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Kneeling debate has diverted attention from racism issue, says Thierry Henry

Kneeling debate has diverted attention from racism issue, says Thierry Henry

The debate over whether football players should take a knee before the games has diverted the attention from racism, said former Arsenal striker Thierry Henry.

Players in England's top flight football have been taking a knee since July last year, initially in support of the 'Black Lives Matter' movement before the Premier League and English Football League linked the gesture to their own anti-racism campaigns.


Henry, who himself suffered racial abuse during his playing career pointed out that the cause has suffered with the recent debate on who is taking the knee or standing.

"That's not the cause," he told CNN Sport.

"The cause is: what are you going to do for it to be better for everybody? Equality. Everybody, and obviously I'm going to talk about my community.

"I thought kneeling was a strong message and we all know where it comes from, but then the discussion moved to: are we standing or are we kneeling?

"What about the cause? What about the main point of why we are doing it in the first place? Or why we still have to do it? That's something for me that is very important and we keep on forgetting about it."

The 43-year-old Henry, last week deleted his social media accounts to protest against the platforms for not taking action against anonymous account holders who are guilty of racism and bullying online.

English football's governing bodies said last month that Twitter, Facebook and Instagram were "havens for abuse" and urged the social media companies to tackle the problem in the wake of racist messages aimed at players.

Instagram has announced a series of measures to tackle online abuse, while Twitter, who took action on more than 700 cases of "abuse and hateful conduct" related to football in Britain in 2019, promised to continue its efforts to curb the problem.

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How Lee Cronin’s 'The Mummy' turns a classic adventure into a domestic horror

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  • Shifts the setting from desert tombs to a family home in Albuquerque
  • Focuses on parental fear and a “returned” child rather than treasure hunting
  • Relies on body horror, sound design and shock value over spectacle
  • Critics call it bold and unsettling, but uneven in storytelling

From desert spectacle to domestic dread

For decades, The Mummy has been tied to adventure, romance and spectacle, most famously in The Mummy (1999). That version thrived on sweeping desert landscapes, archaeological intrigue and a sense of escapism.

Lee Cronin takes a sharply different route. His reworking strips away the sense of adventure and relocates the horror into the home. The story still begins in Egypt, anchored by an ancient sarcophagus, but quickly shifts to the United States, where the real tension unfolds inside a family house.

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