Category: 5. Entertainment

  • Harry Hill says his stepfather’s death made him switch careers from medicine to comedy

    Harry Hill says his stepfather’s death made him switch careers from medicine to comedy

    Steven McIntosh

    Entertainment reporter

    BBC Harry Hill in the Desert Island Discs studio, wearing a suit with an open-collar shirtBBC

    Hill trained and worked as a doctor before pivoting to comedy in the early 1990s

    • Harry Hill says his stepfather’s death at a young age prompted him to leave medicine to pursue a career in entertainment
    • Hill had qualified as a doctor but felt unsuited to a career in medicine, and pivoted to comedy in the early 1990s
    • As a doctor, Hill recalled breaking tragic news to a patient and feeling “completely out of my depth”
    • He later found success with his series TV Burp, but said he doesn’t miss the stress of writing new episodes every week

    Comedian Harry Hill has said his stepfather’s death at a young age was what inspired him to quit his job in medicine and pursue a career in entertainment.

    The 60-year-old, best known for shows such as Harry Hill’s TV Burp and You’ve Been Framed, studied at St George’s Medical School and worked as a doctor before pivoting to comedy in the early 1990s.

    He told BBC Radio 4’s Desert Island Discs: “It had been a long time coming, and then my stepfather died of cancer.

    “And I thought, here’s a man who’s worked all his life. And they [my stepfather and mother] had always talked about what they were going to do in retirement. And how old was he? Maybe 54. And I thought, I don’t want that to be me.”

    “The other part of it,” Hill laughed, “is I think if I’d said to him, ‘I’m giving up to be a comedian’, he would have been quite disapproving.

    “So it probably kind of set me free a little bit from that. But really, I was kind of at the end of my tether with [medicine].”

    Hill qualified as a doctor in 1988, and began his medical career working in orthopaedics. But, he explained, he was not passionate about the job and felt he did not have the right temperament.

    “I think it’s difficult even if your heart’s in it,” he told presenter Lauren Laverne. “In the first six months, I had to break the news to this bloke whose wife had died in this operation, unexpectedly, and they had young children, and I was completely out of my depth.

    “I told him, he started crying, and then I started crying, and I thought, this isn’t good. I mean, I certainly wasn’t a very emotional [person]. Actually what it makes you do is bottle up your emotions.”

    Asked how long he continued bottling his emotions for, Hill replied: “Until I had kids, I think. There’s something about having kids that uncorks you.

    “I wasn’t a bad doctor,” he reflected. “If I’d stuck at it, I probably would have ended up as a GP.”

    Getty Images Simon Cowell and Harry Hill attend a photocall to launch "I Can't Sing - The X Factor Musical" at RADA on September 2, 2013 in London, EnglandGetty Images

    Hill (pictured with Simon Cowell in 2014) said he came to realise his X Factor musical was a “bad idea”

    After having doubts about his suitability, Hill had a discussion with his consultant about his career, before telling his mother he was going to have a year off to try comedy.

    When leaving his job, Hill said: “I remember getting in the car, and this sounds impossible, driving out of the hospital car park, I turned on the radio, and the tune that came on was Eric Burdon and the Animals, with We Gotta Get Out of This Place.

    “I remember driving away, weight lifted, and I thought, wow, this is really exciting, and it was, and terrifying in equal measure.”

    Hill explained his stepfather, Tony, had met his mother in an amateur dramatics group, and often wrote pantomimes and starred in them as the dame.

    “He inherited four kids when he married my mum,” Hill explained. “And I didn’t think it at the time, but that’s quite a guy to take that on.”

    At the time, Hill said, it was unusual among his friends that his parents had divorced. “People didn’t do it,” he recalled. “Everyone’s parents are divorced now, but back then, people just stuck it out.”

    ‘Stress’ of writing TV Burp

    Hill has presented a variety of TV programmes since leaving medicine, including Harry Hill’s Tea Time, Harry Hill’s Alien Fun Capsule, Harry Hill’s World of TV and a revival of Stars in Their Eyes.

    Since 2019, he has hosted the Great British Bake Off children’s spin-off, Junior Bake Off, on Channel 4.

    But his best known programme was Harry Hill’s TV Burp, a satirical review of the previous week’s television. It ran on ITV for 11 series, airing its final episode in 2012.

    Hill has previously indicated he would not revive TV Burp because of the intensive workload, a position he reiterated to Laverne.

    “I made a lot of TV shows, and most of them have been a lot less successful than TV Burp, but I don’t look back at those years particularly fondly because of that stress,” he said.

    “I would start the week with no show, knowing that on Saturday morning I’d have to sit down and write a show. We’d work one week in advance, off preview tapes, so I’d sit down with a blank page on a Saturday, and at the end of that day I’d have to email it to the producer.”

    While the episode was being pulled together, Hill said he and his team “would watch TV all day long, there were no shortcuts, you did actually have to watch the full two-and-a-half hours of Emmerdale”.

    “The best day was the recording day,” he said, “but if you ask my wife, every time I came back from a recording, I’d go upstairs, she’d be in bed, and I’d say ‘I’ve got to get out of this’. It was bad.

    “But then I’d watch it on the Saturday and think it was great, I did really enjoy watching it.”

    Hill also co-wrote 2021’s Tony! (A Tony Blair Rock Opera), and the X Factor musical I Can’t Sing, which closed in 2014 after six weeks at the London Palladium.

    Reflecting on its failure, Hill said: “It became clear to me, that people who like the X Factor don’t really go to musicals, and people who go to musicals don’t really like the X Factor. It was just a really bad idea.”

    But he added: “You can’t be heartbroken, you’d be a complete baby if you got upset about a professional failure.”

    Desert Island Discs is broadcast on BBC Radio 4 at 10:00 BST on Sunday, and is then available on BBC Sounds.

    BBC News used AI to help write the summary at the top of this article. It was edited by BBC journalists. Find out more.

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  • Cardi B Kicks Off WWE SummerSlam 2025, Previews New Song

    Cardi B Kicks Off WWE SummerSlam 2025, Previews New Song

    Cardi B made her long-awaited WWE debut on Saturday night (Aug. 2) as the host of night one of SummerSlam at MetLife Stadium. After years of playful teasing with fans and WWE superstars, the Bronx firecracker finally stepped into the ring.

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    Sauntering down the entrance ramp clad in all black, Cardi previewed a new song — possibly from her forthcoming album Am I the Drama? — as the hook echoed throughout the New Jersey stadium.

    “Hello, it’s me,” she rapped with feverish energy. The thunderous crowd of 50,000 erupted as her voice filled the air, setting the tone for a spectacle-filled evening. Once she entered the ring, the vivacious MC instantly raised the temperature with her fiery energy. (See a clip of the moment here.)

    “We’re coming to you live from the Tri-State!” she shouted. “We’re making history tonight because this is the first-ever two-day SummerSlam. Yeah!” Cardi hyped up appearances from Logan Paul and Randy Orton before declaring, “We’re going to be talking about this forever.”

    Cardi isn’t the first music star to step into the WWE spotlight. In recent years, Bad Bunny, Travis Scott and Metro Boomin have collaborated with the wrestling conglomerate. Tonight, country superstar Jelly Roll will make his in-ring debut as he clashes with Drew McIntyre and Logan Paul in a tag-team match with Randy Orton. Jelly Roll recently wowed fans with his athleticism when he choke-slammed Paul through a table during an episode of Jimmy Kimmel Live!

    Check out Cardi B’s appearance at SummerSlam 2025 below.

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  • WWE SummerSlam Night 1 live results: Updates, winners and losers, highlights, grades and analysis

    WWE SummerSlam Night 1 live results: Updates, winners and losers, highlights, grades and analysis

    WWE’s second-biggest event of the year, WWE SummerSlam 2025, kicks off on Saturday night at MetLife Stadium in East Rutherford, New Jersey. This year’s installment marks the first time in history the annual premium live event will be spread across two nights, adopting the WrestleMania format WWE began in 2020.

    Saturday’s card features six matches, headlined by a World Heavyweight Championship clash between defending champion Gunther and CM Punk, who is challenging for his second major title this summer. The two other championship bouts on the show involve WWE’s women’s division, with Tiffany Stratton defending her WWE Women’s Championship against Queen of the Ring winner Jade Cargill, as well as Judgment Day’s Raquel Rodriguez and Roxanne Perez putting their Women’s Tag Team Championships on the line against Charlotte Flair and Alexa Bliss.

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    In terms of non-title matches, two tag-team contests will also take place. WWE is injecting some celebrity star power into SummerSlam, having musician Jelly Roll team up with Randy Orton to take on Logan Paul and Drew McIntyre, paying off a feud that began last month on “SmackDown” and on Saturday Night’s Main Event. The other tag-team match pits cousins Roman Reigns and Jey Uso against Bron Breakker and Bronson Reed — members of Seth Rollins’ heel faction on “Raw.”

    Finally, Sami Zayn and Karrion Kross meet once again in a singles bout, continuing an ongoing angle that has simmered on WWE programming.

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    Here’s a look at Saturday’s full WWE SummerSlam Night 1 match card, which kicks off at 6 p.m. ET on Peacock:

    • World Heavyweight Championship: Gunther (c.) vs. CM Punk

    • WWE Women’s Championship: Tiffany Stratton (c.) vs. Jade Cargill

    • WWE Women’s Tag Team Championship: Raquel and Roxanne Perez (c.) vs. Charlotte Flair and Alexa Bliss

    • Roman Reigns and Jey Uso vs. Bron Breakker and Bronson Reed

    • Randy Orton and Jelly Roll vs. Drew McIntyre and Logan Paul

    • Sami Zayn vs. Karrion Kross

    Follow all of the action from SummerSlam Night 1 with Uncrowned’s live coverage below:

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  • ‘Demon Slayer’ tops 10 billion yen at box office in record time

    ‘Demon Slayer’ tops 10 billion yen at box office in record time

    The latest animated film adaption in the “Demon Slayer” series took in more than 10 billion yen ($66.89 million) in the first eight days after its release, setting a box office record in Japan.

    The earnings eclipsed the record set by the previous “Demon Slayer” movie in 2020.

    “Part 1: Akaza Returns” in the “Demon Slayer: Kimetsu no Yaiba–The Movie: Infinity Castle” trilogy, was released on July 18. Box office sales topped 10 billion yen on July 25, according to the distributor, Aniplex Inc.

    It marks the fastest time for a film screened in Japan to hit the threshold after its release. The previous record was held by “Demon Slayer: Kimetsu no Yaiba–The Movie: Mugen Train,” which was released in 2020 and made the same amount in 10 days.

    Movie market research company Kogyo Tsushinsha said the latest offering in the “Demon Slayer” franchise is the 49th film to surpass 10 billion yen in box office revenue in Japan.

    Twenty-eight of them were foreign releases.

    But Japanese animated films based on popular manga have been gaining momentum since “Demon Slayer: Kimetsu no Yaiba–The Movie: Mugen Train” set the all-time record of 40.43 billion yen in total sales in 2020 during the COVID-19 pandemic.

    The “Demon Slayer: Kimetsu no Yaiba” films are based on Koyoharu Gotoge’s manga series of the same title, which have sold more than 220 million copies, including digital editions: 164 million in Japan and 56 million overseas.

    Notable examples that surpassed the 10-billion-yen mark include “Jujutsu Kaisen 0,” which was released in 2021 and earned 13.8 billion yen; “One Piece Film Red” (2022, 20.34 billion yen); “The First Slam Dunk” (2022, 16.48 billion yen); “Detective Conan: Black Iron Submarine” (2023, 13.88 billion yen); and “Haikyu!! The Dumpster Battle” (2024, 11.64 billion yen).


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  • Tyler, the Creator’s surprise album tops the charts.

    SARAH MCCAMMON, HOST:

    Since the late 2010s, Tyler the Creator has become one of the more unusual hip-hop stars, growing out of the shock tactics of his juvenile music collective Odd Future and into his auteur status. This week, the rapper-producer topped the Billboard 200 chart with a surprise album he only announced three days before its release. “Don’t Tap The Glass” is a bit of a left turn, a hyperkinetic summertime LP with an urgent appeal to move the masses.

    (SOUNDBITE OF SONG, “SUCKA FREE”)

    TYLER THE CREATOR: (Singing) I’m that guy, trying to get my paper, baby. I’m that guy forever.

    MCCAMMON: Here to tell us why Tyler wants to spark a dance revolution is NPR Music’s Rodney Carmichael. Hey, Rodney.

    RODNEY CARMICHAEL, BYLINE: Hey, what’s going on, Sarah?

    MCCAMMON: So Rodney, Tyler’s career has had many different phases over the years. What has led him to this latest chapter?

    CARMICHAEL: Well, Tyler started in the blog era, releasing self-produced albums for download before breaking through to the mainstream. And, you know, he’s since become known for these carefully crafted albums, mixing jazz, soul and R&B music and winning two Grammys for rap album of the year in the process. But he’s always had this gift for shattering taboo. He’s a button pusher, a habitual line stepper, and nothing brings him more joy than making people squirm or blush or finger wag.

    Now, early on in his career, he did it by being this loud, vulgar, obnoxious, punk provocateur. Then later came his soft-boy era, where he really started to toy with rap’s really rigid norms around sexuality and gender. And he’s definitely thrown in a quarter-life crisis or two. But on this latest album, he just wants to dance.

    (SOUNDBITE OF SONG, “STOP PLAYING WITH ME”)

    TYLER THE CREATOR: (Singing) When I get to snapping like doo-wop, really got the juice like Tupac. Shorty got a strong jaw, might chew rock. Got me coming out the blue like nude cop. I been rocking…

    MCCAMMON: OK, so it sounds like this is a bit of a shift for Tyler. I mean, why this focus on dance?

    CARMICHAEL: Well, from Tyler’s point of view, a lot of the contemporary resistance against dancing is connected to this constant state of surveillance that we live under. The same day he released the album, he posted online about asking some of his friends why they don’t like to dance in public. And they said it was because of their fear of being filmed, basically, the threat of cellphones. And he says it made him wonder how much of our human spirit got killed because of this fear of being a meme just for the sake of having a good time.

    But in a broader sense, he’s also taking the front lines of a battle that’s been waged in rap for decades. I mean, hip-hop is responsible for some of the greatest dance trends of the 21st century. But that’s not come without a lot of internal conflict. I mean, generally, rap culture is built on street cred, and dancing has long been stigmatized by those too cool, too hard and too woke to be seen moving their bodies or having fun. And in the spirit of continuing to challenge the norms of Black masculinity, Tyler’s pushing back, and he’s trying to compel others to embrace freedom of movement, too.

    MCCAMMON: Yeah, so what else is he trying to say with this album?

    CARMICHAEL: Well, interestingly enough, Tyler’s denied that any sort of forethought or intention went into making the album. If anything, coming off the heels of his last LP, “Chromakopia,” where he dealt with these heavy, mature themes, the last thing he wanted to do on this one was overthinking. He set out to make something fast, fun and urgent.

    (SOUNDBITE OF SONG, “SUGAR ON MY TONGUE”)

    TYLER THE CREATOR: (Singing) Like sugar on my tongue. Can I steal that from you? Like sugar on my tongue, can I steal that…

    CARMICHAEL: He started recording the album while he was on tour, just this past May, and he rushed to release it before even giving himself time to have any second thoughts.

    MCCAMMON: OK, so no overthinking, no second thoughts – but Tyler does suggest the album comes with, I guess, some rules of engagement. I mean, how does he want his fans to experience it?

    CARMICHAEL: Well, No. 1 is no sitting still. Tyler wants people to be moving when they listen to this album to understand the spirit of it – dancing, driving, running, doing something physical. And you can definitely hear the eras of dance that Tyler was influenced by in the samples he picked, from Miami booty bass to the electro funk of Mantronix to Crime Mob’s crunk anthem “Knuck If You Buck.” The album might be called “Don’t Tap The Glass,” but it is clear that Tyler’s out to shatter all the myths around masculinity and movement.

    MCCAMMON: So I guess the takeaway is, dance like nobody’s filming, right?

    CARMICHAEL: (Laughter) Indeed, yeah.

    MCCAMMON: Fair enough. That’s NPR Music’s Rodney Carmichael. Thanks so much, Rodney.

    CARMICHAEL: Thanks, Sarah.

    (SOUNDBITE OF TYLER THE CREATOR SONG, “I’LL TAKE CARE OF YOU”) Transcript provided by NPR, Copyright NPR.

    NPR transcripts are created on a rush deadline by an NPR contractor. This text may not be in its final form and may be updated or revised in the future. Accuracy and availability may vary. The authoritative record of NPR’s programming is the audio record.


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  • Lebanon mourns beloved artist Ziad Rahbani

    SARAH MCCAMMON, HOST:

    Lebanon this week mourned the passing of one of its most beloved artists. Musician and playwright Ziad Rahbani died a week ago. NPR’s Michael Levitt has this remembrance.

    (SOUNDBITE OF ZIAD RAHBANI SONG, “ANA MOUSH KAFER”)

    MICHAEL LEVITT, BYLINE: In the song “Ana Moush Kafer,” you can hear a lot of what makes Ziad Rahbani a one-of-a-kind artist.

    (SOUNDBITE OF SONG, “ANA MOUSH KAFER”)

    ZIAD RAHBANI: (Singing in non-English language).

    LEVITT: “I am not a heathen,” he sings. “Hunger is a heathen. Disease is a heathen. Poverty is a heathen. Shame is a heathen.”

    (SOUNDBITE OF SONG, “ANA MOUSH KAFER”)

    RAHBANI: (Singing in non-English language).

    LEVITT: When the song was released in 1985, Lebanon had already endured a decade of brutal civil war. Rahbani’s lyrics jab at religious and political leaders who fractured the country along sectarian lines. “Who are you to call me a heathen?” He sings. “You’re the king of heathens.”

    (SOUNDBITE OF SONG, “ANA MOUSH KAFER”)

    RAHBANI: (Singing in non-English language).

    LEVITT: It was this sort of social commentary that made Rahbani such a beloved and influential voice in Lebanon, says Danny Hajjar, editor in chief of Rolling Stone MENA, which covers music in the Middle East.

    DANNY HAJJAR: Ziad Rahbani was so uniquely Lebanese and so entrenched in the fabric of Lebanon, both musically and politically.

    LEVITT: And it helped that he was born in 1956 to a family that was already part of the cultural fabric in Lebanon.

    HAJJAR: This is someone that came from a family of geniuses, and he himself was no exception to that.

    LEVITT: His father was renowned composer Assi Rahbani, who worked closely with his mother, one of the most beloved singers in the Arab world, Fairuz.

    (SOUNDBITE OF SONG, “WARD W SHABABIK”)

    FAIRUZ: (Singing in non-English language).

    LEVITT: By age 7, he began following his parents’ footsteps and started composing his own music.

    (SOUNDBITE OF DOCUMENTARY, “ON REFLECTIONS”)

    RAHBANI: (Through interpreter) I started playing some tunes on the piano, and my father would notice them and write them into music sheets. And he would ask me, where did you hear this? And I would say, in my head.

    LEVITT: In a documentary about his career titled “On Reflections,” Rahbani said his early penchant for music and art was encouraged by his family. But as he grew older, he became increasingly uncomfortable with their music. He felt it painted an idyllic image of Lebanon that ducked real-life issues. He described it as folklore.

    (SOUNDBITE OF DOCUMENTARY, “ON REFLECTIONS”)

    RAHBANI: (Through interpreter) There is criticism that my family and those who followed their example were creating folklore. There were many who did this, but my family – they were at the forefront.

    PAUL SALEM: He was very much a leftist, a communist, and that shows in his alignment with the little guy, the poor person, and that’s in his music, that’s in everything he said.

    LEVITT: Paul Salem is a senior fellow at the Middle East Institute. He’s also a musician who knew and worked with Rahbani. Salem says a key turning point came at age 19 when the civil war broke out in 1975.

    SALEM: The war quickly descended into a simple sectarian, mainly Muslim Christian kind of bloodletting, and that kind of moral collapse is something that also Ziad commented on and sort of was a big critic of.

    (SOUNDBITE OF SONG, “ABU ALI”)

    RAHBANI: (Vocalizing).

    LEVITT: Rahbani’s viewpoints could be strident. He was a supporter of the Lebanese militia group Hezbollah and expressed support for the regime of Bashar al-Assad during Syria’s civil war. But even though he could sometimes stir controversy, his art was never overshadowed, says Paul Salem.

    SALEM: He had his politics. Many people were aware of it, but that’s not what he was to people or why they cared about him.

    LEVITT: Rahbani’s political development came as he discovered different musical styles from around the world, like samba and jazz. This all became apparent in his theatrical works, like the 1978 musical “Bennesbeh Labokra Chou,” which translates to “What About Tomorrow.”

    (SOUNDBITE OF SONG, “OGHNEYAT AL BOSTAH”)

    RAHBANI: (Singing in non-English language).

    LEVITT: It tells the story of a bartender and his wife who struggle to run their business in a deeply troubled country.

    SALEM: That was his early period, which is really when everybody got to know him, fell in love with him, identify with him strongly.

    (SOUNDBITE OF SONG, “OGHNEYAT AL BOSTAH”)

    RAHBANI: (Singing in non-English language).

    LEVITT: However, alongside Rahbani’s solo work as a musician and playwright, he was also fostering a creative relationship with his most important collaborator – his mother, Fairuz.

    DIMA ISSA: You know, Fairuz is someone that is untouchable. She’s this kind of, like, icon. You know, he transformed her.

    LEVITT: Dima Issa is an assistant professor at the University of Balamand in Lebanon. She’s written extensively about Fairuz’s life and career.

    (SOUNDBITE OF SONG, “KIFAK INTA”)

    FAIRUZ: (Singing in non-English language).

    LEVITT: This transformation for mother and son can be heard in one of their most beloved hits, “Kifak Inta.” Fairuz sings to an ex-lover, longing to go back to a time before they parted ways.

    (SOUNDBITE OF SONG, “KIFAK INTA”)

    FAIRUZ: (Singing in non-English language).

    LEVITT: In working with her son, Fairuz showed audiences a much more raw side of herself.

    ISSA: It really brought out this kind of, like, human aspect of Fairuz herself, you know? And it’s not just about, you know, her positioning as just kind of, like, this figure of, you know, Arabness or Lebaneseness or nationhood. You know, it was a very nice way to bring Fairuz back to Earth.

    (SOUNDBITE OF SONG, “KIFAK INTA”)

    FAIRUZ: (Singing in non-English language).

    (SOUNDBITE OF SONG, “BALA WALA CHI”)

    RAHBANI: (Singing in non-English language).

    LEVITT: This week, Fairuz made a rare public appearance at her son’s funeral. Ziad Rahbani was 69 years old. Michael Levitt, NPR News.

    (SOUNDBITE OF SONG, “BALA WALA CHI”)

    RAHBANI: (Singing in non-English language). Transcript provided by NPR, Copyright NPR.

    NPR transcripts are created on a rush deadline by an NPR contractor. This text may not be in its final form and may be updated or revised in the future. Accuracy and availability may vary. The authoritative record of NPR’s programming is the audio record.


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  • Lindsay Lohan On The ‘Frustrating’ Experience Of Being Pigeonholed

    Lindsay Lohan On The ‘Frustrating’ Experience Of Being Pigeonholed

    Lindsay Lohan, best known for her roles in Mean Girls and 1998’s The Parent Trap, opened up about how her time growing up in Hollywood led her to feel pigeonholed into certain types of roles in lieu of more highbrow fare.

    Speaking to The Times U.K. about Freakier Friday, which releases Aug. 8 theatrically, the actress said she took a brief career hiatus during the 2000s as she was “losing that feeling of excitement about doing a film” and wanted to focus on her personal life.

    Now, though, with the followup to 2003 body-swap comedy also starring Jamie Lee Curtis, Lohan said she is looking forward to a more diverse range of projects.

    “Yeah, I do [think I was pigeonholed],” she said. “I was so thrilled to work on [2006’s] A Prairie Home Companion [opposite Meryl Streep and Woody Harrelson], and yet even today I have to fight for stuff that is like that, which is frustrating. Because, well, you know me as this — but you also know I can do that. So let me! Give me the chance. I have to break that cycle and open doors to something else, leaving people no choice. And in due time, if Martin Scorsese reaches out, I’m not going to say no.”

    Outside of Freakier Friday, Lohan is set to headline and executive produce Count My Lies, a Hulu thriller about a conniving nanny who infiltrates a home full of secrets, from former This Is Us executive producers/co-showrunners Isaac Aptaker and Elizabeth Berger.

    “I miss films that are stories, like All About Eve or Breakfast at Tiffany’s. There are not many major movies I want to go and see that are like that — there’s a gap and I’m craving to do work like that,” Lohan said of her desire to take on the series. 

    Earlier this year, Lohan expressed similar sentiments about wanting to expand on the roles she was embodying on screen, saying she doesn’t want to make Netflix rom-coms “forever” after leading three such movies for the streamer.

    Elsewhere in her interview with The Times, Lohan reflected on the tabloid-led scrutiny of her at the height of her nascent fame in the early aughts: “I don’t ever want my family to experience being chased by the paparazzi the way I was. They were terrifying moments I had in my life — I have PTSD to the extreme from those things. The most invasive situations. Really scary. And I pray stuff like that never comes back. It’s not safe. It’s not fair.”

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  • The Count of Monte Cristo review – you’ll have to pause every 45 seconds to shake your head at its daftness | Television

    The Count of Monte Cristo review – you’ll have to pause every 45 seconds to shake your head at its daftness | Television

    Are you ready for some bad, fun TV made from a bad, fun book? Of course you are! It’s high summer and the air is heavy with promise, so come inside, get comfy on the sofa and prepare to binge an eight-episode adaptation of Alexandre Dumas’ ludicrous potboiler The Count of Monte Cristo.

    This series from Greg Latter and Sandro Petraglia stars Sam Claflin (last seen on the small screen being very good as the main man of the sextet in Daisy Jones and the Six) as one of the most wronged men in history, Edmond Dantès. Gosh, he goes through the mill.

    As do we. The two episodes available for review (there was a third, but the site kept crashing – possibly for my own protection) are extraordinary. The plot is simple enough. Wild, of course – that is what keeps you turning the 1,300 or so pages of the book – but straightforward once you realise that la credibilité is not an overarching concern.

    We are in France in 1815, just as Napoleon is escaping Elba and looking forward to his brief return to power. Meanwhile, our man Dantès annoys a fellow sailor, Danglars (Blake Ritson), by being promoted to captain over him. I suspect a lifetime of jokes about his name have rendered Danglars overly touchy, but it proves to be very bad luck for our hero. Because Dantès also narks a man called Fernand Mondego (Harry Taurasi) by sweeping his cousin Mercédès (Ana Girardot) off her feet when Fernand was quite looking forward to doing so himself. Danglars and Fernand duly get together to frame Dantès for treason. Thanks to the self-interest and corruption of Marseille’s deputy prosecutor, Gérard de Villefort (Mikkel Boe Følsgaard), they succeed.

    Before you can say: “What a trio of dirty dogs!” Dantès is chucked into a carriage and then into a cell on an island fortress, where he moulders away for 10 years with nothing but the maggots in his gruel for company. The crushing despair a man would feel, pushing him to the brink of madness and beyond is conveyed by putting Claflin in a terrible long wig.

    But then! He hears a tapping from the other side of his cell wall. It is the sound of Abbé Faria, played by Jeremy Irons, breaking through. The abbot shares his education and escape plan with his new best mate and they spend the next five years chipping away at the stones and mortar lying between them and freedom. Faria also works out just what dirty doggery has taken place and gives Dantès a raging thirst for vengeance, albeit one that he cannot slake until he is out of Chateau Maggotes.

    Alas, just as they are about to flee, the abbot has a stroke, leaving him with the strength only to give a 40-minute monologue about the origins and meaning of a scrap of parchment in his ragged pocket. It shows the location of treasure buried on the island of Monte Cristo; he bequeaths it to Dantès before carking it. Dantès puts the corpse in his own bed, sews himself into Faria’s body bag and gets himself thrown off the battlements and into the sea. Liberté!

    There are two problems. Un, we are but a quarter of the way through this and we still have so much to cover – finding the treasure, becoming the count, fooling Parisian high society, some murders, some currency manipulations, at least one duel, some poisoning, blackmail, embezzlement and assorted other shenanigans. I fear that either the story must have been slashed to ribbons or that we will have to hurtle through at such a speed that it becomes incomprehensible.

    Incoherence already threatens, because of problème deux: the script. The Count of Monte Cristo requires you to pause it every 45 seconds or so to shake your head at needless utterances such as: “If we can’t get through this storm, we’ll perish.” Some of it is truly unbelievable. Did Dantès really just say: ‘I’d like to add two hours a day to my digging,’ to his abbot friend? Did the abbot honestly ask, in wonderment at the sight of a watch Mercédès had given Dantès: “And you’ve kept it all this time?” Yes, of course! What was he going to do? Lose it somewhere in his teeny tiny cell? Give it to a mouse? Chuck it out the window in a sudden passion for minimalism? (A high proportion of the performances are terrible, too, but let’s be kind and blame most of that on the instructions the actors have been given.)

    There are enough of these howling absurdities to hobble the pacing, which needs to be fast and furious to cover Dumas’ own, and to prevent the viewer from making any investment in the characters. But their stupidity brings a joy of its own. When the tech gremlins decide I am ready, I look forward to many more episodes.

    The Count of Monte Cristo aired on U&Drama

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  • American Eagle defends Sydney Sweeney ad amid backlash over ‘genes’ wordplay

    American Eagle defends Sydney Sweeney ad amid backlash over ‘genes’ wordplay

    Teen retailer American Eagle Outfitters has a message to its critics, who took issue over its denim ad campaign with 27-year-old actor Sydney Sweeney that sparked a debate over race and Western beauty standards. The campaign, the retailer said, was always about the jeans.

    In a statement posted on American Eagle’s Instagram account on Friday, the retailer said the ad campaign “is and always was about the jeans. Her jeans. Her story. We’ll continue to celebrate how everyone wears their AE jeans with confidence, their way. Great jeans look good on everyone.”

    The message marked the first time the teen retailer responded to days of backlash since the ad with the tagline “Sydney Sweeney has great jeans” launched last week.

    In the run-up to the ad blitz, the company’s chief marketing officer told trade media outlets that it included “clever, even provocative language” and was “definitely going to push buttons.”

    It’s unclear if the company knew how much controversy the ad could raise.

    Most of the negative reception focused on videos that used the word “genes” instead of “jeans” when discussing the blonde-haired, blue-eyed actor known for the HBO series “Euphoria” and “White Lotus.”

    Critics found the most troubling was a teaser video in which Sweeney says, “Genes are passed down from parents to offspring, often determining traits like hair color, personality and even eye color. My jeans are blue.”

    The video appeared on American Eagle’s Facebook page and other social media channels but is not part of the ad campaign.

    Some critics saw the wordplay as a nod, either unintentional or deliberate, to eugenics, a discredited theory that held humanity could be improved through selective breeding for certain traits.

    Other commenters accused detractors of reading too much into the campaign’s message. Some marketing experts said the buzz is always good even if it’s not uniformly positive.

    “If you try to follow all the rules, you’ll make lots of people happy, but you’ll fail,” Allen Adamson, co-founder of marketing consultancy Metaforce said. “The rocket won’t take off.”

    – Ends

    Published By:

    Aashish Vashistha

    Published On:

    Aug 3, 2025


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  • What? They’re doing raves in the morning now? With coffee? At a cafe? | Coffee

    What? They’re doing raves in the morning now? With coffee? At a cafe? | Coffee

    The only ways I know to rave are festival-style or in the buzzed wee hours – the time between pubs shutting and trains starting. This means I’ve never walked into a cafe, fresh-faced and sober at 9am, with the intention of raving.

    But this is 2025, not the late 1990s, and people are possibly more questioning of the cost of partying on their bodies than they once were. So, coffee raves have become a thing.

    They’re all over the world and come in many shapes and sizes, tending towards the bijou. Inevitably, they’re big in Los Angeles and on social media, and are often the territory of young people, athleisurewear and brand collaborations.

    They’re so popular, they’ve also become fair game. In a TikTok rant last week, musician Keli Holiday said what I might have been thinking: “Call me old, call me jaded, but enough is enough, no more coffee raves … If you want to get your rave on … go to a rave or go to a club.”

    But on a rainy Saturday morning in central Sydney, I try one out – dubbed Maple Social Club – approaching with caution. I’m not a leisurewear wearer or an Instagrammer or indeed a coffee drinker.

    My young adult life was, rightly or wrongly, given to maximum nights out and minimum responsibility – and my weekends now are generally about children and sleep. If there’s a cafe involved, it’s usually peaceful.

    Maple Social Club is less than a year old. The morning rave suits a city such as Sydney, where residents are among the world’s earliest to bed and earliest risers. Photograph: Lisa Maree Williams/The Guardian

    Organiser Taylor Gwyther, 25, tells me morning raves are an add-on to the night-time variety, not instead of. “But, there’s definitely a trend away from alcohol that I think encourages events like this to be popular,” she says as the first arrivals begin to enter the warehouse space behind Wilson cafe in Surry Hills.

    Maple Social Club, which Gwyther founded with Connor Cameron, 23, is less than a year old and was inspired by run clubs and LA’s AM radio morning DJ sets. Their free events provide an alibi, Gwyther says, in the same way a run club is a little bit about running and a lot about meeting people.

    “Covid shut down a lot of social life and created lonely adjacent habits, and people are looking to revitalise how they spend their time,” she says. “We spend so much time online for work and now play, I think people are looking for places and spaces to spend offline. We’re trying to make it easier to find those things.”

    Morning raves also make sense on another, more local, level. Sydney residents are among the world’s earliest to bed and earliest risers. In a city whose nightlife sits well below its beaches, wealth and wellness reputations, mornings are sacrosanct.

    Plus, it’s expensive to party the normal way in a city with a famously stratospheric cost of living. A beer is about $12 in the pubs nearby. Here, a coffee is about $5 – and there’s no need to buy a drink at all. Because, as Bronte, a 30-year-old nurse tells me later on the dancefloor, “Who’s got money these days, really?”

    Michael Pung, 39, a property valuer from Sydney, saw the event advertised on Instagram.

    “I thought I’d check it out. I’ve been single for a while and I thought I might as well just come out and meet people,” he says, queueing in the long and slow-moving coffee line – which, handily for him, doubles as another opportunity to meet people.

    Like me, he’s not normally a coffee drinker but, given he was out late last night Latin dancing, he says “probably today’s the day”.

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    I order a tea and a croissant, which feels plain weird, and join the throng as DJs Catch25 and Haze near the end of the opening set. It’s already busy and I feel too exposed, too daylit, too close to too many raised phones. But, everyone – and I really mean everyone – is smiling.

    Daisy Dumas (left) talks with Maple Social Club co-founder Taylor Gwyther. Photograph: Lisa Maree Williams/The Guardian

    By 10am, the dancefloor is heaving with what feels like a roughly 50/50 mix of men and women. There are some older people, but generally the crowd is aged 20 to 35 – and as Gwyther predicted, “super diverse”. Some have made a morning of it and are wearing what I would consider proper going-out attire with high heels; others are grungy, and most are in baggy jeans.

    Bronte, who lives locally, is here with friends. She says her evening and night shifts as a nurse mean she is often socially “removed from the night”. She’s sweaty and happy and hard to hear above the music. “I’ve done all my walking for the day,” she says, referring to another thing that didn’t used to be a thing: step count.

    Like Pung, she also goes out at night-time, but having the option to dance her working week away come Saturday morning is, as she puts it, “very nice”.

    The music’s not quite loud enough, or bassy enough, to lose myself – but, by about 10.30am, I think I might be dancing. People near me are drinking iced matcha lattes, which I’ll never condone, but as the DJ drops a relative banger, I admit to my colleague, who is photographing this road test, that I’m having quite an uplifting start to my weekend. The day is still young and there’s an afterparty at a pub nearby and yet another planned for the afternoon.

    Before I leave (it’s approaching 11am after all) I turn to talk to a man who is watching on from close to the DJ area. Liam, 25, is almost-but-not-quite dancing, and it turns out he works for Red Bull events. He’s here professionally: might Maple’s coffee raves be worth bringing into the energy drink’s gargantuan sponsorship embrace?

    “We see just as much relevance for Red Bull in an occasion like this [as] a music festival or the F1,” he says with no small amount of enthusiasm.

    Stepping around some spilt milk, it strikes me there is no alcohol-edged aggro, argy bargy at the bar or intimidating bouncers. Just music and broad daylight – plus caffeine, in hot, cold and increasingly corporatised modes.

    This is 2025, not the late-1990s. Photograph: Lisa Maree Williams/The Guardian

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