Category: 5. Entertainment

  • Michael C. Hall on reviving his killer role for ‘Dexter: Resurrection’

    Michael C. Hall on reviving his killer role for ‘Dexter: Resurrection’

    Death becomes Michael C. Hall.

    In HBO’s signature drama “Six Feet Under,” Hall was consistently praised for his role as David Fisher, the closeted gay member of a dysfunctional family operating a funeral home.

    His star status was secured with his portrayal of Dexter Morgan, a Miami-based blood spatter analyst who moonlighted as a serial killer in “Dexter.” The drama flavored with dark comedy was Showtime’s most popular series during its eight-season run, which ended in 2013. And a 2021 reboot, “Dexter: New Blood,” scored solid ratings.

    That limited series was most notable for its finale, in which Dexter Morgan was shot and killed by his emotionally damaged son Harrison (Jack Alcott). Acknowledging that devoted fans would likely be upset by Morgan’s demise, Hall was still eager to end the “Dexter” saga.

    “It feels justifiable,” said Hall of the conclusion in a 2022 Times interview. “As upsetting as it may be, I hope audiences will appreciate the resonance of Dexter dying this way at the hands of his son.”

    He also signaled at that time that he was more than ready to shelve the character he had inhabited on and off since 2006: “Playing Dexter … was a kick. It was an experience I’ve never had before and can’t imagine ever having again. But the desire for closure had to do with wanting to move on.”

    Michael C. Hall as Dexter Morgan in “Dexter: Resurrection,” which is set in New York City.

    (Zach Dilgard / Paramount+ with Showtime)

    But instead of winding up six feet under, Dexter now lives to kill another day. It turns out he miraculously survived that “fatal” gunshot, and is ready to resume his deadly vigilante campaign in “Dexter: Resurrection,” premiering July 11 with two episodes on Paramount+ with Showtime.

    Leading the hurrahs for Dexter’s return is Hall: “I feel excited about his story continuing, and I think people will like it.”

    During a video interview from New York before leaving for the last day of shooting, Hall’s upbeat demeanor was a clear indication that Dexter’s life after death agrees with him. He is already primed to keep playing Morgan for the foreseeable future.

    “All I can say is I don’t think we embark on this season imagining it as a one-off,” Hall said. “Without giving away too much, I think the door will be open at the end of this.”

    Sharing Hall’s enthusiasm is series creator Clyde Phillips, who is resuming his “Dexter” duties as showrunner and executive producer.

    “When Michael called me, it was exhilaration,” Phillips said in a phone interview. “He said, ‘Dexter is in my blood, and he’s in your blood. Can you unkill me?’”

    A man in dark clothing sits on the floor with a red light cast on him.

    “All I can say is I don’t think we embark on this season imagining it as a one-off,” said Michael C. Hall of “Dexter: Resurrection.” “Without giving away too much, I think the door will be open at the end of this.”

    (Justin Jun Lee / For The Times)

    The series kicks off with Morgan waking from a 10-day coma. After his recovery, he flees the fictional upstate New York hamlet of Iron Lake, where he had been living under an alias, and heads to New York City to track down — and hopefully reconnect — with Harrison, who is working at a hotel.

    It’s not long before Morgan’s killer instincts resurface, eventually joining a group of fellow serial killers. The cast in the 10-episode series includes Uma Thurman, Peter Dinklage, Neil Patrick Harris and Eric Stonestreet.

    Morgan’s resurrection had already been previewed in “Dexter: Original Sin,” which premiered last December and has been renewed for a second season. The prequel features Patrick Gibson as a younger Dexter Morgan who starts to indulge his sinister urges while working as a forensics intern at Miami Metro. As he did in “Dexter,” Hall provides the voice-over for his inner thoughts.

    Returning from the original cast of “Dexter” for the new drama is James Remar as the ghost of Harry Morgan, Dexter’s adoptive father, and David Zayas as Det. Angel Batista. The series will have a different vibe than the first “Dexter.”

    “New York is a completely new environment — different climate, different job,” said Hall, who is also an executive producer. Dexter’s “death” in “New Blood” actually gives the character a new lease on life, literally and figuratively, he added.

    1

    A man in a hat and dark coat stands in a lit room.

    2

    A man in with a beard and short curly hair stands in a wood-paneled room. A blonde woman in black stands in the background.

    3

    A man in glasses and a green sweater sits on a chair.

    1. David Zayas will reprise his role as Det. Angel Batista in “Dexter: Resurrection.” 2. Joining the cast are Uma Thurman as Charley and Peter Dinklage as Leon Prater. (Zach Dilgard/Paramount+ with SHOWTIME) 3. Also guest starring is Eric Stonestreet.

    “The fact that Dexter didn’t die liberated the character to a degree,” he said. “He can’t go back to who he was, but he can reclaim some of the essential magic of who he is. He is not blind to his past, but he’s not dragging it around in the same way. He’s able to let it be.”

    Phillips said there’s a notable difference between the two series when it comes to Hall’s character: “We acknowledge that Dexter is in his 50s. In the pilot of ‘Dexter,’ he was a fit 33-year-old. Now he’s recovering from a gunshot wound. He’s slower and needs to be even smarter.”

    Still central to Dexter’s mission is the code inherited from his father, which is to murder only criminals who have escaped punishment. “The code is vital to his integrity and the show,” Phillips said.

    The violation of that code sealed Morgan’s fate in “New Blood.” After being arrested as a murder suspect in Iron Lake, Dexter, during a jail escape, killed a police sergeant who had formed a close bond with Harrison.

    “He was backed into a corner,” said Hall of Dexter’s dilemma. “He found the consideration of the reality of the wreckage, having played fast and loose with his father’s code, excruciating. He encourages his son to do him in. There was something about what Dexter had come to be that demonstrated that he needed to be taken out.”

    But the purpose of “New Blood” was also to correct the biggest stumble in the trajectory of “Dexter” — the series finale.

    In that episode, Morgan took his foster sister Debra (Jennifer Carpenter) off life support after she suffered a stroke. After taking her body out to sea to dispose of it, a distraught Morgan steered his vessel into an approaching hurricane in an apparent suicide attempt. The closing moments revealed that he had survived, winding up in a remote community far from Miami and starting a new life as a lumberjack.

    Legions of fans were furious, blasting the ending as perplexing and open-ended. Hall later echoed their unhappiness, stressing that the closure in “New Blood” was much more appropriate and definitive.

    “Narratively, it made sense,” Hall said. “But emotionally, it seemed that it was difficult for people to see him go out like that.”

    A man in dark clothing standing with his hands in his pocket. A long shadow is seen beside him.

    Michael C. Hall on choosing to step away from Dexter for a time: “It was about catching my breath, doing other things, having life go on as it does.”

    (Justin Jun Lee / For The Times)

    The key to Hall’s interest in reviving the beloved character was getting distance from him.

    “It was about catching my breath, doing other things, having life go on as it does,” he said. His post-”New Blood” projects included starring in Broadway’s revival of “Hedwig and the Angry Inch” and performing in his band, Princess Goes to the Butterfly Museum, now known as Princess Goes.

    Despite those endeavors and others, the possibility of reviving Dexter never completely vanished for Hall, the show’s fan base, or executives at Paramount, which produces the franchise.

    The first significant spark ignited a few years ago during a guerrilla-style video shoot in Times Square for Princess Goes that was directed by Marcos Siega, who had helmed several episodes of “Dexter.”

    “Seeing Siega and remembering the amazing collaborators we had over the years got me thinking, ‘I know this sounds crazy, but what if Dexter didn’t die?’ ” Hall recalled. “I was compelled by the idea, and once I shared that with others, I realized there was an openness to that notion.”

    The studio conducted its own research which revealed that fans found it more plausible that Morgan did not die in “New Blood,” Hall said.

    “The fans went crazy after ‘New Blood’ because they love this character so much,” Phillips said. “I’m gratified that Michael wanted to come back.”

    Asked about the durability of his character, Hall smiled: “Dexter is cherished or loved for different reasons, but he is nothing if not resilient. It’s undeniable that people relish spending time with someone who is taking responsibility for his darkness. We all have our share of darkness. It’s just not as formidable as Dexter’s.”

    Phillips credited Hall’s artistry for the character’s popularity. “Whenever Michael is on screen, there is a power and connection with him,” he said. “As handsome and fit as he is, he’s also an everyman. That is appealing to an audience. This isn’t the Jeffery Dahmer or Ted Bundy story. Dexter has been referred to as America’s favorite serial killer.”

    The least of Hall’s challenges was getting back into “Dexter” mode.

    “My cycle of cellular regeneration has happened three times over since I started doing this,” he said. “So if Dexter is not in my bones, he’s somewhere in there.”

    He smiled again: “The weirdest thing about returning to Dexter is how weird it doesn’t feel. That has to do with the scripts and the stories. I just surrender to it. Whether I return to Dexter or not, it is and will remain at the top of my resume … or obituary.”

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  • The inside story of the wildest shoot in film history

    The inside story of the wildest shoot in film history

    Alamy A still of Martin Sheen wearing an army hat in Apocalypse Now (Credit: Alamy)Alamy

    No production has been as troubled as the 1979 war epic. As behind-the-scenes documentary Hearts of Darkness is re-released, its director, and two of those who were on set, reveal all.

    “The way we made it was very much like the way the Americans were in Vietnam,” explained Francis Ford Coppola, after the Cannes Film Festival screening of Apocalypse Now in 1979. “We were in the jungle. There were too many of us. We had access to too much money, too much equipment, and, little by little, we went insane.”

    While the troubled production of Coppola’s epic, brutal, psychedelic war film had been well documented in the press while it was being made – from finance issues to actors being re-cast, and health problems to extreme weather – it would not be until 1991 that the true extent of the chaos would become clear via Hearts of Darkness: A Filmmaker’s Apocalypse.

    Alamy The shoot was meant to last five months – but ended up taking over a year (Credit: Alamy)Alamy

    The shoot was meant to last five months – but ended up taking over a year (Credit: Alamy)

    The documentary was assembled from extensive footage that Coppola’s wife Eleanor shot while on set, depicting a film production that while breathtaking in scope, ambition and vision, was equally messy, drug-addled, and riddled with seemingly insurmountable setbacks. Fax Bahr and the late George Hickenlooper were the two young directors tasked with combing through reel after reel to piece together the madness and tell the gripping story of the film’s making. Now that film, having undergone a 4K restoration, is back in US and UK cinemas from this weekend.

    Bahr still recalls the first day he saw Coppola’s footage, which had been sitting, largely untouched, for over a decade. “Some of the reports had been, ‘Oh, there’s a lot of out-of-focus stuff,’” he tells the BBC. “But the reels we looked at were extraordinary. Just beautiful footage. Clearly, she had been copiously recording everything that was happening. It was absolute gold.”

    The long list of troubles

    Apocalypse Now, loosely based on the 1899 novella Heart of Darkness by Joseph Conrad, is considered one of the greatest works in cinematic history. However, it nearly fell apart at various stages. With filming starting in the Philippines in March 1976, it was initially set to be a five-month shoot – but in the end would last over a year. Coppola fired his leading man, Harvey Keitel, a few weeks in, and replaced him with Martin Sheen, who then suffered a near-fatal heart attack on location. Expensive sets were totally destroyed by a typhoon, and some actors were infected with hookworm parasites, while others leaned into heavy partying and drug-taking on set.

    Then Marlon Brando, who was playing the AWOL Colonel Kurtz, showed up on set heavily overweight and completely unprepared, which forced Coppola to re-write and shoot the ending of the film to suit him. As time went on, the film was so drastically over budget that Coppola took on the role of financing it himself, which would have ruined him had it not made its money back. According to Eleanor Coppola’s book, Notes, even after the shoot had wrapped, during post-production, Coppola only gave himself a 20% likelihood that he could pull out a credible film from the wreckage.

    Every day it would rain. It would rain like it was mad at you. It would rain sheets like I had never seen before – Damien Leake

    The documentary paints a picture of a production that sets out to recreate the Vietnam war and, in many ways, ends up mirroring many of the same patterns of behaviour that took place among soldiers. One person suitably placed to make such a comparison is Chas Gerretsen, the Dutch war photographer and photojournalist who was brought onto the set for six months (the results were collected in the 2021 book Apocalypse Now: The Lost Photo Archive.) “Vietnam was insane, Apocalypse Now only slightly less so,” Gerretsen tells the BBC. 

    The harsh conditions were totally alien to most people there. “The crew complained a lot about the heat, humidity, hotel rooms, bugs, mosquitoes,” he says. “The mud – sometimes knee-deep – was a real challenge.” Damien Leake, who played a machine gunner in the film, was on set for three weeks and similarly remembers the physical as being unlike anything he had encountered. “The first thing I remember is getting off the plane and the humidity hits you like a wet mop,” he tells the BBC. “Having been from New York, I know humidity, but this was unbelievable.” The water was not safe to drink, geckos climbed the walls of the hut he stayed in, and the weather was biblical. “Every day it would rain,” he says. “It would rain like it was mad at you. It would rain sheets like I had never seen before.”

    STUDIOCANAL Francis Ford Coppola on set with his wife Eleanor, whose footage forms the core of Hearts of Darkness (Credit: STUDIOCANAL)STUDIOCANAL

    Francis Ford Coppola on set with his wife Eleanor, whose footage forms the core of Hearts of Darkness (Credit: STUDIOCANAL)

    As the production dragged on, it became tough for the cast and crew, who started to miss life back home. “They were pretty much like the soldiers in Vietnam, who had never been further away from home than Canada,” recalls Gerretsen. “There was a lot of homesickness. One member of the crew went nearly every weekend to Manila – a three-to-four-hour trip, each way, over a bad road – and rented a hotel room overlooking the airport, just watching planes take off for the USA.”

    It was such a unique film in film-making history. I don’t think anybody will ever be able to do anything like that again – Fax Bahr

    Coppola’s vision was crumbling more and more as time went on. In particular, he couldn’t nail the ending of the film which, to this day, varies in several different edits and versions of the film. “I call this whole movie the Idiodyssey,” Coppola said at the time, as recorded in Hearts of Darkness. “None of my tools, none of my tricks, none of my ways of doing things works for this ending. I have tried so many times that I know I can’t do it. It might be a big victory to know that I can’t do it. I can’t write the ending to this movie.” However, his cast seemingly stayed loyal and committed. “Actors would walk through fire for Francis,” says Leake, “because he gives them such leeway and such a sense of them being able to make this [scene/character] their own. Then he then shapes it into what he wants. You can’t ask for more than that.”

    While homesickness plagued many, Leake had a different experience. He calls his time on the shoot “the most glorious three weeks of my life. I would go hang out with Filipino people, which I adored. I thought they were wonderful. I fell in love with a beautiful girl and if I had had a bigger part in the film, I’d probably still be there. I loved it that much.”

    Telling the behind-the-scenes story 

    Once Bahr began to work through all the footage, it was only then that it sunk in just how miraculous it was that this film existed at all. “I knew that it was an extremely challenging film to pull off, but until you get into the nitty gritty of the footage, you couldn’t really understand the horrendous obstacles that they kept facing.”

    As such, the task Bahr had in telling the story behind the story was a challenge itself, requiring him to dig through around 80 hours of footage. “The first cut of the documentary was four and a half hours,” he explains. “Because Ellie (Coppola) kept shooting after the production was over, we had a whole post-production section [in the original cut].” And of course, there was plenty of drama during that process, even when Coppola and his team were out of the jungle and back in the comfort of a studio. “One of the editors absconded with the print and holed up in a hotel room,” Bahr recalls. “Nobody could find him and they thought that the whole thing was stolen. Then he would send back burned celluloid in envelopes saying, ‘I’m getting rid of the film, scene by scene’. They were just freaking out.” Thankfully, the creative differences that had caused the rift and theft were resolved before any serious damage was done.

    Alamy Marlon Brando, who played Colonel Kurtz, was notoriously erratic during filming (Credit: Alamy)Alamy

    Marlon Brando, who played Colonel Kurtz, was notoriously erratic during filming (Credit: Alamy)

    Bahr recalls the moment when he knew that the documentary had uncovered something foundational. “The discovery of the audio tapes that Ellie made of Francis was revelatory,” he says of the audio recordings that play out over scenes in the film. “Ellie was the only person on Earth who was capable of capturing Francis like that – up close and personal. This was putting you right here with an American master in his most private moments and it was a real glimpse into the very centre of creativity: its doubt, worry, angst, and working out these ideas. That was incredibly special.”

    Coppola gave Bahr and Hickenlooper his blessing to do what they wanted with the footage. His only instruction was: be honest. “He said, ‘There’s some ugly things that happened here, but as long as you tell the story honestly, I’ll support it.’” The only request he made was that the narration, which had been done by a voice actor, was re-recorded by his wife, given that the material was hers and, in many ways, this was a story seen through her eyes. It was a final masterstroke move that made the documentary feel like even more of a raw insider’s look at the film shoot. 

    “The nicest thing that anyone says to me about the documentary is that it’s a necessary accessory to understanding Apocalypse Now,” says Bahr. “People say, ‘Well, I saw Apocalypse Now and loved it, but after I saw your documentary, I understood it in a more comprehensive way.’ That’s the highest compliment possible.”

    For Bahr, Apocalypse Now exists as a total one-off. “It was such a unique film in film-making history,” he says. “I don’t think anybody will ever be able to do anything like that again. Not just because Francis was willing to stake his whole fortune on it, but also just because of the ambition. I mean, he intended to go to the Philippines and recreate Vietnam for the crew and have everybody in the company go through that experience. It was such a brilliant vision.”

    For Gerretsen, his experiences have become almost impossible to distinguish from his memories of actual war zones. “The explosions, the coloured smoke, the hours of waiting for the scene to be set up – everything is mixed,” he says. When he did watch the finished film, its impact was significant. “It was incredible in the way it brought it all back. It was a masterpiece, no doubt, but it would be several years before I could watch it again. Both the Vietnam and Cambodian wars, and Apocalypse Now, continue to be with me because the insanity of war is still with us.”

    Hearts of Darkness: A Filmmaker’s Apocalypse is in UK cinemas from 4 July, and will play at New York’s Film Forum from 4 July, and other US cinemas nationally from 18 July. A 4k Blu-ray collector’s edition will be available to buy in the UK from 28 July.

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  • India quietly lifts social media ban on select Pakistani celebrity accounts to the dismay of some – Comment

    India quietly lifts social media ban on select Pakistani celebrity accounts to the dismay of some – Comment

    It appears that India is gradually lifting its digital restrictions on Pakistani celebrities and entertainment content, with users across the country reporting renewed access to previously blocked Instagram profiles and YouTube channels.

    On Tuesday, several Indian users noticed they could once again view the Instagram accounts of Pakistani stars such as Yumna Zaidi, Dananeer Mobeen, Ahad Raza Mir, Azaan Sami Khan, Mawra Hocane, Ameer Gilani, and Danish Taimoor — all of which were previously restricted following the rise in tensions between the two neighbours following the Pahalgam attack in May, for which India blamed Pakistan, an accusation Pakistan has repeatedly denied.

    Indian X user Sonam Mahajan drew attention to the change, posting: “BREAKING: Instagram accounts of Pakistani artists Yumna Zaidi, Dananeer Mobeen, Ahad Raza Mir, Azaan Sami, Mawra Hocane, Ameer Gilani and Danish Taimoor, which were restricted in India in the wake of the Pahalgam terror attack, are now accessible again.”

    She added that official YouTube channels for Pakistani broadcasters HUM TV, Har Pal Geo, and ARY Digital had also been unblocked.

    Indian publication Filmfare later confirmed that these profiles and platforms were indeed accessible in the country without VPNs. However, some Pakistani celebrity accounts, including that of actor Hania Aamir — who is currently starring alongside Diljit Dosanjh in Sardaar Ji 3 and enjoyed considerable support in India prior to Pahalgam — remain unaccessible.

    Other major names such as Mahira Khan, Fawad Khan, and Atif Aslam continue to remain inaccessible on Indian platforms, according to the outlet. No official explanation has been issued by Indian authorities about the partial rollback.

    The move has sparked criticism in India’s online spaces, particularly from those who support the ongoing digital blockout of Pakistani content. “It’s shameful that you have done this,” one user wrote while tagging India’s Ministry of Electronics and IT.

    Another questioned the apparent inconsistency: “We banned them for nationalism. Now unbanned them for… nautanki (drama)?”

    Many failed to understand the rationale behind the move, calling on the Indian government for an explanation.

    One user sarcastically referenced the restrictions on Sardaar Ji 3, which is not releasing in India, writing: “Diljit be like — ‘When this is what you had to do, then why didn’t you let my film release in India?’”

    The film has become a flashpoint after India blamed Pakistan for the deadly Pahalgam attack — allegations Pakistan has strongly denied. What followed was a sharp military escalation, including overnight Indian airstrikes on Pakistani territory. According to the ISPR, the strikes hit six sites, killing 31 civilians and injuring 57, including women and children.

    Pakistani celebrities, including Aamir, issued statements condemning the attacks. The actor’s Instagram story, calling the strikes “cowardly” and “shameful,” sparked backlash across the border and calls for a boycott of the film.

    As part of the fallout, several Pakistani social media accounts and entertainment platforms were blocked in India. That makes the recent quiet reversal all the more surprising.

    However, not all reactions were critical. Some Indian fans welcomed the move and called for a broader cultural unblocking. “Then what is the problem in releasing the Sardaar Ji 3 movie?” one user asked.

    Others voiced support for restoring access to Pakistani music on Indian platforms. Pakistani songs were removed from Indian libraries on Spotify following a directive from the Indian government.

    “What wrong did Atif Aslam do? Please unblock his account,” read one post.

    “I just want Mehdi Hassan, Ghulam Ali, Noor Jehan and Kavish back,” another wrote.

    It’s unclear what the Indian government’s strategy is here and whether this signals a softening in its policy on cross-border collaborations and cultural exchanges. Either way, the digital border appears to be shifting once again — albeit quietly.

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  • Meghan Markle upsets Prince Harry with shocking tone-deaf move

    Meghan Markle upsets Prince Harry with shocking tone-deaf move



    Meghan Markle upsets Prince Harry with shocking tone-deaf move

    Meghan Markle may have been riding high in the success of her booming business ventures, but her insensitive move has seemingly caused deep pain to her husband Prince Harry.

    The Duchess of Sussex has been focusing on expanding her lifestyle brand, As Ever, and has quickly been adding new items to her collection. After Meghan’s restock and special summer items sold out within an hour after release on June 20, the former Suits star launched her 2023 Napa Valley Rosé on Tuesday.

    As expected, the wine was sold out in the next hour from the website. However, royal experts pointed out how Meghan’s choice date for the launch had been rather tone-deaf.

    Prince Harry’s late mother, Princess Diana, passed away in a tragic car crash in 1996, in which the driver was found to be drunk leading to the sad demise of the beloved princess.

    Meghan’s wine launch coincided with the same day as what would have been Diana’s 64th birthday.

    According to royal reporter and commentator, Kinsey Schofield, Meghan had made a “cruel” move to “hijack” Diana’s memory.

    claims that the release of the beverage on the late Princess Diana’s birthday has “struck a nerve” with those in the royal household.

    “I think Diana’s death remains one of the most heart-breaking and symbolic moments in modern royal history,” she said during a discussion with The Sun.

    “Linking that memory, whether intentionally or accidentally, to a commercial product, especially one tied to alcohol, feels like a profound misjudgement.”

    Schofield added, “There are 363 other days to launch a wine or an alcohol brand. Choosing this one, even if unintentional, speaks volumes.”

    The expert pointed out that Harry would have been upset by the move which was “shockingly tone deaf”.

    She noted that July 1 is a “tough day” for Harry as he would still be “thinking about the mother he lost, the mother that he loved, the mother that he talks to us about constantly”. Meanwhile, Meghan would be “excited” for her launch, a sharp contrast.

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  • ‘He looks like a potato’: every major Gallagher feud since Oasis split in 2009 | Oasis

    ‘He looks like a potato’: every major Gallagher feud since Oasis split in 2009 | Oasis

    2 July

    Liam Gallagher performing at One Love Manchester. Photograph: Dave Hogan for One Love Manchester/PA

    After One Love Manchester, few thought the feud could get any worse. But when Noel’s wife Sara MacDonald is asked if she would watch Liam’s performance at Glastonbury she declines and calls Liam a “fat twat doing his tribute act”. Noel then posts a screenshot of a message Liam sent to Noel’s daughter Anaïs reading “tell your step mam to be very careful”.

    “So you’re sending threatening messages via my teenage daughter now are you?”, Noel wrote. “You always were good at intimidating women though eh?” Liam apologises: “My sincere apologies to my beautiful mum Peggy and my lovely niece Anais for getting caught up in all of this childish behaviour I love you both dearly”.

    5 August

    Noel speaks to the Guardian in an interview headlined with the quote: “I liked my mum until she gave birth to Liam.”

    Noel adds: “That’s not the first time he’s sent texts to my daughter, or left threatening phone calls on my wife’s answering machine. So when he’s threatening my wife via my teenage daughter, I’m thinking, you know, if you weren’t a rock star, if you were just an uncle who worked in a garage, you’d be getting a visit from the police. But because you’re a rockstar, wahey, you get away with that shit.”

    Noel says the incident means they are unlikely to ever reconcile. “Because I’ve got one fatal flaw in my otherwise perfect makeup as a human being, which is I don’t forgive people. Once you start texting my children – and his two sons have been going for her, too – and legitimise my wife being bullied on the internet, where she has to shut down Instagram accounts because of the vile shit being written about her and my daughter, then it ain’t happening.”

    He also uses the interview for a dig at Liam’s new solo music. “I think it’s unsophisticated music. For unsophisticated people. Made by an unsophisticated man. Who’s giving unsophisticated orders to a load of songwriters who think they’re doing the Oasis thing … I reckon if I put my two sons in a room – one’s nine, one’s 11 – for about 45 minutes, they could probably muster up something better than that new single of his.”

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  • Kanye West blocked from entering Australia over Hitler song

    Kanye West blocked from entering Australia over Hitler song

    American rapper Kanye West has been blocked from entering Australia over a song glorifying Nazi leader Adolf Hitler.

    Australia’s home affairs minister Tony Burke revealed that his department had cancelled West’s valid visa after the song Heil Hitler was released in early May.

    West’s song has been widely condemned and has been banned on most platforms.

    The highly controversial rapper, also known as Ye, identifies as a Nazi and is known for his anti-Semitic comments. He is married to Australian designer Bianca Censori.

    Mr Burke revealed the visa cancellation in an interview with the Australian Broadcasting Corporation, during a discussion about the visa cancellation of another person over their Islamophobic comments.

    “If someone argued that anti-Semitism was rational, I would not let them come here,” Mr Burke said, while bringing up West’s case.

    “[West] has been coming to Australia for a long time… and he’s made a lot of offensive comments.

    “But my officials looked at it again once he released the Heil Hitler song, and he no longer has a valid visa in Australia.”

    It is not clear if West has been permanently banned from Australia. Mr Burke said that visa applications would be reassessed each time they are made, in accordance with Australian law.

    But when asked if any visa ban on West would be sustainable, Mr Burke said: “I think that what’s not sustainable is to import hatred… We have enough problems in this country already without deliberately importing bigotry.”

    It is not the first time Australia considered blocking West. In 2023, Australia’s education minister Jason Clare had also condemned West’s “awful” comments on Hitler and the Holocaust, and suggested he could be denied entry.

    Amid the current backlash, Heil Hitler raked up millions of views within a day of its release in May.

    The song is part of the Grammy-winning artist’s new album WW3, which also contains other tracks with controversial lyrics.

    The music video for Heil Hitler, released on 8 May, shows a group of men wearing animal skins and chanting the song’s title. It has been banned on streaming platforms including Spotify, Apple Music and YouTube.

    But shortly after its release, West said he was “done with anti-Semitism” and released a new version of Heil Hitler – titled Hallelujah. The new song replaced earlier references to Nazism with lyrics relating to Christianity.

    West has in recent years sparked controversy for his anti-Semitic remarks. Earlier this year, he declared himself a Nazi and retracted an apology for earlier comments.

    In 2022, sportswear giant Adidas announced it was ending its partnership with West over his anti-Semitism.

    Late last year, the company said it had reached a settlement with him to end all legal proceedings between them.

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  • Edinburgh fringe 2025: the best theatre and comedy we’ve already reviewed | Edinburgh festival 2025

    Edinburgh fringe 2025: the best theatre and comedy we’ve already reviewed | Edinburgh festival 2025

    A Letter to Lyndon B Johnson or God: Whoever Reads This First

    In cult clown duo Xhloe and Natasha’s two-hander, we are swiftly in the US of LBJ, Beatlemania and Tom Sawyer-style outdoor adventuring. The pair portray muddy-kneed boy scouts who, against a backdrop of chirping insects and with the sole prop of a tyre, recount their hijinks with an emotional impact that sneaks up on you. Read the review. Chris Wiegand
    theSpace @ Niddry St, 2-23 August

    Abby Wambaugh: The First 3 Minutes of 17 Shows

    As directed by Lara Ricote, Abby Wambaugh’s show is a masterpiece of construction, an anthology of dotty creative ideas that resolves into an affecting story of the comic’s miscarriage and of the value of beginnings that never reach a middle and an end. Read the review. Brian Logan
    Pleasance Courtyard, 12-25 August

    Nina Conti: Whose Face Is It Anyway?

    Conti’s signature trick is turning volunteers into human ventriloquist’s dummies and animating them in improvised scenes on stage. Her touring show reveals a master at work, elevating her brand of off-the-cuff voice-throwing and organised havoc to a state of near comedy grace. Read the review. BL
    Underbelly, Bristo Square, 7-15 August

    300 Paintings

    The title of Sam Kissajukian’s show alludes to the surfeit of artwork that the former standup produced during his mental-health crisis. In a self-directed production, he talks us through his output with a slideshow. It’s a funny and fascinating study of the mysteries of the mind. Read the review. Mark Fisher
    Summerhall, 31 July to 25 August

    Audacious … Khalid Abdalla in Nowhere. Photograph: Tristram Kenton/The Guardian

    Nowhere

    In an audacious avant garde solo show, with its multimedia depths of images, audio voiceovers, personal stories, song and dance, Khalid Abdalla asks where you belong when the country in which you were born or raised does not want you or has become too dangerous for you to stay. How does it feel to belong in Nowhere-land? Read the review. Arifa Akbar
    Traverse, 12-24 August

    Nick Mohammed is Mr Swallow: Show Pony

    A deliriously enjoyable hour of comedy meets magic meets more of the real Mohammed than we’ve ever before seen on stage. He’s in character as his alter ego, the camp and bumptious northern know-it-all Mr Swallow, but it’s as if this were a coming out party for a comedian who has remained incognito until now. Read the review. BL
    Playhouse, 22 August

    Shamilton! The Improvised Hip-Hop Musical

    An extension of the Baby Wants Candy! improvisation franchise, this show inspired by audience suggestions has a cast breezily adept not only at making up lyrics on the fly (naturally, there is a rap battle) but also at ad-libbing harmonies, backing vocals and basic choreography. Read the review. MF
    Assembly George Square Studios, 30 July to 24 August

    Tricksy … Stevie Martin

    Stevie Martin: Clout

    Stevie Martin’s show weighs up the differences between live and online comedy. It’s a tricksy and silly hour buoyed by arch good humour and high-quality gags tightly packed inside other gags, ready to jack-in-the-box out and multiply the surprise. Read the review. BL
    Monkey Barrel, 1-8 August

    Nish Kumar: Nish, Don’t Kill My Vibe

    He is the pre-eminent comic polemicist of our age, the joker to whom lefties turn, and others revile, for his righteous tirades against racism, neoliberalism and the Tories. But what drove Kumar to this, where has it left him – and what good does it do? This state of the nation comedy explores the state of Nish too. Read the review. BL
    Assembly George Square, 1-10 August

    Last Rites

    This collaboration between performer Ramesh Meyyappan and director George Mann describes a man’s final parting with his late father. That could have been sentimental but it is invested with rage, making a knotty mix of love and recrimination in which the personal and the political collide. Read the review. MF
    Pleasance Courtyard, 18-24 August

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  • Sali Hughes on beauty: bridal foundation tips for a flawless big day | Beauty

    Sali Hughes on beauty: bridal foundation tips for a flawless big day | Beauty

    I bristle at the expression “bridal makeup”, because it encourages the slightly weird idea that women’s faces should look very different on their wedding days. Brides these days might be wearing black or red, hair up, hair down, hi-top trainers or Dr Martens boots. Similarly, bride-appropriate makeup is however one feels most attractive, comfortable, confident and oneself.

    But what I will concede is that the big day often calls for a new foundation. Rarely will you be photographed as much, over so many hours, and be faced with the outcome for so many years, so it’s worth wearing something a little higher-coverage and longer-lasting than for a day at the office.

    Something semi-matte is ideal, since the opportunities to powder down shine will be scant and the risk of colour transfer on to a gown is higher with dewy formulas. My most commonly recommended is Lisa Eldridge’s Seamless Skin Foundation (£44), which comes in 40 thoughtfully chosen shades and gives a pretty eggshell sheen to the skin. I’ve never received any negative feedback after the big day.

    Similarly versatile is Dior’s Forever Skin Perfect Foundation Stick (£48). If your bridesmaid has room in her bag for anything more than mints and a lipstick, fill it with this, an exceptional medium-coverage solid foundation that melts silkily upon blending, laminating the face in soft, blurry, lasting coverage that can be sheered down or dialled up according to taste. It’s also excellent for any fingertip touch-ups after the ceremony or wedding breakfast.

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    On dry skins, it’s hard to beat the makeup artist’s favourite, Armani’s Beauty Luminous Silk Foundation (£47), which makes skin even, glowy (without any flatness or sparkle) and is deceptively natural-looking. That price tag is hefty, but a very similar look is delivered by True Match Nude Plumping Tinted Serum (£14.99) from Armani stablemate, L’Oréal Paris.

    For problem skins where redness, acne or scarring are an issue, proceed directly to Estée Lauder for the peerlessly camouflaging DoubleWear Stay-in-place Foundation (£39.50), which not only builds up seamlessly to cover anything, but has phenomenal staying power (add setting spray and it could outlast some marriages).

    For oily skin types who’d like a soft matte finish with more vim, I enthusiastically recommend Anastasia Beverly Hills’ Impeccable Blurring Second Skin Matte Foundation (£39, pictured above). I didn’t expect to love this, but even my own parched skin looks great in it, thanks to its flattering, almost vellum paper-like finish.

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  • Prince William sends hopeful message to Prince Harry on Diana’s birthday

    Prince William sends hopeful message to Prince Harry on Diana’s birthday



    Prince William sends hopeful message to Prince Harry on Diana’s birthday 

    Prince William opened up about finding hope while working together in a new message on his mother Princess Diana’s birthday.

    The future King stepped out in Sheffield on June 1 to mark two years of his passion project, Homewards UK, aimed at making homelessness “rare, brief and unrepeated.”

    In a panel discussion, the Prince of Wales highlighted the significance of partnership among the private, public and charity sectors to fulfil a meaningful mission.

    As per the Mirror, he said, “Nothing happens without us all working together and doing things properly.”

    William added, “It’s very difficult for the government, it’s difficult for businesses, it’s difficult for the charity sector, partnerships, communities, whatever it is, the whole system gels when it works together.”

    Moreover, the father-of-three reflected on the importance of hope and working together, seemingly a message for his brother Prince Harry, as they both carry on the legacy of their late mother.

    “Hope is very important. I feel less hopeful when I’m doing things by myself. I think as human beings we all want to feel connected, and I always think the greatest impact is when we work together,” William shared.

    Notably, the Duke of Sussex also expressed a desire to make peace with the royal family in recent times, especially amid the royal siblings’ father, King Charles’ cancer battle. 

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  • Australia says it cancelled Kanye West's visa over 'Heil Hitler' song – Reuters

    1. Australia says it cancelled Kanye West’s visa over ‘Heil Hitler’ song  Reuters
    2. Minister reveals Kanye West was denied entry to Australia after releasing antisemitic song  Australian Broadcasting Corporation
    3. ‘We don’t need that’: US rapper Kanye West barred from visiting Australia  The Canberra Times
    4. US rapper Kanye West’s Australian visa cancelled  The Mercury
    5. Kanye West barred from Australia over anti-Semitic song  The Nightly

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