Shefali Jariwala’s sudden passing came as a huge shock to everyone, leaving her close friends and family heartbroken. A day after Shefali’s passing, her husband Parag Tyagi was seen walking their pet dog Simba in the compound, as shown in a video that surfaced online. The clip sparked strong backlash, with many criticizing him for his actions during such a tragic time.Addressing the criticism around the viral video, Shefali’s close friend and Bigg Boss 13 co-contestant Paras clarified the situation and shared the emotional truth behind the moment. In an exclusive conversation with IANS, Paras revealed that Shefali Jariwala and Parag Tyagi were extremely close to their pet dog, treating him as a family member. The trio lived together, and Shefali’s sudden passing left a deep emotional void in their home. Paras shared that in such a moment of grief, it’s only natural for Parag to hold on even more tightly to their pet, who now represents a part of Shefali’s presence.
Parag Tyagi Pens Heartbreaking Note for Late Wife Shefali Jariwala: ‘Love You Till Eternity’
He further shared, “Shefali and Parag were very close to their pet. He was a family member to them. Three members were living together in a house, and one of them is suddenly gone. In such a situation, you should understand Parag’s mental state. He would want to keep him even closer and very close to his heart. There is a sense of fear and longing at the same time. People might think it’s strange, but since I know them closely, I understood his psychology. Moreover, their pet has grown old and cannot see properly. So, Parag’s responsibility towards him increases even more.”The Vighnaharta Ganesh actor also mentioned that the pet seemed to sense Shefali’s absence. “Dogs are very sensitive—they can feel when something is wrong. The pet also knew that Shefali is no more. He was visibly sad and affected by her passing.”A video of Parag Tyagi taking his dog for a walk just hours after Shefali Jariwala’s passing rapidly spread across social media. The footage drew heavy criticism from netizens, who questioned his behavior during such an emotionally delicate moment.Shefali’s close friends Rashami, Paras and others came out in Parag’s defence. They slammed the trolls and people to show kindness and empathy during this difficult period.
PARAG TYAGI BREAKS DOWN AFTER SHEFALI JARIWALA’S DEATH | BEGS PAPS TO STOP
British thespian Bill Nighy and “Gavin & Stacey” star Mathew Horne have joined the cast of genre-bending fantasy feature “Welcome to Paradise,” alongside WWE superstar Jordynne Grace making her screen debut.
Richard Summers-Calvert (“Drive Me to the End”) is writing and directing the indie, which is currently in post-production. The surreal fantasy film blends psychological drama, dark comedy and mythic surrealism, centering on a mysterious carnival where winning may mean survival and losing could trap visitors in an alternate reality forever.
Rising stars Georgina Bennett and Kirk Patterson topline the ensemble, which also includes Togo Igawa (“Tetris,” “Johnny English”), Tracey Wilkinson (“Carnival Row”) and the late Simon Fisher-Becker (“Harry Potter,” “Doctor Who”). Nighy provides voice work for the project.
The story follows Lisa, who awakens on a mysterious beach with no memory. After meeting a creature who tells her she’s arrived at “The Carnival,” she discovers a vibrant venue populated by humans and magical beasts. There she meets Harvey, another lost soul, as they attempt to uncover the truth about their pasts and find redemption — though everything comes with a price.
“I watched this film going in blind, and I’m now convinced Richard Summers-Calvert is both a genre-bending genius and a deeply deranged soul — in the best way,” said actor-disability advocate Adam Pearson (“The Elephant Man”). “This film is a joy to behold.”
Summers-Calvert describes the project as “ambitious and unapologetically bold.”
“Some may doubt it could work, but that’s because they’ve never witnessed something like this in the flesh,” the helmer said. “This film has moments that people will have never seen, heard, or even dreamt before — and that’s what excites me most.”
Crucible Films and Silent D Pictures are producing, with the latter’s Djonny Chen overseeing. Silent D’s recent slate includes “High Wire” (starring Isabella Wei of “1899”), “Finding My Voice” (with Michelle Ryan of “Bionic Woman”), “Follow The Dark” (with James Cosmo of “Game of Thrones”) and Indonesian box office hit “Before Night Falls.”
The film is eyeing a late 2025 delivery with major festival berths in its sights.
When the ceremonial flame is lit beneath Tallinn’s iconic Song Arch on 5 July, it will signal the return of one of Europe’s most remarkable cultural gatherings: Estonia’s Song Celebration.
Held every five years, this event is no ordinary festival. It is a profound expression of national character, where music, language and memory converge. For a small country long familiar with the forces of occupation and upheaval, it is a public declaration of cultural continuity – and a joyful assertion of who Estonians are.
This year, more than 32,000 singers, including 1,500 performers from 45 international choirs, will take to the stage beneath the soaring shell of the Song Festival Grounds, singing for an audience of over 100,000. The theme of the XXVIII Song and XXI Dance Celebration is “Iseoma” – a word that speaks of something deeply personal: authentically ours.
“We shape our own lives and happiness,” writes Heli Jürgenson, the artistic director of the Song Celebration. “We sing our own songs with our own voices… To love our very own Estonia.”
Adding to the significance of this year’s gathering, all three artistic leads – for song, dance, and folk music – are women. It marks a historic first in the event’s 156-year history.
4 July rehearsal sets the tone for Estonia’s grand Song Celebration weekend. Photo by Sven Zacek
A festival born of resistance and belonging
The Estonian Song Celebration has long carried political as well as artistic significance. It began in 1869, during the national awakening, when choirs offered an oppressed people a way to give voice to their language and heritage. In 1918, that cultural movement contributed to Estonia’s first declaration of independence.
During the Soviet occupation, the tradition endured in spite of censorship. In 1988, tens of thousands sang patriotic songs at the Song Festival Grounds in what became known as the Singing Revolution – an act of collective defiance that played a decisive role in Estonia regaining its sovereignty in 1991.
The stage, then, is not only for performance – it is for history.
Estonia’s Song Celebration in 2019. Photo by Sven Zacek.
Grand procession
The celebrations begin with the grand procession on Saturday, 5 July, when tens of thousands of participants in national costume will parade through the streets of central Tallinn towards the Song Festival Grounds.
The opening concert begins at 7:30PM. The flame will be lit, President Alar Karis will address the crowd, and the united choirs will perform Mihkel Lüdig’s “Koit” and the Estonian national anthem. The programme that follows centres on regional dialects and traditional melodies, including works by Arvo Pärt, Mart Saar, Eduard Tubin, Ester Mägi, Veljo Tormis and others whose compositions form the backbone of Estonia’s choral canon.
The evening will conclude around 11:00PM, although the atmosphere is likely to linger long into the night.
Estonia’s Song Celebration in 2019. Photo by Sven Zacek
A day-long choral spectacle
On Sunday, 6 July, the main concert begins at 12:30PM, with gates opening at midday. Choirs of pre-school children will open the day, followed by a procession of children’s, boys’, women’s, men’s and mixed choirs – supported by wind ensembles and a full symphony orchestra.
In total, more than 31,000 singers and instrumentalists from 990 ensembles will take part in the Song Celebration. Among them will be 6,000 pre-school performers, 5,300 children’s choir members, and 10,800 mixed-voice singers. They will be led by nearly 800 conductors, bringing to life 40 musical works, ranging from historic pieces to newly composed works.
As tradition dictates, the final performances will feature Estonia’s most cherished choral pieces: Tuljak by Miina Härma, Ta lendab mesipuu poole by Peep Sarapik, and the emotional anthem Mu isamaa on minu arm by Gustav Ernesaks.
“Ta lendab mesipuu poole” performed at the Estonian Song Celebration in 2019.
Tradition meets sustainability
This year’s event places strong emphasis on environmental responsibility. Attendees are encouraged to travel by public transport, bicycle or on foot. Until 6 July, all public transport within Tallinn is free, and Elron trains are also free within city limits. Shuttle buses will ferry guests to and from the venue. Full details, diversions and real-time updates are available via the City of Tallinn’s transport site.
Visitors are asked to minimise movement during performances and to follow waste reduction guidelines in keeping with the event’s sustainability goals.
The Song and Dance Celebration is one of the last great unifying rituals of its kind. While many nations grapple with how to keep folk culture alive in the digital age, Estonia does so with quiet confidence. It does not preserve tradition in amber, but renews it through participation.
And once again, as voices rise beneath the arch and the audience joins in, Estonia will sing not only of its past – but of its future.
Crunchyroll treated fans to fireworks of a different kind at Anime Expo on July 4, unveiling the first trailer for “Frieren: Beyond Journey’s End” Season 2 and confirming its acquisition of worldwide streaming rights for a January 2026 release.
The reveal took place during a Crunchyroll-hosted panel at downtown LA’s Peacock Theater, where fans got their first look at the anticipated return of the acclaimed fantasy series. The streaming platform secured rights for all territories excluding Asia, though India and the Indian subcontinent are included in the deal, with plans for a simulcast from Japan.
The panel featured key talent including Japanese voice actor Chiaki Kobayashi, who voices Stark and is known for “Hell’s Paradise,” producer Yuichiro Fukushi from “One-Punch Man,” and composer Evan Call, who previously worked on “Violet Evergarden.” Each spoke about their experiences on the series and about the upcoming season.
Fukushi revealed that Tomoya Kitagawa will direct Season 2. Kitagawa previously contributed storyboards and directed multiple episodes in the first season. Season 1 director Keiichiro Saito, known for “Bocchi the Rock!,” will oversee the new season as supervising director.
The creative team for Season 2 includes assistant director Daiki Harashina (“takt op. Destiny”), series composition by Tomohiro Suzuki (“One-Punch Man”), and character design by Takasemaru (“Violet Evergarden”), Keisuke Kojima (“100 Meters”), and Yuri Fujinaka, who worked on key animation for “SPY x FAMILY CODE: White.” Concept art will be handled by Seiko Yoshioka, who contributed background art to “Evangelion: 3.0 You Can (Not) Redo,” while Call returns to compose the music.
Based on the ongoing manga by Kanehito Yamada and illustrated by Tsukasa Abe, the series is produced by animation studio Madhouse, the powerhouse behind “Yu Yu Hakusho,” “Trigun,” “Cardcaptor Sakura,” “Death Note,” “One-Punch Man” Season 1, and “Overlord.”
The first season proved a critical darling, earning nominations for Anime of the Year and taking home wins for Best Drama, Best Director, Best Background Art, and Best Supporting Character at the 9th Annual Crunchyroll Anime Awards earlier this year.
The story follows immortal elven mage Frieren who, decades after defeating the Demon King with her human companions, embarks on a reflective journey to understand humanity and confront her regrets about not forming deeper bonds with her now-deceased friends.
The series features an ensemble voice cast including Atsumi Tanezaki and Mallorie Rodak as Frieren, Kana Ichinose and Jill Harris as Fern, and Kobayashi alongside Jordan Dash Cruz as Stark, among others in both Japanese and English versions.
A man is taking on a “crazy” challenge completing a marathon in his wheelchair on a set of rollers to raise awareness for men’s mental health.
Les Hampton, from Gloucester, is taking on the challenge at Everlast Gym, in Cheltenham on Saturday, teaming up with Gloucester-based Archie Matthews Trust for a special day of “fun, fitness and fundraising”.
Mr Hampton said his friend Jay, who he met through the gym, “sadly took his own life” and that “members of the gym wanted to do something in his memory to help raise awareness”.
Alongside the Archie Matthews Trust, they are fundraising to support the gaps in young men’s mental health.
If you are affected by any of the issues raised in this story you can visit BBC Action Line.
Mr Hampton’s racing wheelchair will be on a long roller in the gym, which “really will be a challenge,” he said.
With no hills to roll down, and continually having to use his hands, he said “you wouldn’t normally do this”.
“So I’ve no idea how long it’s going to take me, but it will be hours”.
“Jay would say I’m crazy but would really encourage me if he knew what I was doing. He would always say in the gym ‘come on Les, just one more’.”
The team is hoping to raise about £2,000.
Les Hampton
The team are hoping to fundraise £2,000 and raise awareness of men’s mental health and the local support available
Other challenges gym members are attempting on the day include a marathon swim, a charity spin and a community challenge to try and push a sledge down a 15m (about 50ft) track, for 3,500 lengths, wearing 50kg (110 lb).
Gym manager Jo Allen said: “It’s going to be tough and we’ll need all the help we can get from members,” many of whom were friends with Jay.
He said men’s mental health needed a lot of support as it was a big problem.
“In gyms, behind the testosterone and heavy weights being lifted, you’ll find a lot of young lads who might suffer, but it’s something we definitely don’t talk about enough.”
‘Plug support gaps’
Steve Matthews, chairman of the Archie Matthews Trust, which is named after his son, will be at the challenge with his wife and Archie’s mum, Steph.
“Archie was a wonderful lad. Everyone who met him would have said he was a bright confident funny guy with lots of friends,” Mr Matthew’s said.
“He was a big lad. But behind that he did struggle with his mental health. He had ADHD, was autistic and struggled with anxiety, then later depression. He sadly took his own life last year,” he added.
Mr Matthew’s said they set up the trust to “plug some of the support gaps we found through Archie’s experience”.
They hope to help young men and boys – particularly in Gloucestershire – and particularly those with neurodivergence, as they are at a high risk of mental health issues and suicide, he said.
“Jays story really resonated with us and we’re just trying to help where we can so others don’t have to go through what we did,” he added.
Even the most optimistic fans had begun to suspect Oasis would never go on stage again, given that as recently as January 2024, in this newspaper, Liam was pacing around slagging off his brother at considerable length. But the Oasis reunion did indeed come to pass, and the reaction has universally been one of wonderment. You’d expect that from fans – if you ended up spending north of £300 on a dynamically priced ticket, you’d decide you were going to have fun – but critics have also been united in their praise.
★★★★★
“You can still sense inspiration declining – 1997’s D’You Know What I Mean? sounds like a trudge regardless of how many people are singing along – but far more often, the show serves as a reminder of how fantastic purple patch Oasis were,” the Guardian’s Alexis Petridis said in a five-star review. “Against a ferocious wall of distorted guitars, there’s a weird disconnect between the tone of Noel’s songs – wistful, noticeably melancholy – and the way Liam sings them like a man seething with frustration, on the verge of offering someone a fight. Even discounting half their career, they have classics in abundance: Cigarettes & Alcohol, Slide Away, Rock ’n’ Roll Star, Morning Glory.
★★★★★
The set took on extra resonance given everything that has happened since [Oasis’s split in 2009]. Noel may have once called Liam a man with a fork in a world of soup, and Liam accused Noel of being a potato, but Acquiesce is a song about the fact that they “need each other” — and they do. Noel has a soul complex enough to write beautiful songs. Liam has a soul simple enough to deliver them with pure feeling. They are, ultimately, stuck with each other … As for Supersonic, the song that started it all, it encapsulated everything the Gallaghers evoked, perhaps without even realising it: attitude, surrealism, familiarity, the madness of the everyday.
Liam and Noel Gallagher. Photograph: Scott A Garfitt/Invision/AP
★★★★★
Stop the clocks, the stars really did align, because yes, Oasis are back – and they’ve just reclaimed their crown as rock‘n’roll stars. You can throw as many cliches as you like at this show and it still wouldn’t quite sum up what the 60,000-plus fans cramming into the Principality Stadium in Cardiff saw, heard and felt, on Friday night. It was biblical, celestial, majestical – all of the superlatives that Liam likes to self-anoint himself with. But on this occasion, it was no hyperbole … I think it’s the first time I’ve seen a mosh pit stretch to the entire floor and right up into the seats such was the constant bouncing energy of an elated crowd not quite believing this was really happening, and that they were really here.
★★★★★
As the flares light up for Don’t Look Back In Anger into the spoils of colossal closers Wonderwall and an everlasting Champagne Supernova, the sweet escape comes to an end. Lord knows we needed a taste of that halcyon 90s hope and abandon in 2025 – especially for the raving and craving gen Zers. The world is a rotting shitty bin-fire and tomorrow never knows, but tonight, you’re a rock’n’roll star.
★★★★★
I don’t think anyone who managed to get their hands on a ticket for this reunion could feel short changed. Because really it was a reunion between an audience and their favourite band, a reunion between Britain and rock‘n’roll … It was very loud, it was simplistic to the point of banality and it was magically, exhaustingly uplifting.
The real underlying thrill is of a historical moment fully revived. For all the laddish boorishness that Oasis undoubtedly encapsulated, the Britpop era, for millennials and gen Zers alike, is as halcyon as Beatlemania or the summer of love – a time of vivid colour, jubilant melody, political stability and affordable flats. And to be a part of this second wind of torrid Oasismania, hyped by effusive press coverage and leading to historic shows such as this one, is as close to actually “being there” as it’s possible to get.
★★★★★
The set list made me feel like I was being punched in the face – repeatedly – by the Nineties. Liam’s vocals were out of this world – he ought to pie off Clarks and get an advertising deal with Halls Soothers because whatever he was sucking in rehearsals clearly paid off. And Noel, who has never failed to impress me performing live, was the cherry on the cake with his masterful ability on the guitar sure to inspire generations of young musicians to come.
★★★★★
Today, reports of gen Z loving Oasis have not been overplayed. There’s been a cross-generational vibe around these shows. Like Noel’s dream of melding dance music communality with punk rock attitude to kill off grunge in the 90s, seems to have been rebooted. Turn off and on again, and the aggro violence has gone, and what’s left is something fresh and cool and utterly exciting.
Oasis fans outside the stadium. Photograph: Oli Scarff/AFP/Getty Images
★★★★★
The city of Cardiff had been on a wave of excitement and bucket hats all week and the soundchecks coming out of the stadium were sounding class, proper bristles up on the back of your neck type stuff. But the real thing was intense and immense. A wall of sound burst around the closed Principality Stadium … and Liam’s voice was faultless.
(No star rating)
The band sound, to use Liam’s favorite phrase, absolutely biblical. Within half an hour, we’re through Acquiesce, Morning Glory, Supersonic and Cigarettes & Alcohol at tremendous volume. Oasis’s arsenal of generation-defining hits is hardly a secret, but when confronted with them one after another like this, it was truly overwhelming.
He is considered to be the godfather of heavy metal, but after more than five decades in the game, the “prince of darkness”, Ozzy Osbourne, brings his blistering performing career to an end with a highly anticipated final concert this weekend.
Thousands of metal fans will descend on Birmingham’s Villa Park on Saturday to see the original Black Sabbath lineup reunite for the first time in 20 years, in what has been billed as the “greatest heavy metal show ever”.
The stadium, home to Aston Villa FC, is a stone’s throw from Osbourne’s childhood terrace home in the suburb of Aston. It was there that the now 76-year-old launched his career, putting an advert for bandmates in a record shop and forming Black Sabbath with schoolfriend and guitarist Tony Iommi, bassist and lyricist Geezer Butler, and drummer Bill Ward.
“It’s my final encore; it’s my chance to say thank you to my fans for always supporting me and being there for me,” Osbourne said this week. “I couldn’t have done my final show anywhere else. I had to go back to the beginning.”
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Black Sabbath transformed late-60s rock into something darker, heavier and more ominous. Their music was characterised by down-tuned, distorted guitar riffs and haunting vocals and lyrics about war, madness and the occult. The band’s self-titled debut album in 1970 is often cited as the moment heavy metal was born, and they have sold a reported 75m albums worldwide.
“Sabbath gave us the blueprint, Sabbath gave us the recipe. They gave us the cookbook, man,” Slipknot’s Corey Taylor said in BBC Radio WM’s Forging Metal documentary, which was released on Friday.
In both his time with Black Sabbath and as a solo artist (after leaving the group in 1979), Osbourne became a living embodiment of rock excess. Critics call him the first wild rock star – he was unpredictable and unfiltered, with a career defined by drug-fuelled mayhem, onstage theatrics and outrageous behaviour.
Osbourne performing during the Birmingham 2022 Commonwealth Games closing ceremony. Photograph: Alex Pantling/Getty Images
The hell-raising frontman once bit the heads off two doves in a record label meeting, snorted a line of ants on tour, and mistook a real bat for a prop and bit its head off during a concert. In 1982 he was detained for public intoxication and urinating on a war monument in Texas while wearing his wife’s dress.
Then, in the early 2000s, Osbourne and his family – including wife Sharon and children Kelly and Jack – were catapulted to new levels of fame with MTV’s The Osbournes, a pioneering reality TV show that captured their chaotic household and became a cultural phenomenon. Osbourne was inducted into the Rock and Roll Hall of Fame as a solo artist last year.
But Black Sabbath fans have been desperate for the original band members to reunite since their last performance on the 2005 Ozzfest tour, after which Ward left the group.
Though Black Sabbath’s final album, 13, was released in 2013 and their final tour concluded in Birmingham in 2017, Ward did not take part due to a contract disagreement (which led to a public spat with Osbourne).
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But the moment has finally come to pass, and so great was the demand that tickets for Saturday’s 42,000-capacity concert sold out in just 16 minutes. Titled Back to the Beginning and curated by Rage Against the Machine’s Tom Morello, the event will open with a solo set by Osbourne and close with Black Sabbath’s iconic songs.
Black Sabbath in the 1970s. ‘Sabbath gave us the blueprint, Sabbath gave us the recipe. They gave us the cookbook, man,’ said Slipknot’s Corey Taylor. Photograph: Chris Walter/WireImage
In total, the concert will run at over 10 hours and feature performances from a multitude of great metal bands, including Metallica, Slayer, Pantera, Gojira, Halestorm, and members of Guns N’ Roses and Rage Against the Machine. Profits will be shared between three charities: Cure Parkinson’s, Birmingham children’s hospital and the Birmingham-based Acorns children’s hospice.
It is fitting that the event takes place in Birmingham, a city that has long revered Black Sabbath. The group were awarded the freedom of Birmingham this year, and even Birmingham Royal Ballet created a Black Sabbath dance in 2023.
And while it is true that Osbourne has announced his retirement a number of times in the past, recent health challenges, including a Parkinson’s disease diagnosis in 2020 and spinal surgeries following an accident, mean it is likely this performance will really be his swan song.
“I’d love to say ‘never say never’, but after the last six years or so … it is time,” he told the Guardian. “I don’t want to die in a hotel room somewhere. I want to spend the rest of my life with my family.”
Chic star Nile Rodgers has guest-curated a display for the new David Bowie Centre, including personal correspondence between the two singers.
London’s V&A Museum, which is behind the new David Bowie Centre, said Rodgers has also selected a bespoke Peter Hall suit worn by Bowie during the Serious Moonlight tour for the Let’s Dance album.
The David Bowie Centre will open within the museum’s new East Storehouse in the Queen Elizabeth Olympic Park, in Stratford, east London, on 13 September.
Photographs of Bowie, Rodgers and guitarist Stevie Ray Vaughan recording Let’s Dance in New York will also feature.
Costumes worn during Bowie’s Ziggy Stardust period, and those worn by other musicians including Sir Elton John and PJ Harvey, will also be on display.
Rodgers said: “My creative life with David Bowie provided the greatest success of his incredible career, but our friendship was just as rewarding.
“Our bond was built on a love of the music that had both made and saved our lives.”
Rodgers produced Bowie’s single Let’s Dance and the 1983 album of the same name, as well as his 1993 album Black Tie White Noise, with the personal correspondence in the exhibition relating to the latter.
Brit Award-winning indie rock band The Last Dinner Party have also curated part of the exhibition, describing Bowie as a “constant source of inspiration to us”.
Their items include Bowie’s elaborate handwritten lyrics for his song Win, and notes and set lists for his 1976 Isolar tour.
The band said: “David Bowie continues to inspire generations of artists like us to stand up for ourselves.”
Access to the David Bowie Centre will be free, with tickets released nearer its opening.
Australian actor Julian McMahon, famed for roles in popular series like Nip/Tuck and Charmed, has died aged 56.
His wife said the actor passed away in Clearwater, Florida, on Wednesday. He had been diagnosed with cancer.
“Julian loved life. He loved his family. He loved his friends. He loved his work, and he loved his fans. His deepest wish was to bring joy into as many lives as possible,” Kelly Paniagua said in a statement carried by Deadline.
McMahon’s career took off with the hit supernatural television series Charmed before he gained wider recognition with Nip/Tuck, the medical drama in which he played the role of plastic surgeon Dr Christian Troy.
Running for six seasons from 2003 to 2010, the show earned him a Golden Globe nomination.
Co-star Dylan Walsh told Dealine he was “stunned”.
“We rode this wave together and I loved him.
“Jules! I know you’d want me to say something to make you smile — all the inside jokes. All those years you had my back, and my god, we laughed. My heart is with you. Rest in peace.”
McMahon also played Doctor Doom in two Fantastic Four films in 2005 and 2007 and later appeared in three seasons of FBI: Most Wanted.
Dick Wolf, the producer of FBI: Most Wanted, said McMahon’s death was “shocking news”.
McMahon was the son of a former Australian prime minister and went on to play an Australian prime minister’s role in Netflix’s The Residence – one of his recent appearances.
McMahon married three times – the first to Australian singer-actress Dannii Minogue, sister of Kylie Minogue.
Kate Middleton makes heartfelt appeal as life takes unexpected turn
Kate Middleton sent a clear message to her well-wishers after her life took an unexpected turn ahead of taking over the reign with Prince William.
The Prince of Wales made a surprise appearance at the RHS’s Wellbeing Garden at Colchester Hospital after she was pulled out of the Royal Ascot event.
During her headline-making visit, the future Queen highlighted the importance of healing through nature and, notably, for the first time, she opened up about her “rollercoaster” cancer journey like never before.
In HELLO!’s A Right Royal Podcast, experts discussed that Princess Catherine made a strong stance that there will be changes in her royal appearances after undergoing cancer treatment.
Rhiannon Mills, a royal commentator, who was present at RHS’s Wellbeing Garden, said, “It was fascinating being in the room with her, she very loudly and clearly wanted to get across this message that, yes, she is now effectively back to royal work, but it’s really difficult, and I certainly haven’t heard her publicly talk in the way that she did yesterday. Her words were really strong.”
The expert mentioned Princess Kate’s comment about the hardships of the recovery journey. She believes that the mother-of-three is focusing on finding a new normal in life.
“For me, it was the first time that she really clearly said, ‘I’m sorry, yes, I’m back at work. But now there are some times that I just can’t do what I used to be able to do,” Rhiannon shared.
The royal correspondent also noted that Princess Kate was making a “plea” to people not to expect too much from her, as recovery from such a painful disease is not smooth.
Rhiannon added, “It felt like, again, her reinforcing this message of, ‘I’m here. I’m here to do the public work. You are going to see me, but look, give me and my family a bit of understanding, but also be a bit more understanding towards other people who are also going through that difficult time.”
