James Gunn is taking a fond look back at a classic cinematic take on Superman while simultaneously helping to map out the storied superhero’s path.
The new co-chair and co-CEO of DC Studios took to Twitter on Saturday to commemorate the 44th anniversary of Richard Donner’s Superman. The seminal comic book film, which hit theaters Dec. 10, 1978, went on to earn three Oscar nominations and marked Christopher Reeve’s star-making turn in the title role.
“Superman premiered 44 years ago today,” Gunn tweeted, adding heart and star emojis. Gunn also shared the film’s original poster, featuring the tagline, “You’ll believe a man can fly.”
Given the flurry of questions from fans about next steps for DC movies following The Hollywood Reporter’s recent story addressing the studio’s future, Gunn’s post led Twitter users to ask about plans for the character. When one fan asked what Gunn was trying to say with the post, the filmmaker replied, “I’m trying to say it’s the 44th anniversary of the premiere of Superman which is a great movie.”
When asked whether Superman would be coming back to the big screen, Gunn responded, “Yes of course. Superman is a huge priority, if not the biggest priority.”
He also replied to a tweet asking about Green Lantern content by writing, “Important.” He then made it clear that Ryan Reynolds hasn’t planned to return as the character, and when a Twitter user said that Reynolds was intending to reprise the role for filmmaker Zack Snyder, Gunn added, “He wasn’t.”
Gunn also responded on a different Twitter thread to a fan who tweeted that Gunn does not like Henry Cavill. The actor returned as Superman in a midcredits cameo during this fall’s Black Adam after an absence from the role since Snyder’s 2017 film Justice League. When asked to comment on that claim about his feelings toward Cavill, Gunn wrote, “Sure: false.”
This led the fan who posted the initial claim to add that he has heard from multiple people that Gunn doesn’t like Cavill, to which the filmmaker fired back, “So weird. You seemed so plugged in! Anyway, I just had forty people reach out to me to say you just got kicked out of your Mom’s basement. So sorry, man.”
During an onstage interview that took place in October shortly after the release of Black Adam, Cavill said he looked forward to playing an “enormously joyful” Superman in the future and said he was “very excited” about Gunn’s hiring.
THR’sstory about DC Studios, published Wednesday, reported that Patty Jenkins’ version of Wonder Woman 3 had been scuttled and raised the possibility that Cavill could be done as the Man of Steel.
Gunn responded to the story Thursday by tweeting that many decisions still needed to be made: “Although this first month at DC has been fruitful, building the next ten years of story takes time & we’re still just beginning.” He and partner Peter Safran are set to meet with Warner Bros. Discovery CEO David Zaslav in the coming week to present their vision for the studio.
2 Live Crew legend Uncle Luke is calling out Fat Joe after the Bronx rapper took credit for helping Trick Daddy and Pitbull make it big.
Fat Joe’s comments came during an appearance on Math Hoffa’s My Expert Opinion podcast.
“Pitbull, I took his demo and got him signed,” the Terror Squad boss said. “Trick Daddy, I took his shit and got him signed.”
Uncle Luke, who, of course, reps Miami as well, took exception to Fat Joe’s claims. The 2 Live Crew rapper hopped on Instagram to correct Joey Crack.
“I love Joe but I find this very interesting because I discovered Trick Daddy,” Luke wrote. “He did his first song with me as soon as he got of the lock up and by he stayed with me. He did his first song with me as soon as he got of the lock up and by he stayed with me.”
Luke continued, “I also discovered signed @pitbull to the platinum selling Luke records label he did his first song’s with me. Because I’m from Miami I felt the importance of signing a Cuban rapper so I discovered him off of battle rap tapes. Maybe I’m missing something here I do have the receipts.”
Uncle Luke went on to also remind the hip-hop community that he helped put another Miami legend, DJ Khaled, on.
“By the way because you don’t see me all in the videos at the birthday parties. Yes, @djkhaled I found him on underground radio mix 96 brought him to main stream, radio.”
Watch Fat Joe’s full appearance on My Expert Opinion below.
The first three episodes of Prince Harry and Meghan Markle’s Netflix documentary series Harry & Meghan premiered just a few days ago, and the show already has people talking. The first installment featured some intimate clips and photos of the couple’s life together, as well as interviews focusing on their experience navigating royal life. The second half of the series is due in less than a week, and there’s already plenty of speculation surrounding Prince William and Kate Middleton’s own feelings about the show. But a new report seems to suggest the Prince and Princess of Wales’s focus lies elsewhere.
According to a report from royal correspondent Katie Nicholl, Prince William and Princess Kate are just minding their own business as the world hears Harry and Meghan’s side of the story. “There has been a lot of hype but there is not going to be a comment at every twist and turn,” a royal source shared with Nicholl, via Vanity Fair. “It’s business as usual and keep calm and carry on.”
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We’ve heard the mantra “keep calm and carry on” so many times in association with the royal family that the two seem wholly intertwined. Indeed, the Prince and Princess of Wales do have enough on their plate as is. They’re raising their three young children, taking on more royal duties each and every day, championing Prince William’s Earthshot initiative, and so much more. There’s always been such a magnified lens on the rift between the Sussexes and the Prince and Princess of Wales that staying focused on their respective endeavors just seems like the sensible move.
Of course, that hasn’t stopped representatives from Buckingham Palace and Netflix from publicly commenting on or refuting certain claims regarding the documentary series. With three more episodes to go in Harry & Meghan, it will be interesting to see how, or even if, members of the royal family choose to comment on what Prince Harry and Meghan have to say. But until then, it’s business as usual for the Prince and Princess of Wales.
Brothers and Wives: Inside the Private Lives of William, Kate, Harry, and Meghan by Christopher Andersen
Click here to read the full article.
Image: Gallery Books – Credit: Gallery Books.
Gallery Books.
The fraught relationship between the Prince and Princess of Wales and the Sussexes has been heavily scrutinized for the past few years. But we’ve never had quite a clear look at the relationship between Prince Harry and Meghan Markle and Prince William and Kate Middleton, until now. Longtime royal writer Christopher Andersen takes fans into the intimate conversations and exchanges between these two powerful couples in Brothers & Wives: Inside the Private Lives of William, Kate, Harry, and Meghan, illustrating what was lost, gained, and what might be found as the next generation of the royal family embraces the future.
Brothers & Wives: Inside the Private Lives of William, Kate, Harry, and Meghan
Price: $13.99
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Click here to see a complete timeline of Prince Harry and Meghan Markle’s feud with the royal family.
Kate Middleton, Prince William, Prince Harry, and Meghan Markle
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Jamie Lee Curtis and Colin Farrell are two of Hollywood’s most charismatic figures — and for both actors, magnetism can sometimes disguise contemplative depths. Curtis, who played an unforgiving IRS inspector opposite Michelle Yeoh in “Everything Everywhere All at Once,” and Farrell, who performs an acting duet as an Irish farmer who has a falling out with his best friend (Brendan Gleeson) in “The Banshees of Inisherin,” spoke about the complex roles they took on this year. In both cases, deep introspection, and lessons learned in recovery, informed their work.
Jamie Lee Curtis: Ireland is an incredibly friendly country.
Colin Farrell: It’s amazing. I’ve lived here in Los Angeles for 16, 17 years now. I’m raising my two sons here. L.A. means more to me than I thought this city ever would. But when I go home, it makes sense to me in a way that no other place would have the business making sense to me. If I’m in Los Angeles and I say, “I’m going home,” I drop it about two octaves. That place is deeper in me.
Curtis: And you dropped it in this movie. You got to go home.
Farrell: Yeah, I did. I’ve gone home once every three years to do a film over there. Where were you born?
Curtis: Born and raised right here in the City of Angels. I went to boarding school once. Connecticut. One year. Mistake.
Alexi Lubomirski for Variety
Farrell: I did boarding school for a year and a half. Mistake, mistake. You were half a year smarter than me.
Curtis: I used to play Joni Mitchell’s “California” in my room and sob. Because when you’re from somewhere, it’s you.
Farrell: It’s like there’s so much residual energy of mine there. The place shaped me and sent me out into the world.
Curtis: The movie is so much about Ireland. It’s such an Irish movie. It’s so deep and exquisite.
Farrell: The film was about two friends falling out. Literally one lad saying to another lad, “I don’t want to be your friend anymore.” Today’s culture, you don’t bother sending a text — I believe the kids call it “ghosting” — you just cut the person out. Hard to do that on an island where there’s one pub and one church.
I understood my character, Pádraic, and where he’s coming from. But I felt such a deep sympathy for the struggle of Brendan’s character and for the lengths that he had to go to find this peace, this solitude, so that he could reckon with his own mortality.
Curtis: You’re younger than I am. I’m at that place right now where the time is much shorter that I have left on the earth. It’s just shorter. And that resonated so deeply. Because, ultimately, you’re going to have to say to some people, “I don’t want to be your friend anymore.”
Farrell: Anyway, enough of my stuff — talk to me about yours.
Curtis: No, no, no, no. I want to talk about this.
Farrell: You’re the boss — we’ve established that today. I should be lying down. Could we get a chaise in here?
Curtis: You and I have been doing this a long time. And we’ve both had a lot of focus on us at times. And then a lot of focus on other parts of us at times. And then a lot of time away and not playing in the game. And it is a game. I don’t give a shit, but here we are.
And why are we sitting here today? Because you did that work in that film. I did this work in the movie with the Daniels. And I don’t know how a movie made two years ago in Simi Valley, California, in 38 days, in an abandoned office building, has landed me in this chair opposite you, any more than you running off and making a movie that’s so deeply Irish, that’s such a beautiful, intensely quiet, conversational movie about human emotions …
Farrell: Well, yours is about the exact same thing: the awareness of the ticking of the clock. And as long as the clock has enough breath to go from 11 to 12, there’s an ability to reverse course.
Curtis: So there’s a redemption. And a reconciliation. And a healing.
Farrell: It’s so beautiful. Because the only two things I know as certainties are, we’re going to die and we’re going to make serious mistakes. Whether we atone for our mistakes.
Curtis: Did you know that before you got sober?
Farrell: No. I had suspicions, before I got sober, of how painful life could be. But I had no ability to hold that without being self-destructive and without living in it. I don’t live in that now. I feel these things that we’re talking about, at times. And I consider life greatly at times. And other times, I’m as frivolous as I was when I was 6 years old on a good day.
I want to know a little bit about what your film meant to you.
Alexi Lubomirski for Variety
Curtis: Daniel Kwan has talked about the origins of the movie. And he talked about our phones and the society we live in, which is this digital input: In one second, we’re seeing the catastrophe of the nightclub shooting last night. And then in one swipe of our finger, it’s a cat video. And one swipe of our finger, it’s politics and Twitter. And then the amount of information that we’re processing as human beings now, demanding it from our brain …
Farrell: They transposed that chaos, that kind of instantaneous agitation …
Curtis: … and found the center. Which is love, kindness, family, forgiveness, living with regret. We all live with regret.
Farrell: I thought it was one of the best-written and performed scenes. Two little plasticine animated rocks talking to each other.
Curtis: I don’t think they were animated, friend.
Farrell: Were they Play-Doh?
Curtis: I think they were rocks.
Farrell: But then, ultimately, the strain that was heard at the end was one of simplicity, one of redemption, one of forgiveness. To get over regret, I suppose, you have to forgive yourself; but if you live in it so long, it can almost become a sin against the self, depending on how it’s articulated. Everyone got a second chance.
Curtis: These two movies are about the human condition. And here we are, sitting in velvet chairs in a fake midcentury coffee lounge somewhere talking to each to each other. And there are actors hustling out on Hollywood Boulevard, very near here, just trying to get a gig.
Farrell: Three Spider-Mans. Ninety-nine percent of us are unemployed.
Curtis: I’m unemployed today. I like to tell people I’m a freelance actor, which means I’m an unemployed actor.
Farrell: If somebody says, “I have a script,” I go, “I’m around.”
Curtis: But aren’t you going to play Penguin?
Farrell: Yeah.
Curtis: Well, that’s a job.
Farrell: I did it in a film. I hope I’m going to do it for television in February or March. So I’ll be employed.
Curtis: I’m not employed. I have nothing.
Alexi Lubomirski for Variety
Farrell: Do you think about legacy at all? What does legacy mean to you on your journey?
Curtis: I think about it a lot. Being sober is going to be a legacy, for sure. Because I’m stopping what has been a generational issue in my biological family. It’ll be the single greatest thing I do, if I can stay sober. Because generations of people have had their lives ruled and ruined by alcoholism and drug addiction. For me, sobriety first. Always.
Farrell: The whole reason art exists is because it’s an expression of the human condition. And no matter what blessings I have or what wealth I experience in my life, I have no more or less of the human condition than the gentleman who’s living without a roof over his head. We’re in exactly the same place internally.
Curtis: And that’s the gift sobriety gives you, is that the rules apply to you just like they apply to other people. That’s what legacy is: making friends and loving your people really well. And bringing art here. I’ve seen “Tár.” And although she’s a vercomplcated character, Lydia Tár, the music that she’s communicating through was written long ago and still . . .
Farrell: . . . resonates.
Curtis: . . . moves us. And that’s the beauty of art.
Farrell: But as quaint as it is, life is the great art, isn’t it? I love my children with an artist’s heart — a heart that’s open, that’s not afraid of its pain, that aspires to reach for joy — not with a clenched fist, not with white knuckles, but with an open hand. Nobody gets to say to somebody else what is and isn’t art. Some critics do, and that’s their path. Good luck to them. But art is everywhere.
Curtis: Aren’t we lucky?
Farrell: Mad lucky.
Curtis: Are you an intellectual actor?
Farrell: No. I don’t like to talk too much about it.
Curtis: And you just do the work yourself.
Farrell: I do the work myself. I do my work in the hotel room and in my bed at night and going up for a hike and thinking and finding a piece of music that stirs me. And then I listen to that for the film.
Curtis: Tell me a piece of music for this movie.
Farrell: It’s beautiful. It was an accident that it’s an Irish composer. Patrick Cassidy is his name. There’s the acceptance of sadness — not just the presence of sadness, not the acknowledgement of sadness, but the acceptance of it as a part of our life. I listened to that quite a bit. But sometimes you listen to something so much, you can feel it begin to lose its voice inside. So you have to stop.
Curtis: I didn’t have music. I know so many women like Deirdre Beaubeirdre.
Farrell: Who are they? How do they present themselves?
Curtis: I’ve met them in recovery. People who wield power in their job as a replacement for having any actual human contact, any love or affection. No one recognizes them anywhere other than in their position of power. That’s the only thing that they’ve spent their life nurturing.
So that’s what gets them off, is that power. And then what happens to them at the end of the day when they go home and they sit alone in their apartment? It’s incredibly sad. Ninety-five percent of my work in that movie was shot in the first two days in that office building in Simi Valley.
Farrell: Did it hurt you, the film?
Curtis: What surprised me was when we did the hot dog universe, because both of our movies involve fingers and hands. But when Michelle and I met, and the Daniels talked about the hot dog universe, I didn’t understand. I didn’t understand the movie. And I was trying to figure it out. And then we went into the set and what happened, which was so beautiful, was Michelle and I just found this gorgeous emotional place with each other.
Farrell: Fluidity.
Curtis: It was just a beautiful dance with her. And that’s that level of finding reality within a universe that looks so bizarre, and yet it’s not bizarre at all. At the end, you believe everything about it.
Farrell: Because it gives shape and form to the ridiculous. And the ridiculous is something we all contend with. Life is very ridiculous. I don’t know why or how I’m on the right side, so far, of wrong. The world is so unfair and imperfect. I don’t know why we’ve gotten to where we are. But some of the ridiculousness in the world is joyful.
Curtis: By the way, if you’re going to write a book, that’s the title. “The Right Side of Wrong.”
Harry and Meghan have revealed that their first dance as husband and wife was to the iconic 60s hit Land of a Thousand Dances, in a new clip from their explosive Netflix series.
Footage released by the US streaming giant today shows the Duchess of Sussex singing and a series of unseen photos of the couple dancing at their 2018 wedding with VIPs including pop legend Elton John, a friend of Harry’s late mother Princess Diana.
Meghan says in an interview for the bombshell documentary: ‘I just really wanted the music to be fun. Even our first dance.’
She turns to Harry and asks: ‘Song of Thousand Dances? A Thousand Dances? I always get it wrong.’
The Duchess then sings the 60s soul hit Land of a Thousand Dances, first recorded by Chris Kenner in 1962 then later became a bigger hit by Wilson Pickett and Cannibal & the Headhunters – and reveals: ‘That was our first dance. It was so fun. Just spinning like a whirlwind. It was so great.’
Harry and Meghan have revealed that their first dance as husband and wife was to the iconic 60s hit Land of a Thousand Dances
Harry dips Meghan during their first dance as husband and wife at their 2018 wedding
It is the first time the couple have publicly acknowledged which song they chose for their first dance.
Initial reports suggested it was Whitney Houston’s hit I Wanna Dance With Somebody, after Meghan referred to it as her ‘happy song’ in a 2016 magazine interview.
But the Finding Freedom biography later contradicted earlier reports by claiming the first dance took place to Wilson Pickett’s 1968 track ‘I’m in Love’.
It comes amid a deepening row over the release of the couple’s Netflix series, with sources saying the Prince of Wales is unlikely ever to make up with his estranged brother following his Netflix betrayal.
William is said to be angry about the disrespect he feels Harry showed to their grandmother when she was alive during the Megxit saga.
And sources believe the bombshell documentary – which it is understood the heir to the throne has not watched, but is likely to do so at some point – will do little to change his mind.
He is also said to be distrustful of Harry’s motives given that he has a book coming out early next year.
‘All relationships are built on trust but for members of the Royal Family, who live their life in the spotlight, doubly so,’ a friend said.
‘The prince is a very private man and what Harry is doing is the anathema of everything he believes. On that alone, many believe it is unlikely he will ever be able to repair his relationship with them. Too much water has gone under the bridge.’
Last night William revealed that, on the day the Netflix show aired, he lost a close friend in Kenya and had other matters on his mind.
In his first public comments since Harry’s programme, the Prince of Wales tweeted: ‘Yesterday, I lost a friend, who dedicated his life to protecting wildlife in some of East Africa’s most renowned national parks. Mark Jenkins, and his son Peter, were tragically killed when flying over Tsavo National Park while conducting an aerial patrol.
Footage released by the US streaming giant today shows the Duchess of Sussex singing and a series of unseen photos of the couple dancing at their 2018 wedding with VIPs including pop legend Elton John, a friend of Harry’s late mother Princess Diana
Meghan turns to Harry as she asks the name of their wedding song
Harry and Meghan dancing at their 2018 royal wedding
The Duke and Duchess of Sussex dancing at their 2018 wedding
Harry poses for a group photo at his 2018 wedding with Meghan
The Duchess then sings the 60s soul hit Land of a Thousand Dances, first recorded by Chris Kenner in 1962 then later became a bigger hit by Wilson Pickett and Cannibal & the Headhunters
A soul star and hellraiser: The life of ‘Land of 1,000 Dances’ singer Wilson Pickett
Soul sensation Wilson Pickett (1941-2006) was the voice of Land of 1,000 Dances (1966) – Harry and Meghan’s wedding song
Prince Harry and Meghan Markle’s wedding dance number was revealed in the latest trailer of their Netflix series today.
The pair lit up the dance floor in their 2018 wedding to the tune of Wilson Pickett’s 1966 soul classic ‘Land of 1,000 Dances’.
Written and first recorded by Chris Kenny in October 1962, the song became a soul staple after successful covers by Cannibal & The Headhunters in February 1965, and most famously, by Pickett in July 1966.
Pickett himself was a force to be reckoned with.
Born on March 18, 1941, in Pratville, Alabama, Pickett sang in church as a child, and later on the streets of Detroit, where he developed a formidable range with a raspy edge.
Pickett fused his gospel vocals with the emerging sound of rock and roll – a mix which helped create the new genre of soul music.
Aged 14, he joined gospel group The Violinaires and four years later, he moved on to The Falcons, where he co-wrote his first chart hit ‘I Found Love’.
Pickett co-wrote the popular ballad ‘If You Need Me’, but he was distraught when his record label Atlantic Records gave the song to soul star Solomon Burke, reaching number 2 in the R&B charts in April 1963.
Pickett’s big break came in 1965, with his third solo song, the self-penned ‘In The Midnight Hour’, which peaked at number one in the US R&B charts and number 12 in the UK.
His other hits for Atlantic Records in the mid 60s included Land of 1,000 Dances’ (1966), ‘634-5789 (Soulsville, U.S.A.)’ (1965), ‘Mustang Sally’ (1966), ‘Funky Broadway’ (1966), and ‘Don’t Knock My Love’ (1971).
Following the peak of his success in the 60s and early 70s, Pickett continued to record – scoring four top 30 hits in the R&B charts – and performed live regularly until 2004.
In later years, Pickett’s struggles with alcohol and cocaine led to clashes with police. In 1991 and 1992 he was arrested on drink driving charges, including hitting an 85-year-old pedestrian. He was charged with cocaine possession in 1996 after allegedly assaulting his girlfriend.
Pickett died in hospital in January 2006, shortly after suffering a heart attack. He was inducted into the Rock and Roll Hall of Fame in 1991.
‘Tonight, I’m thinking about Mark’s wife, family and colleagues who’ve sadly lost a man we all loved and admired.’
The Mail revealed yesterday how royal insiders have been left particularly upset by the Netflix programme’s criticism of Queen Elizabeth and her Commonwealth legacy, which was dismissed as ‘Empire 2.0’.
One source pointed out that Harry and Meghan previously served as president and vice president of the Queen’s Commonwealth Trust, which supports youth empowerment in Commonwealth countries, and had been happy to be associated with it ‘until they quit their jobs to make money’.
They also feel the Sussexes’ decision to secretly record 15 hours of video diaries, which they handed over to the documentary-makers, was an ‘appalling’ betrayal of trust. They started filming in March 2020 – almost 12 months before they officially stepped down as senior working royals.
‘Harry has made a virtue of protecting his grandmother through the whole of this saga –repeatedly making the point about how much respect he had for her and ruling her out of his claims about racism. And yet this is what they were planning the whole time? It’s appalling,’ another source said.
The duke and duchess signed lucrative deals, thought to be worth more than £100 million, with Netflix and Spotify after quitting as working royals.
In the first three episodes of the six-part series, Harry has accused the royals of having a ‘huge level of unconscious bias’ and colluding with a media that wanted to ‘destroy’ Meghan, as well as slighting his father and brother about their choices of bride.
Having digested the first three episodes of the documentary, royal insiders were keen to point out yesterday what they say are the many inconsistencies.
Meghan claims she received little support from Buckingham Palace as a new royal bride, saying there were no etiquette classes and she was reduced to googling the national anthem. She also said she was too scared to wear colourful clothes in case she overshadowed the Queen.
Sources have dismissed this, saying she was guided by the late Queen’s trusted deputy private secretary, Samantha Cohen, as well as her ladies-in-waiting. It is understood Meghan was also offered dozens of meetings with senior officials, but refused to take their advice.
The duchess also claimed to have been told she could not invite her half-niece to her wedding. Insiders say it was her idea not to do so.
They also reject claims that the Palace and the media were working together to smear them as a couple. In fact, relations between the Palace and the Press were at an all-time low because the couple’s team were so aggressively ‘firefighting’ on their behalf.
‘They were trying to stop stories going in the newspapers, not plant them,’ one source insists.
It comes after Meghan and Harry denied they quit royal duties and emigrated to the US because they wanted privacy as they justified their Netflix documentary charting the most intimate moments of their courtship and marriage.
The Duke and Duchess of Sussex have shared dozens of pictures, as well as footage, of themselves and their children Archie and Lilibet at home, photographs from their first dates and even footage of Harry proposing which Meghan apparently ‘live-streamed’ to a friend.
The couple handed over 15 hours of personal video they had recorded in the early months of 2020, according to director Liz Garbus, who dodged questions about how much control the Sussexes had over the shows – calling the completed series a ‘collaboration’.
Experts have claimed their decision to give up royal duties was a sign they wanted to live more privately.
Harry himself said Megxit, he hoped, would lead him and his family ‘into what I hope will be a quieter life’ and the couple have launched several high-profile privacy court cases in the UK.
But their spokesman Ashley Hansen has ridiculed the suggestion that Megxit was ever about privacy, and told The New York Times: ‘Their statement announcing their decision to step back mentions nothing of privacy and reiterates their desire to continue their roles and public duties.
‘Any suggestion otherwise speaks to a key point of this series. They are choosing to share their story, on their terms, and yet the tabloid media has created an entirely untrue narrative that permeates press coverage and public opinion. The facts are right in front of them’.
VIPs at Harry and Meghan’s wedding include Suits co-star Abigail Spencer and Canadian fashion stylist Jessica Mulroney
Harry and Meghan twirl as they dance at their wedding
Meghan adds: ‘That was our first dance. It was so fun. Just spinning like a whirlwind’
Speaking about their 2018 wedding, the Duchess of Sussex says in an interview for the bombshell documentary: ‘I just really wanted the music to be fun. Even our first dance’
Rift: Harry and William during the unveiling of a statue of their mother, Princess Diana, at Kensington Palace last year
The Netflix series raises questions over when they planned to make a documentary.
Harry’s introductory monologue was him staring down his mobile phone lens from Heathrow Airport’s VIP Windsor Suite as the couple ended their royal duties in March 2020 and emigrated to North America.
Ms Garbus, who took over from documentarian Garrett Bradley after she left the project, said: ‘You’re right there with Harry in the Windsor Suite processing the fact that he’s leaving the royal family for the first time in his life.
‘Then there was another clip with Meghan at home, alone, fresh out of the shower, her hair in a towel, no makeup, processing on her end what their life might actually be like.
‘It’s very personal and raw and powerful, and it made me appreciate the incredible weight that went into their decision. It also affirmed the choice I had made about wanting to unravel how this historic break came to be.’
The row over privacy will no doubt be debated again when Harry’s memoir ‘Spare’ is released in January.
During a speech given in London just hours after Megxit was announced in January 2020, Harry addressed a charity event where he said that he had taken the decision for his family so they could ‘take a step forward into what I hope will be a quieter life’.
Before Megxit, major events were dominated by privacy rows.
In May 2019, when Archie was born, they delayed the announcement so they had the chance to ‘celebrate privately as a new family’.
The Queen’s former spokesman Dickie Arbiter said at the time: ‘The birth of Archie was a complete disaster. The secrecy made a mockery of the whole thing’.
Meghan told Oprah in 2021: ‘I think everyone has a basic right to privacy. Basic. We’re not talking about anything that anybody else wouldn’t expect’.
But she denied Megxit was about privacy itself, pointing to their statement that talked about financial independence from the royals so they could ’embark on the next chapter in our lives’.
T.J. Holmes cheerfully called colleague Amy Robach his “best friend” and his “Good Morning America” anchor chair his “dream job” in a Post interview just weeks before his professional and personal life came crashing down.
“I am a really, really lucky dude … I am now in my absolute dream job … And I get to sit next to my best friend doing it,” he gushed to The Post on Oct. 21, ahead of running the Nov. 6 TCS New York City Marathon with Robach.
The disgraced host, 45, spoke about how happy he was co-anchoring the third hour of GMA3 with Robach, 49 — blissfully unaware that job was about to be in jeopardy.
“I never ever ever could have imagined things working out the way they have,” he said.
On Nov. 30, the news broke that the stars were allegedly having an affair. Starting on Dec. 5, the canoodling cohosts were taken off the air as ABC decides their fates and investigates their relationship.
Just over a month prior to their cheating allegations surfacing, T.J. Holmes gushed about his “Good Morning America” costar.T.J. Holmes/Facebook
It has since been revealed that Holmes allegedly had affairs with multiple ABC staffers and the station is looking into whether or not he broke company rules by dating women who were less senior in the hierarchy.
Before the scandal exploded, Holmes seemed to think his network status was secure — and he wasn’t planning on leaving anytime soon. “So what’s next in my career? I got a great thing going and I want to keep it going as long as I can,” he said.
The Arkansas native explained what made the gig so great.
“I get to show my personality and I still get to do news,” he said. “I still get to go live. I still get to travel.”
Ironically, the father of three said he wasn’t certain where his life and career were heading long-term — but seemed to expect more success.
“I get the question, ‘Where do you see yourself in five years?’” he said. “And I have no idea because every plan I’ve had in my life … I did not end up there, but I ended up somewhere even better than I could have imagined.”
The Post spoke to Holmes ahead of his running the TCS New York City Marathon with Robach.Christopher Peterson / SplashNew
Holmes credited Robach, who married “Melrose Place” actor Andrew Shue in 2010, for his newfound love of running.
“I’ve always run as part of exercise, but I never really called myself a runner . . . but she’s the one that got me into keeping up with my time and distance,” he said.
“She kind of publicly shamed me for quite a while,” he joked. “So yes, it was all Robach.”
A father of three, T.J. Holmes shares one, a daughter born in 2013, with his wife Marilee Fiebig.Getty Images for BET
He also revealed that his wife, Marilee Fiebig, an immigration lawyer and chief diversity officer at Save the Children US, whom he wed in 2010, found his recent commitment to the pastime surprising.
“She has seen me go from the way I used to work out to now walking out and saying, ‘Yeah, I’m gonna go run 12 miles,” he told The Post. “She’s like, ‘What?’”
Emma Thompson reveals what she thinks of her heartbreaking scene in Love Actually 20 years on – and which ‘terrifying’ role left her ‘legs shaking’
By Marta Jary For Daily Mail Australia
Published: | Updated:
Emma Thompson has revealed that she still has deep feelings about her role in the classic romantic comedy Love Actually.
The 2003 film, which is set to celebrate its 20th anniversary, Thompson played a wife who sobs uncontrollably after she discovers that her husband has bought jewellery for another woman and realises he is cheating on her.
The 63-year-old says she still recalls the way she felt when she filmed the scene alongside the late Alan Rickman.
Emma Thompson (pictured) has revealed that she still has deep feelings about her role in the classic romantic comedy Love Actually
‘Yes, you remember the feelings you had at the time,’ she tells this week’s Stellar Magazine.
Thompson previously revealed that she was so convincing in the film as a result of personal experience – having her heart ‘very badly broken’ by her first husband Kenneth Branagh.
Once the golden couple of British cinema, dubbed Ken and Em, they split after eight years together when he began an affair with Helena Bonham Carter.
The 2003 film, which is set to celebrate its 20th anniversary, Thompson played a wife who sobs uncontrollably after she discovers that her husband has bought jewellery for another woman and realises he is cheating on her. Pictured in Love Actually
‘That scene where my character is standing by the bed crying is so well known because it’s something everyone’s been through’, she said.
‘I had my heart very badly broken by Ken. So I knew what it was like to find the necklace that wasn’t meant for me.
‘Well it wasn’t exactly that, but we’ve all been through it.’
Love Actually was written and directed by Curtis and premiered in November 2003 to mixed reviews from critics.
The 63-year-old says she still recalls the way she felt when she filmed the scene alongside the late Alan Rickman (right)
But it was well received by audiences and has since become a modern-day Christmas classic.
Elsewhere in the Stellar interview, Thompson reveals her most ‘terrifying’ role is her most recent, in the upcoming film adaption of Roald Dahl’s Matilda The Musical.
The Cruella star had to stand on a high platform to shoot CGI scenes and she was left very flustered.
Elsewhere in the Stellar interview, Thompson reveals her most ‘terrifying’ role is her most recent, in the upcoming film adaption of Roald Dahl’s Matilda The Musical
‘I’ll remember being 80 feet [24 metres] up on that structure and looking down, and all the kids were down there,’ she recalls.
‘They were going, ‘You’ll be all right’. My legs were shaking and we were all singing live. For me, it was such an exciting thing to do, but also terrifying.
‘So that’s what’s going to stay with me from Matilda The Musical’ the Late Night actress said.
Roald Dahl’s Matilda The Musical will be streaming on Netflix from December 25.
Read more in this week’s issue of Stellar Magazine
The actor died on Dec. 2 at a hospice care facility in Youngstown, Ohio, after “a difficult three-and-half-weeks” in ICU battling the virus, his family announced in an obituary.
Friedkin’s family encouraged “everyone to get vaccinated and boosted to protect their family and community” in its tribute.
“He was a gift to all who knew him as an amazing son, brother, brother-in-law, uncle, great-uncle and friend,” the family wrote.
“Gary lived his life to the absolute fullest, bringing endless laughs to his family and many friends, while never letting the obstacles he faced get in his way,” it added. “Gary put countless smiles on people’s faces and left so many with their own special ‘Gary story.’”
He appeared as cook Clarence in three episodes of “Happy Days” and had roles in the 1981 comedy “Under the Rainbow,” the 1982 film “Young Doctors In Love” and the 1992 animation “Cool World.” His last movie credit was for “Mother’s Day” in 2016.
“While Gary may have been short of stature, he was a giant amongst his family and friends,” his family said. “His legacy will live on as stories are told and retold for years to come by all who loved him.”
Selena Gomez stunned in a chic and timeless little black dress while stopping by Jimmy Fallon’s Tonight Show set in New York City this week. The Only Murders in the Building star, 30, discussed her recently released documentary, My Mind & Me and teased new music during her appearance, all while showing off her sculpted figure in the plunging midi item.
READ MORE: Selena Gomez Is A Vision In White As Her Pleated Gucci Mini Dress Steals The Show At Dinner In LA
Selena Gomez Rocks A Low-Cut, Sultry LBD On The Tonight Show
The “Lose You To Love Me” singer’s dress featured a low neckline with a tied bow, subtle stripe details, a glamorous, furry texture, an asymmetrical line through it, and overall skintight, curve-hugging fit. Along with this epic piece, Gomez paired sleek, black, pointed-toe pumps and accessorized her monochromatic get-up with silver hoop earrings.
As for makeup, the Rare Beauty mogul went for a 90s-esque smokey eye with silvery eyeshadow, added a touch of rosy blush to her cheekbones, and topped her look off with a nude, matte lip. The “People You Know” hitmaker wore her long, brunette tresses down, and in center-parted, face-framing layers. She also wore her iconic wispy fringe down, grazing her eyes.
Gomez Reveals New Music Is On The Way
While sitting down with Fallon, the host asked Gomez if the release of her documentary’s titular musical single, “My Mind & Me” meant that new music would be on the way. “That’s accurate,” she replied with a smile as the audience cheered, adding, “finally!” Gomez explained that she is “so used” to writing “sad girl songs” because she is “good at it” and revealed that she is “ready to have some fun,” meaning that we can expect more optimistic bops from her in the near future.
Over the summer, Gomez was previously featured on Nigerian rapper Rema’s song “Calm Down,” and treated her fans and listeners to her ethereal vocals while harmonizing with him. She also sang her own danceable verses with pulsating beats and reverberating synthesizers echoing in the background.
Before this, Gomez also collaborated with artists like Coldplay and DJ Snake for remixes and other projects, with her last album, Rare, dropping in early 2020, *before* the pandemic. Regarding new music, it’s been a long time coming for ‘Selenators’ out there!
