Camel Racing Storms Back in Sinai After 6 Months of Virus Hiatus

Camels run on a dirt track during a race in Egypt's South Sinai desert after a hiatus of more than six months due to the coronavirus outbreak. AFP
Camels run on a dirt track during a race in Egypt's South Sinai desert after a hiatus of more than six months due to the coronavirus outbreak. AFP
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Camel Racing Storms Back in Sinai After 6 Months of Virus Hiatus

Camels run on a dirt track during a race in Egypt's South Sinai desert after a hiatus of more than six months due to the coronavirus outbreak. AFP
Camels run on a dirt track during a race in Egypt's South Sinai desert after a hiatus of more than six months due to the coronavirus outbreak. AFP

Spread out at the foot of a vast plateau in the Sinai desert, hundreds of excited Bedouins gathered to race their camels after a six-month break due to coronavirus.

Shrouded in a vast sand cloud kicked up by the hump-backed beasts, more than 500 camels were loudly cheered on by their owners dressed in traditional jalabiyas and headdresses.

Camel racing is a popular traditional event in many Arab countries, and in Egypt, Bedouins of the South Sinai desert have kept up the tradition.

But race events have been suspended since March following the Covid-19 outbreak, and orders only came down at the beginning of the month that they could resume last weekend, AFP reported.

The camels ran around a two-kilometre (1.2-mile) track in the Tih plateau, completing it in a matter of minutes, as they were followed by spectators and owners riding in SUVs to get a close-up glimpse of the action.

The competition "is a training for the international race, which should take place in October in Sharm el-Sheikh," Saleh al-Muzaini, head of the Nuweiba camel club, told AFP.

One group of camels after another, placed in different categories according to age and whether they were male or female, made their debut on the dirt track lined by sand embankments on each side.

On their backs sat mechanical jockeys wearing racing jerseys and brandishing whips, which are lighter than human riders.

In a different race, young boys mount the camels to complete a 10-kilometre course.

Among the audience was 32-year-old Mostapha Abu al-Fadl, a geologist at an oil company in Cairo, who came especially to watch.

"When I heard they were organizing the race again, I told my friends how crazy, how wonderful it is... We had to come and see," he said.

To the Bedouins, the race is a way of keeping a traditional heritage alive.

"There was camel racing in the past, but we revived it" in recent years, Sheikh Hassan, of the Alegat tribe, which organises the event, told AFP.

"Camels will not disappear for us. We can use them for centuries. If the camel goes away, the Bedouins will also go away."

Camel races -- held every two or three months -- often attract large audiences of tourists, visitors and Bedouins to the middle of the Sinai desert.

Sheikh Hassan, however, says the sparsely populated peninsula with its breezy and dry weather had been only mildly affected by the pandemic, and there were no coronavirus measures noticeably in place for the racing.

Suspending the races caused heavy losses for the camel owners, who still had to pay for their animals' training, food and health checkups.

Over the six months alone, the owners lost some 10 and 15 million Egyptian pounds (between $625,000 and $940,000), according to Sheikh Hassan.

For owner Soleiman Hamad, Saturday's race ended on a high note as his animal came first in its category.

There is no prize money, but the winners carry off a prestigious trophy which also helps boost their animal's value.

For Hamad and others, camel racing represents a source of additional income, provided they also have the means to train, feed and care for the animal.

"It's costly, but it's our passion," he told AFP.

Each camel costs up to 2,000 Egyptian pounds monthly to feed.

A well-trained camel can sell for up to two million Egyptian pounds, says Sheikh Hassan.



Britney Spears Arrested and Released, California Sheriff's Records Show

(FILES) US singer Britney Spears arrives for the premiere of Sony Pictures' "Once Upon a Time... in Hollywood" at the TCL Chinese Theater in Hollywood, California on July 22, 2019. (Photo by VALERIE MACON / AFP)
(FILES) US singer Britney Spears arrives for the premiere of Sony Pictures' "Once Upon a Time... in Hollywood" at the TCL Chinese Theater in Hollywood, California on July 22, 2019. (Photo by VALERIE MACON / AFP)
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Britney Spears Arrested and Released, California Sheriff's Records Show

(FILES) US singer Britney Spears arrives for the premiere of Sony Pictures' "Once Upon a Time... in Hollywood" at the TCL Chinese Theater in Hollywood, California on July 22, 2019. (Photo by VALERIE MACON / AFP)
(FILES) US singer Britney Spears arrives for the premiere of Sony Pictures' "Once Upon a Time... in Hollywood" at the TCL Chinese Theater in Hollywood, California on July 22, 2019. (Photo by VALERIE MACON / AFP)

Britney Spears was arrested Wednesday night in Southern California and booked early the following morning, though the charge was not clear, according to the Ventura County Sheriff’s office website.

Messages seeking comment were left with the sheriff's office; the California Highway Patrol, which was identified as the arresting agency; and Spears' representative.

Spears was arrested around 9:30 p.m. in Ventura County and released on Thursday, sheriff's office records show. She has a May 4 court date schedule, The Associated Press reported.

Spears, born in Mississippi and raised in Louisiana, was a teen pop phenomenon who became a defining superstar of the ’90s and 2000s. She rose to fame from Disney Channel’s “The Mickey Mouse Club” to MTV and beyond, with such era-defining hits like “... Baby One More Time,” “Oops! ... I Did It Again” and “Toxic.”

Most of her albums have been certified platinum, according to the Recording Industry Association of America, with two diamond titles: 1999’s “ ... Baby One More Time” and 2000’s “Oops! ... I Did It Again.” Her last full-length album, “Glory,” was released in 2016.

Spears became a focus of tabloids in the early 2000s, and a source of public scrutiny, as she battled mental illness and paparazzi documented the details of her private life.

Later, as cultural opinion evolved to recognize the misogynistic media coverage of the time, Spears’ fight to control her life became the focus of the #FreeBritney movement.

In 2008, Spears was placed under a court-ordered conservatorship, run primarily by her father and his lawyers, that would control her personal and financial decisions for well over a decade. It was dissolved in 2021. Two years later, she released a bestselling, tell-all memoir, “The Woman in Me.”


Disney Pixar's 'Hoppers' Seeks to Turn Viral Meme Into Box Office Gold

US actor Jon Hamm (L) poses with Tom Lizard as he arrives for the world premiere of Disney and Pixar's film 'Hoppers' at the El Capitan Theater in Los Angeles, California, USA, 23 February 2026.  EPA/JILL CONNELLY
US actor Jon Hamm (L) poses with Tom Lizard as he arrives for the world premiere of Disney and Pixar's film 'Hoppers' at the El Capitan Theater in Los Angeles, California, USA, 23 February 2026. EPA/JILL CONNELLY
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Disney Pixar's 'Hoppers' Seeks to Turn Viral Meme Into Box Office Gold

US actor Jon Hamm (L) poses with Tom Lizard as he arrives for the world premiere of Disney and Pixar's film 'Hoppers' at the El Capitan Theater in Los Angeles, California, USA, 23 February 2026.  EPA/JILL CONNELLY
US actor Jon Hamm (L) poses with Tom Lizard as he arrives for the world premiere of Disney and Pixar's film 'Hoppers' at the El Capitan Theater in Los Angeles, California, USA, 23 February 2026. EPA/JILL CONNELLY

Walt Disney's Pixar Animation Studios is hoping a viral meme featuring a googly-eyed lizard character from its new film, "Hoppers," translates into box office success when the movie opens this weekend in theaters.

The studio unwittingly spawned the social media hit when a 28-second clip of the goofy-looking sea-green reptile repeatedly tapping a glowing screen to trigger an automated voice that says "lizard" appeared in the end credits of another Pixar film, "Elio," released last June.

The clip went viral. It inspired music mixes to songs from Far East Movement and The Ting Tings on TikTok, a "Lizard Click" website with a button that repeats the word "lizard" in a robotic voice, and thousands of social media posts that, within two months, attracted some 316 million views, according to Disney.

"I don't know that you can ever predict these things. As soon as you try to make ⁠something go viral, ⁠that's like certain death," said Pixar's Chief Creative Officer Pete Docter. "We just thought it was funny. We thought this character is quirky and weird."

According to Reuters, Pixar quietly laid claim to the character in a social media post in August, simply saying, "his name is Tom."

"People fell in love with Tom the Lizard," said Martha Morrison, head of marketing for Walt Disney Studios. "Then, we were sort of figuring out when's the right time to identify that Tom the Lizard is part of our movie."

The film is about a young animal lover, Mabel, who uses new technology ⁠to "hop" her consciousness into a robotic beaver and communicate directly with animals.

While audiences have flocked to cinemas to see animated sequels, such as Disney’s “Zootopia 2,” which is approaching $2 billion in worldwide ticket sales, original films with unfamiliar characters and stories, like "Elio," have struggled at the box office, bringing in a modest $20.8 million on opening weekend.

"Hoppers" is on track to open to $35 to $40 million in the US and Canada, according to one estimate.

Original animation has always been a harder sell, but that's been particularly true since the COVID-19 outbreak, when Disney released animated films like “Soul,” “Luca” and “Turning Red” straight to its Disney+ streaming service.

Families got accustomed to seeing new animated films from the comfort of their own living rooms.

"You know, it's tough right now because people on the one hand say they want original stuff, but they, with their pocketbooks, kind of vote more for the ⁠sequels," said Docter. "I think what ⁠it is, you have to balance like stuff that people go, 'I recognize that, I see that in my own life, but it also feels like nothing I've ever seen before,' which is a really difficult needle to thread."

Tom Lizard has become an ambassador for "Hoppers," showing up in person at screenings, DJ-ing an event for social media influencers and photo-bombing ESPN broadcasts in San Francisco during Super Bowl week.

The appearances are part of a broader marketing push that includes advance screenings and sneak peeks, in addition to commercials that aired during the Super Bowl and the Milano Cortina Winter Olympics.

The goal is to be in as many places as possible, convey the film's unique brand of humor and create a sense of urgency for movie-goers to head to the theaters, said Morrison.

Box office analyst Paul Dergarabedian said "Hoppers" has received the best reviews for a Pixar movie in a decade.

"Original animated films such as 'Dog Man,' 'The Wild Robot' and most recently 'GOAT' have all done very well because they're actually good movies," said Dergarabedian. "That's a currency that can deliver dividends for the long term."


Sci-fi Without AI: Oscar Nominated 'Arco' Director Prefers Human Touch

French animation director Ugo Bienvenu says AI has no place in the process of artistic creation. Valerie MACON / AFP/File
French animation director Ugo Bienvenu says AI has no place in the process of artistic creation. Valerie MACON / AFP/File
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Sci-fi Without AI: Oscar Nominated 'Arco' Director Prefers Human Touch

French animation director Ugo Bienvenu says AI has no place in the process of artistic creation. Valerie MACON / AFP/File
French animation director Ugo Bienvenu says AI has no place in the process of artistic creation. Valerie MACON / AFP/File

Oscar-nominated animated film "Arco" tells the story of a young boy in a future where humanity lives in harmony with nature, far from the robots and artificial intelligence shaping our present.

For first-time director Ugo Bienvenu, who drew the whole film by hand, there was never any chance he would resort to using AI.

"That's why I make science fiction," the French director told AFP. "It was to say to this generation: 'Maybe there are other paths, maybe there are other things to imagine.'"

The graphic novel illustrator, 38, says he is alarmed by society's increasing dependence on artificial intelligence, which he insists is inferior to the things it is being used to replace.

"It's like wanting to saw off your own leg just because you have a great crutch," he said.

The Academy of Motion Picture Arts and Sciences, the body that will hand out the Oscars in Hollywood on March 15, last year updated its rules to say it was neutral on the technology.

"Generative Artificial Intelligence and other digital tools... neither help nor harm the chances of achieving a nomination," it said in April.

"The Academy and each branch will judge the achievement, taking into account the degree to which a human was at the heart of the creative authorship."

'Nobody really wants to use it'

The move came after a furor over the use of AI in best picture contenders "The Brutalist" -- where Adrien Brody's Hungarian accent was artificially smoothed out -- and "Dune: Part Two," in which certain characters had their eye color changed.

This season, two Oscar-eligible animated shorts openly acknowledged their use of AI, but did not get a nomination.

For Bienvenu, the reliance on AI in the creative process is dangerous because it risks allowing the imagination to wither.

"If we tell ourselves that the machine will do it for us, we never make the mistakes that allow us to access our subconscious" where true creativity lies, he said.

Bienvenu, who spoke to AFP on the sidelines of the Oscars nominees luncheon in Beverly Hills last month, said many conversations at the gathering had touched on the use of AI in filmmaking -- a key sticking point in the writers' and actors' strikes that crippled Hollywood in 2023.

"Everyone is more or less on the same page," he said. "Nobody really wants to use it."

'Human'

In January, more than 800 creatives, including actresses Scarlett Johansson and Cate Blanchett, as well as director Guillermo Del Toro, published an open letter accusing AI giants of "theft."

The Mexican filmmaker, whose "Frankenstein" is competing this year for the best picture Oscar, in 2022 said animation created by AI is an "insult to life itself."

Bienvenu shares that alarm.

"The real danger is that we... become weaker intellectually," he says.

"It's not about protecting our jobs, it's about what makes us human."

"Fiction is about sharing experiences," he says -- a process that helps us to be "emotionally prepared when something serious happens to us in life, so we don't fall apart."

Too much of modern life is dominated by machines that can only regurgitate what has come before, says Bienvenu.

"Today, there are people who wear clothes made by robots, and eat food made by robots — basically, they're the poor," he said.

"And now, this same group will be consuming fiction made by robots."

The massive companies that make AI do not pay the true cost of their product, Bienvenu says, and something must be done to level the playing field.

He suggests levying a tax on the huge volumes of water used by companies to cool their server farms, an amount one study published in December found exceeded the volume of bottled water consumed around the planet every year.

"AI isn't free," says Bienvenu.

"It has physical repercussions and impacts on our subconscious."