Inflation rose every hour. People were hit repeatedly by inflation,” he said. “I used to have four to five assistants in a big workshop.”

Offering a bitter laugh alone in his workshop, he added, “We’ve been left isolated.”
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LYPIVKA, Ukraine — This Orthodox Easter season, an extraordinary new church is bringing spiritual comfort to war-weary residents of the Ukrainian village of Lypivka. Two years ago, it also provided physical refuge from the horrors outside.

Almost 100 residents sheltered in a basement chapel at the Church of the Intercession of the Blessed Virgin Mary while Russian troops occupied the village in March 2022 as they closed in on Ukraine’s capital, Kyiv, 60 kilometers to the east.

“The fighting was right here,” the Rev. Hennadii Kharkivskyi said. He pointed to the churchyard, where a memorial stone commemorates six Ukrainian soldiers killed in the battle for Lypivka.

“They were injured and then the Russians came and shot each one, finished them off,” he said.

The two-week Russian occupation left the village shattered and the church itself — a modern replacement for an older structure — damaged while still under construction. It’s one of 129 war-damaged Ukrainian religious sites recorded by UNESCO, the United Nations’ cultural organization.

“It’s solid concrete,” the priest said. “But it was pierced easily” by Russian shells, which blasted holes in the church and left a wall inside pockmarked with shrapnel scars. At the bottom of the basement staircase, a black scorch mark shows where a grenade was lobbed down.

But within weeks, workers were starting to repair the damage and work to finish the solid building topped by red domes that towers over the village, with its scarred and damaged buildings, blooming fruit trees and fields that the Russians left littered with land mines.

For many of those involved — including a tenacious priest, a wealthy philanthropist, a famous artist and a team of craftspeople — rebuilding this church plays a part in Ukraine’s struggle for culture, identity and its very existence. The building, a striking fusion of the ancient and the modern, reflects a country determined to express its soul even in wartime.

The building’s austere exterior masks a blaze of color inside. The vibrant red, blue, orange and gold panels decorating walls and ceiling are the work of Anatoliy Kryvolap, an artist whose bold, modernist images of saints and angels make this church unique in Ukraine.

The 77-year-old Kryvolap, whose abstract paintings sell for tens of thousands of dollars at auction, said that he wanted to eschew the severe-looking icons he’d seen in many Orthodox churches.

“It seems to me that going to church to meet God should be a celebration,” he said.

There has been a church on this site for more than 300 years. An earlier building was destroyed by shelling during World War II. The small wooden church that replaced it was put to more workaday uses in Soviet times, when religion was suppressed.

Kharkivskyi reopened the parish in 1992 following the collapse of the Soviet Union, and set about rebuilding the church, spiritually and physically, with funding from Bohdan Batrukh, a Ukrainian film producer and distributor.

Work stopped when Russian troops launched a full-scale invasion of Ukraine on Feb. 24, 2022. Moscow’s forces reached the fringes of Kyiv before being driven back. Lypivka was liberated by the start of April.

Since then, fighting has been concentrated in the east and south of Ukraine, though aerial attacks with rockets, missiles and drones are a constant threat across the country.

By May 2022, workers had resumed work on the church. It has been slow going. Millions of Ukrainians fled the country when war erupted, including builders and craftspeople. Hundreds of thousands of others have joined the military.

Inside the church, a tower of wooden scaffolding climbs up to the dome, where a red and gold image of Christ raises a hand in blessing.

For now, services take place in the smaller basement, where the priest, in white and gold robes, recently conducted a service for a couple of dozen parishioners as the smell of incense wafted through the candlelit room.

He is expecting a large crowd for Easter, which falls on Sunday. Eastern Orthodox Christians usually celebrate Easter later than Catholic and Protestant churches, because they use a different method of calculating the date for the holy day that marks Christ’s resurrection.

A majority of Ukrainians identify as Orthodox Christians, though the church is divided. Many belong to the independent Orthodox Church of Ukraine, with which the Lypivka church is affiliated. The rival Ukrainian Orthodox Church was loyal to the patriarch in Moscow until splitting from Russia after the 2022 invasion and is viewed with suspicion by many Ukrainians.

Kharkivskyi says the size of his congregation has remained stable even though the population of the village has shrunk dramatically since the war began. In tough times, he says, people turn to religion.

“Like people say: ‘Air raid alert — go see God,’” the priest said wryly.

Liudmyla Havryliuk, who has a summer home in Lypivka, found herself drawn back to the village and its church even before the fighting stopped. When Russia invaded, she drove to Poland with her daughters, then 16 and 18 years old. But within weeks she came back to the village she loves, still besieged by the Russians.

The family hunkered down in their home, cooking with firewood, drawing water from a well, sometimes under Russian fire. Havryliuk said that when they saw Russian helicopters, they held hands and prayed.

“Not prayer in strict order, like in the book,” she said. “It was from my heart, from my soul, about what should we do? How can I save myself and especially my daughters?”

She goes to Lypivka’s church regularly, saying it’s a “place you can shelter mentally, within yourself.”

As Ukraine marks its third Easter at war, the church is nearing completion. Only a few of Kryvolap’s interior panels remain to be installed. He said that the shell holes will be left unrepaired as a reminder to future generations.

“(It’s) so that they will know what kind of ‘brothers’ we have, that these are just fascists,” he said, referring to the Russians.

“We are Orthodox, just like them, but destroying churches is something inhumane.”
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Egypt’s eighth annual Aswan International Women Film Festival took place from April 20 to 25. This year’s focus was on the resilience of women, with Egypt’s economic turmoil and the war in neighboring Gaza as a backdrop. Cairo-based photojournalist Hamada Elrasam captured scenes around the festival in Aswan, Egypt’s southernmost city known as the country’s ancient gateway. Captions by Elle Kurancid.
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Barcelona, Spain — French Iranian artist Marjane Satrapi, whose graphic novel “Persepolis” tells the story of a girl growing up in post-revolutionary Iran, was awarded Spain’s prestigious Princess of Asturias Prize for Communication and Humanity on Tuesday. 

The prize jury praised the 54-year-old as “one of the most prominent names in international comics, author of what is, for many, one of the best graphic novels ever published.” 

“Satrapi is a symbol of civic engagement led by women,” the jury said, calling her “an essential voice in the defense of human rights and freedom.” 

Born in Iran, Satrapi recounts in “Persepolis” her years as an outspoken teenager chafing at the Islamic revolution and its restrictions imposed on women, especially for one from a progressive family like hers. It also tells of the hardships of the Iran-Iraq war. 

At 14, her parents sent her to school in Vienna to avoid arrest over her defiance of the regime. She later returned to Tehran but left for France in 1994, embarking on her career as an author, film director and painter. 

Her animated film adaptation of “Persepolis” won her a nomination at the Academy Awards in 2008. 

Satrapi said it was “a great honor” to win the Spanish prize, which she dedicated to rapper Toomaj Saleh, who was sentenced to death last week in Iran. 

The verdict was seen by activists as retaliation for his music backing nationwide protests that erupted in 2022 following the death in police custody of the young Kurdish woman Mahsa Amini. 

“I take this opportunity to celebrate the fierce fight of my people for human rights and freedom. Today it is all the young people who lost their lives and the ones who continue the combat for liberty in Iran that are celebrated,” she said in a statement. 

Amini had been detained over an alleged breach of the Islamic republic’s strict dress rules for women. The months of unrest following her death on September 16, 2022, saw hundreds of people killed, including dozens of security personnel, and thousands more arrested. 

Satrapi last year coordinated the graphic novel “Woman, Life, Freedom” with a group of artists that illustrated the revolts. 

The 50,000-euro ($54,000) award is one of eight Asturias prizes covering the arts, science and other areas handed out yearly by a foundation named for Spanish Crown Princess Leonor. 

The awards will be handed out at a ceremony hosted by Spain’s King Felipe VI in October. 
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houston — Time marches on and all good things must come to an end. But don’t tell that to The Rolling Stones.

What many believe to be the greatest rock ‘n’ roll band in the world showed no signs of slowing down anytime soon as they kicked off their latest tour Sunday night at NRG Stadium in Houston, Texas.

The Stones have been touring for more than 60 years. Frontman Mick Jagger and lead guitarist Keith Richards are both 80, with guitarist Ronnie Wood not far behind at 76. Their tour is being sponsored in part by AARP.

But during a vibrant two-hour show, the Stones played with the energy of a band that was on tour for the first time.

“It’s great to be back in the Lone Star State,” Jagger told the packed stadium, filled with longtime fans, many wearing faded concert shirts from previous tours.

Jagger often strutted up and down the stage with seemingly boundless energy while Richards and Wood played many familiar guitar riffs beloved by fans. Jagger often led the audience in sing-alongs.

“The energy level is up and it’s always up with them. The age doesn’t show,” Dale Skjerseth, the Stones’ production director, said Friday before the concert.

The Stones have hit the road to support the release of their latest album, “Hackney Diamonds,” the band’s first record of original music since 2005.

Houston was the first stop on the band’s 16-city tour across the U.S. and Canada. Other cities on the tour include New Orleans, Philadelphia and Vancouver, British Columbia. The tour ends on July 17 in Santa Clara, California.

During Sunday’s 18-song concert set list, the Stones played several tracks off the new record, including the lead single, “Angry.” They also played classics including “Sympathy for the Devil,” “Gimme Shelter,” “Honky Tonk Women” and “Start Me Up.”

After playing “Beast of Burden,” Jagger said that concertgoers in Houston had voted to include it on the set list.

“You can’t go wrong with that,” one man in the audience could be heard screaming.

The Stones also played some unexpected choices, including “Rocks Off,” from their 1972 double album “Exile on Main St.” and “Out of Time,” a 1966 song that Jagger said during the concert had not ever been played by the band in the U.S.

With the 2021 death of drummer Charlie Watts, the Stones are now comprised of the core trio of Jagger, Richards and Wood. On Sunday, they were backed by various musicians including two keyboardists, a new drummer, backup singers and a brass section.

While the stage was surrounded by a large collection of video screens projecting images throughout the show, the main focus of the concert was the band and their songs.

Before Sunday’s concert, Jagger spent time on Friday touring NASA’s Johnson Space Center in suburban Houston, posting photos on his Instagram account of him with astronauts inside Mission Control.

“I had an amazing trip to the space center,” Jagger said.

When asked if the band might be thinking about retiring, Skjerseth said he doubts that will happen.

“This is not the end. They’re very enthused,” he said.
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new york — The U.S. Soccer Federation and its Mexican counterpart dropped their joint bid to host the 2027 Women’s World Cup on Monday and said they instead will focus on trying to host the 2031 tournament.

The decision left a proposal from Brazil and a joint Germany-Netherlands-Belgium plan competing to be picked for 2027 by the FIFA Congress that meets May 17 in Bangkok.

The USSF said the 2031 bid will call for FIFA to invest equally in the men’s and women’s World Cups.

FIFA said last year it planned to spend $896 million in prize money for the 2026 World Cup in the United States, Mexico and Canada. The governing body devoted $110 million in prize money for last year’s Women’s World Cup in Australia and New Zealand.

“Hosting a World Cup tournament is a huge undertaking — and having additional time to prepare allows us to maximize its impact across the globe,” USSF President Cindy Parlow Cone said in a statement. “I’m proud of our commitment to provide equitable experiences for the players, fans and all our stakeholders. Shifting our bid will enable us to host a record-breaking Women’s World Cup in 2031 that will help to grow and raise the level of the women’s game both here at home as well as across the globe.”

In detailing the bid in December, the USSF proposed U.S. sites from among the same 11 to be used in the 2026 men’s World Cup. Mexico listed Guadalajara, Mexico City and Monterrey — its three sites for the men’s World Cup — and in addition for 2027 listed as possibilities Leon and Querétaro.

“We feel that moving our bid back to 2031 will allow us to promote and build up to the most successful Women’s World Cup ever,” MFF President Ivar Sisniega said in a statement. “The strength and universality of our professional women’s leagues, coupled with our experience from organizing the 2026 World Cup, means that we will be able to provide the best infrastructure as well as an enthusiastic fan base that will make all the participating teams feel at home and to put together a World Cup that will contribute to the continued growth of women’s football.”
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Tehran, Iran — Iranian authorities have banned an Egyptian TV series depicting a medieval Persian figure over historical “distortions” and “a biased approach,” state media reported Sunday.

“The Assassins,” or “El-Hashashin” in Arabic, recounts the story of Hassan-i Sabbah, the controversial founder of an offshoot Shiite Muslim sect known for bloody political assassinations during the 11th century.

The 30-episode series about Sabbah and his band of assassins, who operated out of mountain bases in northern and western Iran, was first broadcast during the holy Muslim month of Ramadan which ended earlier this month.

The show has since gained popularity across the Middle East, but the head of Tehran’s audiovisual media regulatory body, Mehdi Seifi, said that “the broadcast of ‘El-Hashashin’ series… is no longer approved in Iran.”

“Its narrative of Islamic history includes many distortions, and it seems to have been produced with a biased political approach,” Seifi was quoted as saying by the official IRNA news agency, without elaborating.

IRNA said the series shows “a false image of Iranians” and quoted experts who argued it sought to link Iranians to the “inception of terrorism.”  

Another news agency, ISNA, said the series was a “perfect example” of the “modification and falsification of truth.”

The notorious legends of Sabbah and his medieval order have inspired multiple works of fiction over the years.

The remains of the Alamut castle, where the group resided, is today a tourist destination in northern Iran. 
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London — Prince Harry will return to Britain to celebrate the 10th anniversary of his Invictus Games in May, before joining his wife Meghan on a visit to Nigeria, his spokesperson said Sunday. 

Harry, the youngest son of King Charles, lives in the United States with Meghan and their two children after he gave up working as a member of the royal family in 2020. 

He has only returned to Britain on a few occasions since his departure from royal life, arriving for major events such as the funeral of Queen Elizabeth in 2022 and his father’s coronation in May 2023. 

His spokesperson said Harry would attend a service at St. Paul’s Cathedral in London on May 8 to celebrate the Invictus Games, the international sporting event that he founded for military personnel wounded in action. 

Harry served as a military helicopter pilot in Afghanistan and Invictus organizers said the service was designed to mark “a decade of changing lives and saving lives through sport.” 

It will include readings by Harry and the British actor Damian Lewis. Wounded veterans and members of the Invictus community will also attend. 

Harry will then be joined in Nigeria by Meghan, a former American actress who is known as the Duchess of Sussex. Harry’s spokesperson said the couple had been invited by the country’s chief of defense staff, its highest-ranking military official. 

No further details were given about the trip. 

Harry was last seen in Britain in February this year for a brief meeting with his father after the monarch announced that he had been diagnosed with cancer. 

The palace said Friday that Charles would return to public duties after he made good progress following treatment and a period of recuperation. 
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VENICE, Italy — Venice has always been a place of contrasts, of breathtaking beauty and devastating fragility, where history, religion, art and nature have collided over the centuries to produce an otherworldly gem of a city. But even for a place that prides itself on its culture of unusual encounters, Pope Francis’ visit Sunday stood out.

Francis traveled to the lagoon city to visit the Holy See’s pavilion at the Biennale contemporary art show and meet with the people who created it. But because the Vatican decided to mount its exhibit in Venice’s women’s prison, and invited inmates to collaborate with the artists, the whole project assumed a far more complex meaning, touching on Francis’ belief in the power of art to uplift and unite, and of the need to give hope and solidarity to society’s most marginalized.

Francis hit on both messages during his visit, which began in the courtyard of the Giudecca prison where he met with the women inmates one by one. As some of them wept, Francis urged them to use their time in prison as a chance for “moral and material rebirth.”

“Paradoxically, a stay in prison can mark the beginning of something new, through the rediscovery of the unsuspected beauty in us and in others, as symbolized by the artistic event you are hosting and the project to which you actively contribute,” Francis said.

Francis then met with Biennale artists in the prison chapel, decorated with an installation by Brazilian visual artist Sonia Gomes of objects dangling from the ceiling, meant to draw the viewer’s gaze upward. He urged the artists to embrace the Biennale’s theme this year “Strangers Everywhere,” to show solidarity with all those on the margins.

The Vatican exhibit has turned the Giudecca prison, a former convent for reformed prostitutes, into one of the must-see attractions of this year’s Biennale, even though to see it visitors must reserve in advance and go through a security check. It has become an unusual art world darling that greets visitors at the entrance with Maurizio Cattelan’s wall mural of two giant filthy feet, a work that recalls Caravaggio’s dirty feet or the feet that Francis washes each year in a Holy Thursday ritual that he routinely performs on prisoners.

The exhibit also includes a short film starring the inmates and Zoe Saldana, and prints in the prison coffee shop by onetime Catholic nun and American social activist Corita Kent.

Francis’ dizzying morning visit, which ended with Mass in St. Mark’s Square, represented an increasingly rare outing for the 87-year-old pontiff, who has been hobbled by health and mobility problems that have ruled out any foreign trips so far this year.

And Venice, with its 121 islands and 436 bridges, isn’t an easy place to negotiate. But Francis pulled it off, arriving by helicopter from Rome, crossing the Giudecca Canal in a water taxi and then arriving in St. Mark’s Square in a mini popemobile that traversed the Grand Canal via a pontoon bridge erected for the occasion.

During an encounter with young people at the iconic Santa Maria della Salute basilica, Francis acknowledged the miracle that is Venice, admiring its “enchanting beaty” and tradition as a place of East-West encounter, but warning that it is increasingly vulnerable to climate change and depopulation.

“Venice is at one with the waters upon which it sits,” Francis said. “Without the care and safeguarding of this natural environment, it might even cease to exist.”

Venice, sinking under rising sea levels and weighed down by the impact of overtourism, is in the opening days of an experiment to try to limit the sort of day trips that Francis undertook Sunday.

Venetian authorities last week launched a pilot program to charge day-trippers 5 euros ($5.35) apiece on peak travel days. The aim is to encourage them to stay longer or come at off-peak times, to cut down on crowds and make the city more livable for its dwindling number of residents.

For Venice’s Catholic patriarch, Archbishop Francesco Moraglia, the new tax program is a worthwhile experiment, a potential necessary evil to try to preserve Venice as a livable city for visitors and residents alike.

Moraglia said Francis’ visit — the first by a pope to the Biennale — was a welcome boost, especially for the women of the Giudecca prison who participated in the exhibit as tour guides and as protagonists in some of the artworks.

He acknowledged that Venice over the centuries has had a long, complicated, love-hate relationship with the papacy, despite its central importance to Christianity.

The relics of St. Mark — the top aide to St. Peter, the first pope — are held here in the basilica, which is one of the most important and spectacular in all of Christendom. Several popes have hailed from Venice — in the past century alone three pontiffs were elected after being Venice patriarchs. And Venice hosted the last conclave held outside the Vatican: the 1799-1800 vote that elected Pope Paul VII.

But for centuries before that, relations between the independent Venetian Republic and the Papal States were anything but cordial as the two sides dueled over control of the church. Popes in Rome issued interdicts against Venice that essentially excommunicated the entire territory. Venice flexed its muscles back by expelling entire religious orders, including Francis’ own Jesuits.

“It’s a history of contrasts because they were two competitors for so many centuries,” said Giovanni Maria Vian, a church historian and retired editor of the Vatican newspaper L’Osservatore Romano whose family hails from Venice. “The papacy wanted to control everything, and Venice jealously guarded its independence.”

Moraglia said that troubled history is long past and that Venice was welcoming Francis with open arms and gratitude, in keeping with its history as a bridge between cultures.

“The history of Venice, the DNA of Venice — beyond the language of beauty and culture that unifies — there’s this historic character that says that Venice has always been a place of encounter,” he said.

Francis said as much as he closed out Mass in St. Mark’s before an estimated 10,500 people.

“Venice, which has always been a place of encounter and cultural exchange, is called to be a sign of beauty available to all,” Francis said. “Starting with the least, a sign of fraternity and care for our common home.”
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KYIV, Ukraine — Even amid war, Ukraine finds time for the glittery, pop-filled Eurovision Song Contest. Perhaps now even more than ever.

Ukraine’s entrants in the pan-continental music competition — the female duo of rapper alyona alyona and singer Jerry Heil — set off from Kyiv for the competition Thursday. In wartime, that means a long train journey to Poland, from where they will travel on to next month’s competition in Malmö, Sweden.

“We need to be visible for the world,” Heil told The Associated Press at Kyiv train station before her departure. “We need to show that even now, during the war, our culture is developing, and that Ukrainian music is something waiting for the world” to discover.

“We have to spread it and share it and show people how strong (Ukrainian) women and men are in our country,” added alyona, who spells her name with all lowercase letters.

Ukraine has long used Eurovision as a form of cultural diplomacy, a way of showing the world the country’s unique sound and style. That mission became more urgent after Russia’s full-scale invasion in February 2022. Russian President Vladimir Putin has denied that Ukraine existed as a distinct country and people before Soviet times.

Ukrainian singer Jamala won the contest in 2016 — two years after Russia illegally seized the Crimean Peninsula — with a song about the expulsion of Crimea’s Tatars by Stalin in 1944. Folk-rap band Kalush Orchestra took the Eurovision title in 2022 with Stefania, a song about the frontman’s mother that became an anthem to the war-ravaged motherland, with a haunting refrain on a traditional Ukrainian wind instrument.

Alyona and Heil will perform Maria & Teresa, an anthemic ode to inspiring women. The title refers to Mother Theresa and the Virgin Mary, and the lyrics include the refrain, in English: “All the divas were born as the human beings” — people we regard as saints were once flawed and human like the rest of us.

Heil said the message is that “we all make mistakes, but your actions are what define you.”

And, alyona added: “with enough energy you can win the war, you can change the world.”

The song blends alyona’s punchy rap style with Heil’s soaring melody and distinctly Ukrainian vocal style.

“Alyona is a great rapper, she has this powerful energy,” Heil said. “And I’m more soft.”

“But great melodies,” alyona added. “So she creates all the melodies and I just jump in.”

Ukraine has been at the forefront of turning Eurovision from a contest dominated by English-language pop songs to a more diverse and multilingual event. Jamala sang part of her song in the Crimean Tatar language, while Kalush Orchestra sang and rapped in Ukrainian.

Ukraine’s Eurovision win in 2022 brought the country the right to host the following year, but because of the war the 2023 contest was held in the English city of Liverpool, which was bedecked in blue and yellow Ukrainian flags for the occasion — a celebration of Ukraine’s spirit and culture.

Thirty-seven countries from across Europe and beyond — including Israel and Australia — will compete in Malmö in two Eurovision semifinals May 7 and 9, followed by a May 11 final. Ukraine currently ranks among bookmakers’ top five favorites alongside the likes of singer Nemo from Switzerland and Croatian singer-songwriter Baby Lasagna.

Russia, a long-time Eurovision competitor, was kicked out of the contest over the invasion.

The Ukrainian duo caught a train after holding a news conference where they announced a fundraising drive for a school destroyed by a Russian strike.

The duo is joining with charity fundraising platform United 24 to raise 10 million hryvnia (about $250,000) to rebuild a school in the village of Velyka Kostromka in southern Ukraine that was destroyed by a Russian rocket in October 2022. The school’s 250 pupils have been unable to attend class since then, relying on online learning.

Teacher Liudmyla Taranovych, whose children and grandchildren went to the school, said its destruction brought feelings of “pain, despair, hopelessness.”

“My grandchildren hugged me and asked, ‘Grandma, will they rebuild our school? Will it be as beautiful, flourishing, and bright as it was?'” she said.

From the rubble, another teacher managed to rescue one of the school’s treasured possessions — a large wooden key traditionally presented to first grade students to symbolize that education is the key to their future. It has become a sign of hope for the school.

Alyona and Heil have also embraced the key as a symbol, wearing T-shirts covered in small metal housekeys.

“It’s a symbol of something which maybe some people in Ukraine won’t have, because so many people lost their homes,” Heil said. “But they’re holding these keys in their pockets, and they’re holding the hope.”
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Lausanne, Switzerland — The head of the International Olympic Committee, Thomas Bach, has backed the World Anti-Doping Agency in a row over its handling of positive drug tests by 23 Chinese swimmers.

“We have full confidence in WADA and the regulations and that WADA have followed their regulations,” Bach told AFP in an exclusive interview Friday at the committee’s headquarters in Lausanne, Switzerland.

WADA has faced criticism since media reports last weekend revealed that the Chinese swimmers tested positive for heart drug trimetazidine (TMZ) — which can enhance performance — ahead of the Tokyo Olympics in 2021.

The swimmers were not suspended or sanctioned after WADA accepted the explanation of Chinese authorities that the results were caused by food contamination at a hotel where they had stayed.

The head of the United States Anti-Doping Agency (USADA), Travis Tygart, has called the situation a “potential cover-up” with the positive tests never made public at the time.

Bach stressed that WADA was run independently, despite being funded by the International Olympic Committee (IOC), and he said he had learned of the positive tests via the media.

The IOC was awaiting the results of a new investigation ordered by WADA on Thursday, but Bach said the Chinese swimmers could compete at the Paris Olympics this year if cleared.

“If the procedures are followed, there is no reason for them not to be there,” the 70-year-old former German fencer added.

‘Iconic’ Paris

The Paris Games are set to be important to “revive the Olympic spirit” after the last COVID-affected edition in Tokyo in 2021 saw sport play out in empty stadiums, Bach said.

The hugely ambitious opening ceremony being planned by French organizers remains one of the biggest doubts, with infrastructure for the Games either already built or on track.

Instead of a traditional parade through the athletics stadium on the first night, teams are set to sail down the Seine on a flotilla of river boats in front of up to 500,000 spectators.

Worries about a terror attack have led to persistent speculation that the ceremony might need to be scrapped or scaled back dramatically.

“The very meticulous, very professional approach (from French authorities) gives us all the confidence that we can have this opening ceremony on the river Seine and that this opening ceremony will be iconic, will be unforgettable for the athletes, and everybody will be safe and secure,” Bach said.

Recent grumbling from Paris residents and negative media reports were typical of the run-up to any Olympics, he said, and also a symptom of broader anxiety.

“It’s part of our zeitgeist because we are living in uncertain times. And there are people who are skeptical. Some are even scared. Some are worried about their future,” the IOC president said.

Diplomatic tightrope

As with previous Olympics, international politics and diplomacy are set to intrude on the world’s biggest sporting event.

Bach reiterated his support for the IOC’s policy of excluding Russia from the Paris Games over the “blatant violation” of the Olympic charter when it annexed Ukrainian sporting organizations.

A small number of Russian athletes will be able to compete as neutrals in Paris, providing they have not declared public support for the invasion of Ukraine or are associated with the security forces.

Any Russian athlete that expressed political views on the field of play, including the “Z” sign that has come to symbolize Russian President Vladimir Putin’s war, could be excluded.

“Immediately a disciplinary procedure would be opened and the necessary measures and or sanctions be taken,” Bach said, adding: “This can go up to immediate exclusion from the Games.”

Addressing Israel’s military campaign in Gaza, he said between six and eight Palestinian athletes were expected to compete in Paris, with some set to be invited by the IOC even if they fail to qualify.

Bach dismissed any suggestion that the IOC had treated Russia differently over its invasion of Ukraine compared with Israel and its war in Gaza.

“The situation between Israel and Palestine is completely different,” he said.

He said he had been even-handed in his public statements on Ukraine, the Hamas attack on Israel on October 7 and the subsequent Israeli invasion of Gaza.

“From day one, we expressed how horrified we were, first on the seventh of October and then about the war and its horrifying consequences,” Bach said.

Palestinian militants from Hamas attacked Israel on October 7, resulting in the deaths of about 1,170 people, according to an AFP tally of Israeli official figures.

Israel’s retaliatory military campaign to destroy Hamas has killed 34,356 people, mostly women and children, according to the health ministry in Hamas-run Gaza.

Bach is in the last year of what should be a second and final four-year term according to IOC rules.

But some IOC members have suggested changing the organization’s statutes to enable him to stay at the helm — an issue he declined to address.

“The IOC Ethics Commission has given me the strict recommendation not to address this question before the end of (the) Paris (Olympics) and I think they have good reasons for this,” he said.
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