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Two American tourists have been found sleeping inside the Eiffel Tower after getting stuck while drunk, according to prosecutors.

The two men were found by security guards in the early hours of Monday.

They paid to scale the Parisian landmark at around 22:40 (21:40 BST) on Sunday and hopped security barriers while climbing down, police said.

They were found in an area normally closed to the public between the tower's second and third levels.

The men "appear to have got stuck because of how drunk they were", Paris prosecutors told the AFP news agency.

A specialist firefighter unit for rescuing people from heights were sent to recover the men, the agency reported.

The usual opening time of 09:00 was delayed due to the discovery of the inebriated pair.

They did not pose any threat, said Sete, the publicly-owned Eiffel Tower operator.

Both men were questioned by police in Paris, while Sete said it would file a criminal complaint.

It comes after two bomb scares at the tower on Saturday forced the monument to be evacuated twice in the same day.

French police have launched an investigation after the false bomb threats were made via posts on a gaming site and a platform for online contact between citizens and police.

The Eiffel Tower, which was built in the 1880s and stands at 984ft (300m), attracted 5.8 million visitors last year.

Further details on how Stories work here: https://telegram.org/tour/stories

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The publishing industry has been mired in debate in recent years about editing older books to remove content that could be deemed offensive.

Even the prime minister became involved in February after the publisher Puffin Books hired sensitivity readers to rewrite parts of Roald Dahl’s books to ensure they “can continue to be enjoyed by all today”. The development prompted Rishi Sunak to say that publishers “shouldn’t gobblefunk around with words”.

Jacqueline Wilson waded into the conversation on Monday, saying that making changes to children’s books was sometimes justified and that she would not write one of her past novels today because of its controversial content. Below, we look at what other authors have said on the topic.

Margaret Atwood: ‘If you don’t like it, read something else’

Speaking to the BBC’s Newsnight in March, the Canadian author commented on the Dahl controversy: “Good luck with Roald Dahl. You’re just really going to have to replace the whole book if you want things to be nice.

“But this started a long time ago; it was the ‘Disneyfication’ of fairytales. What do I think of it? I’m with Chaucer, who said: ‘If you don’t like this tale, turn over the page and read something else.’”

Irvine Welsh: ‘I found it a positive experience’

The Trainspotting author said he had worked with a sensitivity reader for the first time when writing his 2022 novel The Long Knives, which deals with transgender issues. He wrote on Twitter: “I was initially very hostile, regarding this as censorship. However, my experience with the trans reader was highly positive.

“The reader was highly supportive of what I was trying to do: balanced, thoughtful and informative, and the book is infinitely better as a result. I found it a positive experience. Certainly, there was none of the crackpot vitriol you see on all sides of the debate on here.”

Charlie Higson: ‘Times and sensitivities change’

Higson, an author of young adult fiction including the first five Young Bond novels, said sensitivity reading is “nothing new”.

In March, he told the Guardian: “I don’t think it was a sensitivity reader who insisted on the change to the original title of Agatha Christie’s And Then There Were None.” The original title included a racial slur.

“Times change and sensitivities change, and thankfully, we now accept that some things in older books can be very upsetting to some modern readers and a more diverse readership,” he said.

Salman Rushdie: ‘This is absurd censorship’

Commenting on the Dahl debate in February, Rushdie described the editing of his books as “absurd censorship”. On Twitter, he wrote that Puffin and the late author’s estate “should be ashamed”.

Despite his defence of Dahl’s works, Rushdie said he was “no angel” and that he was “a self-confessed antisemite, with pronounced racist leanings.”

Philip Pullman: ‘Let him go out of print’

Pullman told BBC Radio 4’s Today programme in February: “If it does offend us, let him go out of print.

“What are you going to do about them? All these words are still there; are you going to round up all the books and cross them out with a big black pen?

“Read Phil Earle, SF Said, Frances Hardinge, Michael Morpurgo, Malorie Blackman. Read Mini Grey, Helen Cooper, Jacqueline Wilson, Beverley Naidoo.

“Read all these wonderful authors who are writing today who don’t get as much of a look-in because of the massive commercial gravity of people like Roald Dahl.”

Archived version: https://archive.ph/WYdpt

Jacqueline Wilson has said editing children’s books to remove inappropriate and dated language is sometimes justified because young people do not have “a sense of history”.

However, the bestselling children’s author told ITV’s Good Morning Britain that she was opposed to “meddling with adult classics”.

Children’s books by authors such as Enid Blyton and Roald Dahl have been rewritten by publishers to take out words and references that are deemed inappropriate or offensive today.

In February, Puffin Books hired sensitivity readers to review Dahl’s texts to make sure his books could “continue to be enjoyed by all today”.

Hundreds of changes included replacing the word “fat” with “enormous”, and changing “ugly and beastly” to “beastly”. “Old hag” in Dahl’s The Witches was changed to “old crow”.

Blyton’s books, including The Famous Five, Noddy and Malory Towers, dating back to the 1940s, have also undergone “sensitive text revisions”. Words such as “queer” or “gay” have been replaced because of their contemporary meanings relating to sexuality.

Blyton has also been criticised for racism and xenophobia in her books.

While some have welcomed the changes, others have criticised the rewriting of classics, saying it is a form of censorship.

Wilson said her view on such changes depended on “how it’s done”.

She added: “There are some things I think that would make us a bit worried if we returned to our old children’s favourites and read them with fresh eyes. We might be a little surprised.

“I think with children, they often absorb texts. They still haven’t got the power to sort things out and have a sense of history.”

Wilson has been involved in updating earlier works. Last year, she wrote The Magic Faraway Tree: A New Adventure, a reimagining of a Blyton novel.

Her version is without Blyton’s sexist stereotypes and “unfortunate references that were very ordinary in their times but nowadays don’t fit with the way we think”, she told the Irish News last year.

Wilson has admitted that she would not write one of her books, published in 2005, today.

Love Lessons is about a 14-year-old girl, Prue, who falls in love with an art teacher who partly reciprocates. They kiss and he admits that he loves her, too.

Wilson told the Guardian in a recent interview: “It’s so different now … Nowadays, you’d see Prue as a victim even if she had initiated it and the teacher as a paedophile because he responded to her.”

But she told Good Morning Britain on Monday: “I’m very against meddling with adult classics.

“I was just thinking about Jane Eyre the other day. I mean, with the mad woman in the attic and the way she’s depicted, you’d never find that sort of treatment of people with serious mental health problems.

“And yet, I would be absolutely at the forefront of people saying: ‘No, leave it alone. It’s my favourite book.’”

Wilson also criticised so-called cancel culture, saying that she felt conversations to solve differences would be more constructive.

“I’m of the old school, I think: ‘Why can’t everybody just talk things over? Discuss things.’ You don’t have to agree with someone,” she said.

“But I think it’s more helpful to actually get to the bottom of what’s making people so angry.

“But whether I’d feel that in the midst of a baying crowd or not, I don’t know.

“I mean, life’s changed so much. And I think it’s good that people can make it clear what they feel, but I do think a little bit of discussion [is necessary].

“There’s been a call recently for children to develop their oracy, to become more articulate, to be able to assemble their ideas, and I think that would be a good idea.”

Wilson, a former children’s laureate, has written more than 100 books, which have sold about 40m copies in the UK and been translated into 34 languages.

The Story of Tracy Beaker, about a girl growing up in a care home, was made into a television series. Her books deal with issues such as separation, stepfamilies, sibling rivalry, bullying and falling in love.

Archived version: https://archive.ph/ITIRq

The cost of some basic food items such as cheese, butter and bread has soared by more than 30% in the last two years, forcing poorer households to “make desperate choices between keeping up with their bill payments or putting food on the table,” campaigners have said.

Food price inflation has slowed in recent months, but costs remain much higher than they were two years ago, disproportionally affecting low-income households, according to research by consumer body Which? shared exclusively with the Guardian.

The annual pace of grocery price growth cooled to 14.9% over the four weeks to 9 July, down from 16.5% a month earlier, according to the latest analysis by retail industry data provider Kantar.

Despite the slowdown, Which? figures showed that food prices have risen significantly over the past two years, and some products have gone up more than 30% since 2021.

The food products with the highest rates of inflation are milk (36.4%), cheese (35.2%), butters and spreads (32.2%), cakes and cookies (31.2%), and bakery items (30.3%).

Vegetable prices are up 19.1% since May-July 2021, meat prices are up 23.6% and savoury pies and pastries and quiches are up 26.2%. Biscuit prices have increased by 27% and juice drinks and smoothies are up 28.6%.

The consumer rights group is urging supermarkets to stock their cheapest products in their convenience store branches as well as larger outlets, as charities warned that families were struggling to cope with food inflation.

Richard Lane, director of external affairs at debt charity StepChange, said: “The rising cost of living is forcing households to reassess their budgets and cut back to make ends meet. Food inflation remains high and has pushed the price of basics up significantly.

“These rises are hitting the poorest the hardest, as it creates a poverty premium where those on tighter budgets are unable to save by buying in bulk and end up spending more money on food and essentials, as they shop little and often.”

He added: “As food costs continue to rise, the knock-on effects can be felt elsewhere, with people having to make desperate choices between keeping up their bills or putting food on the table.”

StepChange research found one in seven people had recently skipped meals or gone without a healthy diet in order to keep up with credit repayments – rising to nearly one in three for those on universal credit.

Helen Barnard, director of policy, research and impact at the Trussell Trust, the food bank network, said: “Inflation is hitting those on the lowest incomes hardest, with the cost of essentials like food and energy – which account for far more of their budget than is the case for people on higher incomes – rising especially steeply.”

She added that last year, the food banks in its network experienced higher levels of need than ever before, distributing almost 3m parcels to people who could not afford essentials.

“Donations also increased, reflecting the public’s great generosity even at a time of increased financial pressure for many, but rising need outpaced donations. This led to food banks having to purchase 124% more food than they did the previous year, at a time when prices are higher than ever, putting a significant strain on their operating costs.”

Which? has called on grocers to make affordable and healthy basic food ranges available across all their stores, to ensure that offers and promotions are used to support those who are struggling and are targeted at healthy foods, and to make sure their pricing is clear, so that shoppers can easily work out what offers the best value.

It welcomed an announcement by Tesco on Friday that the retailer would be introducing cheaper own-brand range items in its convenience stores, but said more needed to be done, pointing out that own-brand items were still more expensive than budget ranges. For example, Tesco’s own-brand penne pasta is 75p for 500g, but its budget version is 41p.

Sue Davies, head of food policy at Which?, said: “Despite well-advertised price cuts, Which?’s tracker shows that the cost of essentials like milk and butter is still very high and piling huge pressure on millions, which is why access to budget ranges is more important than ever to help people save money.”

At the start of this console generation, Microsoft made a surprising decision. Rather than split its consoles between disc and digital-only like Sony, it actually split them between power level. The Xbox Series S was cheaper, but lacked the horsepower of the more expensive Series X. It was meant to be a bridge between generations and a lower cost entry point, but Microsoft made an important promise.

While there would be some variance in technical capabilities between consoles, feature parity between the two would remain the same. It would remain the same because Microsoft would demand it remain the same, from both its own studios and third parties.

However, over time, that has become harder and harder to satisfy. Some developers have grumbled about the Series S requirements for a while, but now, we have a prime example of this parity demand actively hurting the Xbox ecosystem and its own players. Larian has delayed the release of Baldur’s Gate 3, currently on pace to possibly be 2023’s Game of the Year, until they can figure out how to make split-screen work on Series S.

Michael Douse, director of publishing, made the problem very plain:

“We’ve said many times in the past that the issue is getting split-screen working on the Series S, which is taking more time, but is in progress,” Douse said on Twitter. “This is a huge technical hurdle, but we are unable to release the game on the ecosystem without this feature.”

“We cannot remove the split-screen feature because we are obliged to launch with feature parity, and so continue to try and make it work. We have quite a few engineers working very hard to do what no other RPG of this scale has achieved: seamless drop-in, drop-out co-op on Series S. We hope to have an update by the end of the year.”

Microsoft’s demand for feature parity between Series X and S quite literally means that Xbox players may not be able to play 2023’s possible GOTY until…2024. Larian cannot simply cut the feature because Microsoft won’t let them. A feature that the majority of players of the game probably will never even use, mind you.

You can say “okay well, Microsoft just needs to end the feature parity demand between X and S.” In this case, Microsoft could give the okay to cut split-screen and the game could release. And yet, you can see how Microsoft has sort of trapped itself. For Baldur’s Gate 3 that means split-screen, and Xbox owners who are not following video game news every second of the day might find themselves buying a Series S version thinking they can play co-op with their friend and they…can’t.

You can extrapolate that out to any number of games. Various points of pain in Series S development could result in any number of cut features, and those would have to be explained away in fine print for Series S players, or they’d simply buy the games and be upset that those features weren’t there, not knowing any of this.

This is Microsoft not really thinking through the concept of the Series S from the start. The feature parity demand actually does seem necessary, but the further we get into this generation, the more modern games are pushing the technical envelope, and the more Series S is straining to keep up, and developers are straining to meet Microsoft’s demands. As we can see in this example, Microsoft has essentially handed PlayStation a console exclusive for one of the biggest games of the year, without Sony even needing to make any kind of a deal. That’s a disaster.

It's not clear if there’s a way out of this. Stopping the feature parity demand would be a mess. Stopping Series S sales wouldn’t solve the problem with millions out there already that cannot just be abandoned. Time traveling to not release the Series S in the first place to avoid all this is not possible. So, they’re stuck, unless they think of something else.

At the start of this console generation, Microsoft made a surprising decision. Rather than split its consoles between disc and digital-only like Sony, it actually split them between power level. The Xbox Series S was cheaper, but lacked the horsepower of the more expensive Series X. It was meant to be a bridge between generations and a lower cost entry point, but Microsoft made an important promise.

While there would be some variance in technical capabilities between consoles, feature parity between the two would remain the same. It would remain the same because Microsoft would demand it remain the same, from both its own studios and third parties.

However, over time, that has become harder and harder to satisfy. Some developers have grumbled about the Series S requirements for a while, but now, we have a prime example of this parity demand actively hurting the Xbox ecosystem and its own players. Larian has delayed the release of Baldur’s Gate 3, currently on pace to possibly be 2023’s Game of the Year, until they can figure out how to make split-screen work on Series S.

Michael Douse, director of publishing, made the problem very plain:

“We’ve said many times in the past that the issue is getting split-screen working on the Series S, which is taking more time, but is in progress,” Douse said on Twitter. “This is a huge technical hurdle, but we are unable to release the game on the ecosystem without this feature.”

“We cannot remove the split-screen feature because we are obliged to launch with feature parity, and so continue to try and make it work. We have quite a few engineers working very hard to do what no other RPG of this scale has achieved: seamless drop-in, drop-out co-op on Series S. We hope to have an update by the end of the year.”

Microsoft’s demand for feature parity between Series X and S quite literally means that Xbox players may not be able to play 2023’s possible GOTY until…2024. Larian cannot simply cut the feature because Microsoft won’t let them. A feature that the majority of players of the game probably will never even use, mind you.

You can say “okay well, Microsoft just needs to end the feature parity demand between X and S.” In this case, Microsoft could give the okay to cut split-screen and the game could release. And yet, you can see how Microsoft has sort of trapped itself. For Baldur’s Gate 3 that means split-screen, and Xbox owners who are not following video game news every second of the day might find themselves buying a Series S version thinking they can play co-op with their friend and they…can’t.

You can extrapolate that out to any number of games. Various points of pain in Series S development could result in any number of cut features, and those would have to be explained away in fine print for Series S players, or they’d simply buy the games and be upset that those features weren’t there, not knowing any of this.

This is Microsoft not really thinking through the concept of the Series S from the start. The feature parity demand actually does seem necessary, but the further we get into this generation, the more modern games are pushing the technical envelope, and the more Series S is straining to keep up, and developers are straining to meet Microsoft’s demands. As we can see in this example, Microsoft has essentially handed PlayStation a console exclusive for one of the biggest games of the year, without Sony even needing to make any kind of a deal. That’s a disaster.

It's not clear if there’s a way out of this. Stopping the feature parity demand would be a mess. Stopping Series S sales wouldn’t solve the problem with millions out there already that cannot just be abandoned. Time traveling to not release the Series S in the first place to avoid all this is not possible. So, they’re stuck, unless they think of something else.

At the start of this console generation, Microsoft made a surprising decision. Rather than split its consoles between disc and digital-only like Sony, it actually split them between power level. The Xbox Series S was cheaper, but lacked the horsepower of the more expensive Series X. It was meant to be a bridge between generations and a lower cost entry point, but Microsoft made an important promise.

While there would be some variance in technical capabilities between consoles, feature parity between the two would remain the same. It would remain the same because Microsoft would demand it remain the same, from both its own studios and third parties.

However, over time, that has become harder and harder to satisfy. Some developers have grumbled about the Series S requirements for a while, but now, we have a prime example of this parity demand actively hurting the Xbox ecosystem and its own players. Larian has delayed the release of Baldur’s Gate 3, currently on pace to possibly be 2023’s Game of the Year, until they can figure out how to make split-screen work on Series S.

Michael Douse, director of publishing, made the problem very plain:

“We’ve said many times in the past that the issue is getting split-screen working on the Series S, which is taking more time, but is in progress,” Douse said on Twitter. “This is a huge technical hurdle, but we are unable to release the game on the ecosystem without this feature.”

“We cannot remove the split-screen feature because we are obliged to launch with feature parity, and so continue to try and make it work. We have quite a few engineers working very hard to do what no other RPG of this scale has achieved: seamless drop-in, drop-out co-op on Series S. We hope to have an update by the end of the year.”

Microsoft’s demand for feature parity between Series X and S quite literally means that Xbox players may not be able to play 2023’s possible GOTY until…2024. Larian cannot simply cut the feature because Microsoft won’t let them. A feature that the majority of players of the game probably will never even use, mind you.

You can say “okay well, Microsoft just needs to end the feature parity demand between X and S.” In this case, Microsoft could give the okay to cut split-screen and the game could release. And yet, you can see how Microsoft has sort of trapped itself. For Baldur’s Gate 3 that means split-screen, and Xbox owners who are not following video game news every second of the day might find themselves buying a Series S version thinking they can play co-op with their friend and they…can’t.

You can extrapolate that out to any number of games. Various points of pain in Series S development could result in any number of cut features, and those would have to be explained away in fine print for Series S players, or they’d simply buy the games and be upset that those features weren’t there, not knowing any of this.

This is Microsoft not really thinking through the concept of the Series S from the start. The feature parity demand actually does seem necessary, but the further we get into this generation, the more modern games are pushing the technical envelope, and the more Series S is straining to keep up, and developers are straining to meet Microsoft’s demands. As we can see in this example, Microsoft has essentially handed PlayStation a console exclusive for one of the biggest games of the year, without Sony even needing to make any kind of a deal. That’s a disaster.

It's not clear if there’s a way out of this. Stopping the feature parity demand would be a mess. Stopping Series S sales wouldn’t solve the problem with millions out there already that cannot just be abandoned. Time traveling to not release the Series S in the first place to avoid all this is not possible. So, they’re stuck, unless they think of something else.

Video description:
Roundabouts - the circular intersections seen all over Europe and elsewhere in the world - are said to be far safer than traffic lights. Research shows they reduce crashes, clear up congestion and save cities quite a bit of money. They have a heritage in the U.S., but America has a fraction of the roundabouts that far smaller countries like France, Spain and the United Kingdom have. But there are some states that are adopting them, and one small town in particular: Carmel, Indiana. The people of Carmel love their roundabouts and the mayor credits them with helping revitalize his city. So are they all they’re cracked up to be? And if so, why hasn’t the U.S. adopted them?

Video description:
Roundabouts - the circular intersections seen all over Europe and elsewhere in the world - are said to be far safer than traffic lights. Research shows they reduce crashes, clear up congestion and save cities quite a bit of money. They have a heritage in the U.S., but America has a fraction of the roundabouts that far smaller countries like France, Spain and the United Kingdom have. But there are some states that are adopting them, and one small town in particular: Carmel, Indiana. The people of Carmel love their roundabouts and the mayor credits them with helping revitalize his city. So are they all they’re cracked up to be? And if so, why hasn’t the U.S. adopted them?

Source: https://blog.mozilla.org/addons/2023/08/10/prepare-your-firefox-desktop-extension-for-the-upcoming-android-release/

Archived version: https://archive.ph/x9dHq

Source: https://blog.mozilla.org/addons/2023/08/10/prepare-your-firefox-desktop-extension-for-the-upcoming-android-release/

Archived version: https://archive.ph/x9dHq