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Frantic fans beg for cancelation of haunted Annabelle doll tour after man leading expedition dies unexpectedly

Frantic fans beg for cancelation of haunted Annabelle doll tour after man leading expedition dies unexpectedly

Daily Mail​15-07-2025
Frantic fans have begged for the cancelation of the haunted Annabelle doll tour following the news that man leading it had died unexpectedly.
Dan Rivera passed away at age 54 on Sunday, July 13, the New England Society for Psychic Research - the organization behind the Devils on the Run Tour - confirmed.
The Annabelle doll was made famous back in the 1970s when paranormal investigators Ed and Lorraine Warren looked into alleged attacks made by the infamous toy.
While they put her in a specially built glass case and warned that she should never be moved, Annabelle is now currently touring the US alongside other items from the Warrens Occult Museum collection as part of the exhibition called Devils on the Run.
It's been reported that Dan was overseeing the tour and was the one who has been bringing the creepy children's toy across the country.
Most recently, he had traveled to Gettysburg, Pennsylvania, for the latest tour stop, which was completely sold out and spanned across three days at the Soldiers National Orphanage over the weekend.
According to the Evening Sun, firefighters and medical personnel were called to a hotel in Gettysburg on Sunday for a report of CPR in progress on a male patient of Dan's age.
The news of Dan's unexpected passing sparked frenzied fear all across the web, as many urged the creators of the tour to 'put her back in her box.'
Dan Rivera passed away at age 54 on Sunday, July 13, the New England Society for Psychic Research - the organization behind the Devils on the Run Tour - has confirmed
'Y'all need to leave this doll alone,' one fan wrote.
'The curse is real,' someone else penned, while a fourth person begged, 'Put her back in the box!'
'This is some scary s**t,' a fifth tweet read.
Another said, 'So sad! Best to leave Annabelle locked up.'
'It was that damn doll,' announced a different user.
'Please for the love of God, stop f**king with that doll,' urged someone else.
The cause of Dan's death remains unknown.
It's been said that famous paranormal investigators Ed and Lorraine came into possession of the Raggedy Anne doll in the 1970s after two young nurses reached out begging for help.
The nurses allegedly claimed the doll, which had been a birthday gift, was wreaking havoc on their lives, placing handwritten eerie messages around their home, moving on its own, and even leaving horrific scratch marks on one of their boyfriends.
The Warrens took it off their hands, and upon investigating, the couple became convinced that a 'demonic' force was possessing the doll.
They claimed that their car continuously 'stalled' and the steering and breaks 'failed' on the drive home, per Gerald Brittle's book The Demonologist: The Extraordinary Career of Ed and Lorraine Warren.
They said they had to throw 'holy water' onto the doll in order to get home safely.
They also alleged that they called in a man named Father Daniel to help, but that he nearly lost his life after he didn't take the doll seriously.
He reportedly 'picked up the doll' and said, 'You're just a rag doll, Annabelle, you can't hurt anything,' before he 'tossed it back on the chair,' according to the Warrens' biography.
That night, he is said to have called Lorraine and told her, 'The brake system failed [on my car on the way home]. I was almost killed in a traffic accident. My car is a wreck.'
Ed also claimed the doll levitated in front of him and constantly moved around their home before they decided to lock it up indefinitely.
In the years since then, it has sat behind glass in the Warrens museum, but some horror fans who traveled just to get a glimpse of the infamous doll have claimed that weird stuff started to happen to them afterwards.
The news of Dan's unexpected passing sparked frenzied fear all across the web, as many urged the creators of the tour to 'put her back in her box'
And according to a family member of the Warrens, tragedy struck when one visitor didn't treat the doll with respect.
It's been said that the guest knocked on the glass case and taunted the doll before he was thrown out of the museum.
But on his way home, he got into a fatal motorcycle accident, per the Warrens' son-in-law Tony Spera.
'It's probably the most dangerous artifact we have here in the museum. It's responsible for we believe the death of a young man who came on a motorcycle and challenged that doll to do its worst and it did,' Tony told WTNH in 2016.
The name of the alleged crash victim was never shared so the Daily Mail was not able to verify Tony's claims.
The Annabelle doll gained worldwide popularity after it was featured in the 2013 flick The Conjuring as well as the spinoff Annabelle series that contained three more films.
The Devils on the Run tour kicked off back in May, but things to a dark turn later that month when visitors at one stop on the tour claimed the three-foot-tall doll wasn't anywhere to be found, sparking a panic and fear online.
However, after countless rumors that she had gone 'missing' and hoards of terrified fans, Dan came forward at the time to debunk the theories via TikTok.
'I'm here at the museum right now, and I just wanna show you guys that Annabelle is in the Warrens' Occult Museum. Let's go inside and let's check,' he began the video.
As he weaved his way through he exhibits, he approached the doll sitting in her secured wooden case.
'Annabelle is not missing. She is not in Chicago. She has never been missing,' he added.
The tour is still underway and horror fans will get the chance to see the 'possessed' toy at the Rock Island Roadhouse Esoteric Expo in Illinois on October 4.
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Hundreds of Nigerian migrants are allowed into Britain after using visa scheme for authors, poets and storytellers
Hundreds of Nigerian migrants are allowed into Britain after using visa scheme for authors, poets and storytellers

Daily Mail​

time3 hours ago

  • Daily Mail​

Hundreds of Nigerian migrants are allowed into Britain after using visa scheme for authors, poets and storytellers

Hundreds of Nigerian migrants are cheating the system by using a visa scheme meant for authors and other literary creatives. They have made the most applications for the scheme, which also covers poets, oral storytellers and creators of graphic novels and comics. Those who are successful are able to bring their family into the UK as dependents and stay for up to five years at a time. The Nigerian migrants have also been the most successful in their applications, endorsed by the government quango Arts Council England, which can review and bolster applications for 'Global Talent' visas. This includes those with exceptional talents in music, theatre and dance and those applying are expected to prove their skills. Nigerians have put in 125 applications to the literature category over the past five years - more than double the 61 received from the US and far more than nations like Australia, Canada and New Zealand combined. Of those, 70 were rejected, and 54 were endorsed – more than any other country represented in official figures. The number of Global Talent visa applications being submitted from Nigeria has risen by 2,225 per cent since 2019. There were just 12 applications in 2019, but this rose to 279 in 2024, figures from The Telegraph revealed. Across that entire period, Nigerians made 729 applications across the Global Talent categories in dance, fashion, music, film and TV, theatre, combined arts, and visual arts. They came second to the US who submitted 977. However, Nigeria had the lowest number of endorsements after Ghana, with just 59 per cent. Russia have submitted 725 applications, china had 492, Australia with 233 and India with 160. Since 2019, more than 5,000 applications have been made across all nationalities, with 3,600 endorsed by the Arts Council. Immigration has reached record number for illegal and legal arrivals, as Labour face mounting pressures to curb the soaring number of migrants. The Home Office has not revealed how many of these endorsements then lead to visas being signed off.

‘Generations of women have been disfigured': Jamie Lee Curtis lets rip on plastic surgery, power, and Hollywood's age problem
‘Generations of women have been disfigured': Jamie Lee Curtis lets rip on plastic surgery, power, and Hollywood's age problem

The Guardian

time5 hours ago

  • The Guardian

‘Generations of women have been disfigured': Jamie Lee Curtis lets rip on plastic surgery, power, and Hollywood's age problem

I'm scheduled to speak to Jamie Lee Curtis at 2pm UK time, and a few minutes before the allotted slot I dial in via video link, to be met with a vision of the 66-year-old actor sitting alone in a darkened room, staring impassively into the camera. 'Morning,' she says, with comic flatness, as I make a sound of surprise that is definitely not a little scream. Oh, hi!! I say, Are you early or am I late? 'I'm always early,' says the actor, deadpan. 'Or as my elder daughter refers to me, 'aggressively early'.' Curtis is in a plain black top, heavy black-framed glasses and – importantly for this conversation – little or no makeup, while behind her in the gloom, a dog sleeps in a basket. She won't say what part of the US she's in beyond the fact it's a 'witness protection cabin in the woods' where 'I'm trying to have privacy' – an arch way, I assume, of saying she's not in LA – and immediately starts itemising other situations in which she has been known to be early: Hollywood premieres ('They tell me I can't go to the red carpet yet because it's not open and so my driver, Cal, and I drive around and park in the shade'); early-morning text messages ('I wake people up'); even her work schedule: 'I show up, do the work, and then I get the fuck out.' This is the short version; in full, the opening minutes of our conversation involve Curtis free-associating through references to the memory of her mother and stepfather missing her performance in a school musical in Connecticut; the negotiating aims of the makeup artists' union; the nickname by which she would like to be known if she ever becomes a grandmother ('Fifo' – short for 'first in first out'); and what, exactly, her earliness is about. Not, as you might imagine, anxiety, but: 'You know, honestly, I've done enough analysis of all this – it's control.' Curtis knows her early arrivals strike some people as rude. 'My daughter Annie says: 'People aren't ready for you.' And I basically say: 'Well, that's their problem. They should be ready.'' 'That's their problem' is, along with, 'I don't give a shit any more' a classic Curtis expression that goes a long way towards explaining why so many people love her – and they really do love her – a woman who on top of charming us for decades in a clutch of iconic roles, has crossed over, lately, into that paradoxical territory in which she is loved precisely because she's done worrying about what others think of her. Specifically, she doesn't care about the orthodoxies of an industry in which women are shamed into having cosmetic surgery before they hit 30. Curtis has spoken of having a procedure herself at 25, following a comment made on the set of a film that her eyes were 'baggy'. Regretting it, she has in the years since made the genuinely outlandish and inspiring decision to wear her hair grey and eschew surgical tweaks. That Curtis is the child of two Hollywood icons, Tony Curtis and Janet Leigh, and thus an insider since birth, either makes this more surprising or else explains it entirely, but either way, she has become someone who appears to operate outside the usual Hollywood rules. 'I have become quite brusque,' says Curtis, of people making demands on her time when she's not open for business. 'And I have no problem saying: 'Back the fuck off.'' I can believe it. During the course of our conversation, Curtis's attitude – which is broadly charming, occasionally hectoring and appears to be driven by a general and sardonic belligerence – is that of someone pushing back against a lifetime of misconceptions, from which, four months shy of her 67th birthday, she finally feels herself to be free. Curtis is in a glorious phase of her career, one that, despite starring in huge hits – from the Halloween franchise and A Fish Called Wanda (1988) to Trading Places (1983), True Lies (1994) and the superlative Knives Out (2019) – has always eluded her. The fact is, celebrity aside, Curtis has never been considered a particularly heavyweight actor or been A-list in the conventional way. At its most trivial, this has required her to weather small slights, such as being ignored by the Women In Film community, with its tedious schedule of panels and events. ('I still exist outside of Women In Film,' she snaps. 'They're not asking me to their lunch.') And, more broadly, has seen Curtis completely overlooked by the Oscars since she shot Halloween, her first movie, at the age of 19. Well, all that has changed now. In 2023, Curtis won an Oscar for best supporting actress for her role as Deirdre Beaubeirdre in the genre-bending movie Everything Everywhere All at Once. That same year, she appeared in a single episode of the multi-award-winning TV show The Bear as Donna Berzatto, the alcoholic mother of a large Italian clan – she calls it 'the most exhilarating creative experience I will ever have'. Anyone who saw this extraordinary performance is still talking about it, and it led to a larger role on the show. Doors that had always been shut to Curtis flew open. For years, she had tried and failed to get movie and TV projects off the ground. Now, she lists the forthcoming projects she had a hand in bringing to the screen: 'Freakier Friday, TV series Scarpetta, survival movie The Lost Bus, four other TV shows and two other movies.' She has become a 'prolific producer', she says, as well as a Hollywood elder and role model. All of which makes Curtis laugh – the fact that, finally, 'at 66, I get to be a boss'. You'd better believe she'll be making the most of it. The movie Curtis and I are ostensibly here to talk about is Freakier Friday, the follow-up to Freaky Friday, the monster Disney hit of 2003 in which Curtis and Lindsay Lohan appeared as a mother and daughter who switch bodies with hilarious consequences. I defy anyone who enjoyed the first film not to feel both infinitely aged by revisiting the cast more than 20 years on, and also not to find it a wildly enjoyable return. The teenage Lohan of the first movie is now a 37-year-old mother of 15-year-old Harper, played by Julia Butters, while the introduction of a second teenager – Harper's mortal enemy Lily, played by Sophia Hammons – allows for a four-way body swap in which Curtis-as-grandma is inhabited by Hammons' British wannabe influencer. If it lacks the simplicity of the first movie, I thoroughly enjoyed it and look forward to taking my 10-year-old girls when it opens next month. It is also a movie that presented Curtis with an odd set of challenges. She has a problem with 'pretty'. When Curtis herself was a teenager, she says, she was 'cute but not pretty'. She watched both her parents' careers atrophy after their youthful good looks started to wane. Part of her shtick around earliness is an almost existential refusal to live on Hollywood's timeline, because, she says: 'I witnessed my parents lose the very thing that gave them their fame and their life and their livelihood, when the industry rejected them at a certain age. I watched them reach incredible success and then have it slowly erode to where it was gone. And that's very painful.' As a result, says Curtis: 'I have been self-retiring for 30 years. I have been prepping to get out, so that I don't have to suffer the same as my family did. I want to leave the party before I'm no longer invited.' In the movie, Curtis was allowed to keep her grey hair (although it looks shot through with blond) but her trademark pixie cut was replaced with something longer and softer. I take it with a pinch when she says things such as, 'I'm an old lady' and, 'I'm going to die soon' – even in age-hating Hollywood, this seems overegged – but one takes the point that she found the conventional aesthetic demands of Freakier Friday, in which she 'had to look pretty, I had to pay attention to [flattering] lighting, and clothes and hair and makeup and nails', much harder than playing a dishevelled alcoholic in The Bear. On the other hand, Curtis is a pro and, of course, gave Disney the full-throated, zany-but-still-kinda-hot grandma they wanted. (There is a scene in which she tries to explain various board games – Boggle, Parcheesi – to the owl-eyed teens that reminds you just how fine a comic actor she is.) It's the story of how Freakier Friday came about, however, that really gives insight into who Curtis is: an absolute, indefatigable and inveterate hustler. 'I am owning my hustle, now,' she says and is at her most impressive, her most charming and energised when she is talking about the hustle. To wit: Curtis was on a world tour promoting the Halloween franchise that made her name and that enjoyed a hugely successful reboot in 2018, when something about the crowd response struck her. 'In every single city I went to, the only movie they asked me about besides Halloween was Freaky Friday – was there going to be a sequel?' When she got back from the tour, she called Bob Iger, Disney's CEO. 'I said: 'Look, I don't know if you're planning on doing [a sequel], but Lindsay is old enough to have a teenager now, and I'm telling you the market for that movie exists.'' As the project came together, Curtis learned that Disney was planning to release Freakier Friday straight to streaming. 'And I called Bob Iger' – it's at this point you start to imagine Iger seeing Curtis's name flash up on his phone and experiencing a slight drop in spirits – 'and I called David Greenbaum [Disney Live Action president], and I called Asad Ayaz, who's the head of marketing, and I said: 'Guys, I have one word for you: Barbie. If you don't think the audience that saw Barbie is going to be the audience that goes and sees Freakier Friday, you're wrong.'' This is what Curtis means when she refers to herself as 'a marketing person', or 'a weapon of mass promotion', and she has done it for ever. It's what she did in 2002 when she lobbied More magazine to let her pose in her underwear and no makeup – 'They didn't come to me and say: 'Hey Jamie, how about you take off your clothes and show America that you're chubby?' The More magazine thing happened because I said it should happen, and I even titled the piece: True Thighs.' And it is what she was doing a few weeks before our interview when she turned up to the photoshoot in LA bearing a bunch of props she had ordered from Amazon, including oversized plastic lips and a blond wig. Curtis says: 'There are many, many actresses who love the dress up, who love clothes, who love fashion, who love being a model. I. Hate. It. I feel like I am having to wrestle with your idea of me versus my idea of me. Because I've worked hard to establish who I am, and I don't want you to … I have struggled with it my whole life.' Curtis is emphatic that her ideas be accurately interpreted and, before our meeting, sent an email via her publicist explaining her thinking behind the shoot. 'The wax lips is my statement against plastic surgery. I've been very vocal about the genocide of a generation of women by the cosmeceutical industrial complex, who've disfigured themselves. The wax lips really sends it home.' Obviously, the word 'genocide' is very strong and risks causing offence, given its proper meaning. To Curtis, however, it is accurate. 'I've used that word for a long time and I use it specifically because it's a strong word. I believe that we have wiped out a generation or two of natural human [appearance]. The concept that you can alter the way you look through chemicals, surgical procedures, fillers – there's a disfigurement of generations of predominantly women who are altering their appearances. And it is aided and abetted by AI, because now the filter face is what people want. I'm not filtered right now. The minute I lay a filter on and you see the before and after, it's hard not to go: 'Oh, well that looks better.' But what's better? Better is fake. And there are too many examples – I will not name them – but very recently we have had a big onslaught through media, many of those people.' Well, at the risk of sounding harsh, one of the people implicated by Curtis's criticism is Lindsay Lohan, her Freakier Friday co-star and a woman in her late 30s who has seemingly had a lot of cosmetic procedures at a startlingly young age (though Lohan denies having had surgery). In terms of mentoring Lohan, with whom Curtis remained friends after making the first film, she says: 'I'm bossy, very bossy, but I try to mind my own business. She doesn't need my advice. She's a fully functioning, smart woman, creative person. Privately, she's asked me questions, but nothing that's more than an older friend you might ask.' But given the stridency of Curtis's position on cosmetic surgery, don't younger women feel judged in her presence? Isn't it awkward? 'No. No. Because I don't care. It doesn't matter. I'm not proselytising to them. I would never say a word. I would never say to someone: what have you done? All I know is that it is a never-ending cycle. That, I know. Once you start, you can't stop. But it's not my job to give my opinion; it's none of my business.' As for Lohan, Curtis says: 'I felt tremendous maternal care for Lindsay after the first movie, and continued to feel that. When she'd come to LA, I would see her. She and I have remained friends, and now we're sort of colleagues. I feel less maternal towards her because she's a mommy now herself and doesn't need my maternal care, and has, obviously, a mom – Dina's a terrific grandma.' Sign up to Inside Saturday The only way to get a look behind the scenes of the Saturday magazine. Sign up to get the inside story from our top writers as well as all the must-read articles and columns, delivered to your inbox every weekend. after newsletter promotion The general point about the horror of trying to stay young via surgery is sensible and, of course, I agree. At the back of my mind, however, I have a small, pinging reservation that I can't quite put my finger on. I suggest to Curtis that she has natural advantages by virtue of being a movie star, which, on the one hand, of course, makes her more vulnerable around issues of ageing, but on the other hand, she's naturally beautiful and everyone loves her, and most average women who – 'I have short grey hair!' she protests. 'Other women can –' They can, of course! But you must have a physical confidence that falls outside the normal – 'No! No!' She won't have it. 'I feel like you're trying to say: 'You're in some rarefied air, Jamie.'' I'm not! She responds: 'By the way, genetics – you can't fuck with genetics. You want to know where my genetics lie?' She lifts up an arm and wobbles her bingo wings at me. 'Are you kidding me? By the way, you're not going to see a picture of me in a tank top, ever.' This is Curtis's red line. 'I wear long-sleeve shirts; that's just common sense.' She gives me a beady look. 'I challenge you that I'm in some rarefied air.' I think about this afterwards to try and clarify my objection, which I guess is this: that the main reason women in middle age dye their hair is to stave off invisibility, which, with the greatest respect, is not among the veteran movie star's problems. But it's a minor quibble given what I genuinely believe is Curtis's helpful and iconoclastic gesture. And when she talks about cosmetic surgery as addiction, she should know. Curtis was an alcoholic until she got sober at 40 and is emphatic and impressive on this subject, the current poster woman – literally: she's on signs across LA for an addiction charity with the tagline: 'My bravest thing? Getting sober'. I'm curious about how her intense need for control worked, in those years long ago, alongside her addiction? 'I am a controlled addict,' she says. 'In recovery we talk about how, in order to start recovering, you have to hit what you call a 'bottom'. You have to crash and burn, lose yourself and your family and your job and your resources in order to know that the way you were living didn't work. I refer to myself as an Everest bottom; I am the highest bottom I know. When I acknowledged my lack of control, I was in a very controlled state. I lost none of the external aspects of my life. The only thing I had lost was my own sense of myself and self-esteem.' Externally, during those years of addiction, she seemed to be doing very well. Her career boomed. She married Christopher Guest, the actor, screenwriter and director, and they have two children and have stayed married for more than 40 years. (There's no miracle to this. As Curtis puts it, wryly: 'It's just that we have chosen to stay married. And be married people. And we love each other. And I believe we respect each other. And I'm sure there's a little bit of hatred in there, too.') I wonder, then, whether Curtis's success during those years disguised how serious a situation she was in with her addiction? 'There's no one way to be an addict or an alcoholic. People hide things – I was lucky, and I am ambitious, and so I never let that self-medication get in the way of my ambition or work or creativity. It never bled through. No one would ever have said that had been an issue for me.' Where was the cost? 'The external costs are awful for people; but the internal costs are more sinister and deadly, because to understand that you are powerless over something other than your own mind and creativity is something. But that was a long time ago. I'm an old lady now.' She is doing better than ever. With the Oscar under her belt, Curtis has just returned in the new season of The Bear and has a slew of projects – many developed with Jason Blum, the veteran horror producer with whom she has a development deal – coming down the line. Watching her bravura performance as Donna Berzatto, I did wonder if playing an alcoholic had been in any way traumatic. She flashes me a look of pure vehemence. 'Here's what's traumatic: not being able to express your range as an artist. That's traumatic. To spend your entire public life holding back range. And depth. And complexity. And contradiction. And rage. And pain. And sorrow.' She builds momentum: 'And to have been limited to a much smaller palette of creative, emotional work. 'For me, it was an unleashing of 50 years of being a performer who was never considered to have any range. And so the freedom, and the confidence, that I was given by Chris [Storer, the show's creator], and the writing, which leads you … everywhere you need to go – it was exhilarating.' She continues: 'It took no toll. The toll has been 40 years of holding back something I know is here.' Well, there she is, the Curtis who thrills and inspires. Among the many new projects is The Lost Bus, a survival disaster movie for AppleTV+ about a bus full of children trying to escape wildfires. The idea came to Curtis while she was driving on the freeway, listening to an NPR report on the deadly wildfires of 2018 in the small town of Paradise, California. She pulled over and called Blum; the movie, directed by Paul Greengrass and starring Matthew McConaughey and America Ferrera, drops later this year. For another project, she managed to persuade Patricia Cornwell, the superstar thriller writer, to release the rights for her Scarpetta series, which, as well as producing, Curtis will star in alongside Nicole Kidman. This burst of activity is something Curtis ascribes to the 'freedom' she derived from losing 'all vanity', and over the course of our conversation 'freedom' is the word she most frequently uses to describe what she values in life. Freedom is a particularly loaded and precious concept for those on the other side of addiction and, says Curtis, 'I have dead relatives; I have parents who both had issues with drinking and drugs. I have a dead sibling. I have numerous friends who never found the freedom, which is really the goal – right? Freedom.' It's a principle that also extends to her family. Curtis's daughter Ruby, 29, is trans, and I ask how insulated they are from Donald Trump's aggressively anti-trans policies. 'I want to be careful because I protect my family,' says Curtis. 'I'm an outspoken advocate for the right of human beings to be who they are. And if a governmental organisation tries to claim they're not allowed to be who they are, I will fight against that. I'm a John Steinbeck student – he's my favourite writer – and there's a beautiful piece of writing from East of Eden about the freedom of people to be who they are. Any government, religion, institution trying to limit that freedom is what I need to fight against.' There are many, many other subjects to cycle through, including Curtis's friendship with Mariska Hargitay, whose new documentary about her mother, Jayne Mansfield, hit Curtis particularly hard, not least because 'Jayne's house was next to Tony Curtis's house – that big pink house on Carolwood Drive that Tony Curtis lived in and Sonny and Cher owned prior to him.' (I don't know if referring to her dad as 'Tony Curtis,' is intended to charm, but it does.) There's also a school reunion she went to over a decade ago; the feeling she has of being 'a 14-year-old energy bunny'; the fact we've been pronouncing 'Everest' wrong all this time; the role played by lyrics from Justin Timberlake's Like I Love You in her friendship with Lindsay Lohan; and the 'Gordian knot' of what happens when not being a brand becomes your brand. Curtis could, one suspects, summon an infinite stream of enthusiasms and – perhaps no better advertisement for ageing, this – share urgent thoughts about every last one of them. In an industry in which people weigh their words, veil their opinions and pander to every passing ideal, she has gone in a different direction, one unrestrained by the usual timidities. Or as she puts it with her typical take-it-or-leave-it flatness, 'the freedom to have my own mind, wherever it's going to take me. I'm comfortable with that journey and reject the rest.' Freakier Friday is in Australian cinemas from 7 August and from 8 August in the UK and US Jamie Lee Curtis wears: (leopard look) jacket and skirt, by Rixo; T-shirt and belt, both by AllSaints; boots, by Dr Martens; tights, by Wolford; (tartan look) suit, by Vivienne Westwood, from tights, by Wolford; shoes, by By Far. Fashion stylist: Avigail Collins at Forward Artists. Set stylist: Stefania Lucchesi at Saint Luke Artists. Hair: Sean James at Aim Artists. Makeup: Erin Ayanian Monroe at Cloutier Remix.

British girl-group legend hints at new role on controversial US reality show after enjoying night out with main star
British girl-group legend hints at new role on controversial US reality show after enjoying night out with main star

Daily Mail​

time10 hours ago

  • Daily Mail​

British girl-group legend hints at new role on controversial US reality show after enjoying night out with main star

Sugababes star Mutya Buena has hinted at a forthcoming appearance on the upcoming season of controversial US reality show, Baddies. Eagle-eyed fans spotted that the singer enjoyed a recent night out with one of the show's most popular stars as they posed for a TikTok video together. Controversial show Baddies is fronted by US star Natalie Nunn, who is known in the UK for causing chaos after she appeared on Celebrity Big Brother in 2018. Natalie, who has been married since 2012, reportedly enjoyed a threesome with her Celebrity Big Brother co-stars Chloe Ayling and Dan Osborne, who is married to EastEnders star Jacqueline Jossa. Their actions rocked several marriages including her own which saw her dumped by her husband of seven years. Natalie now hosts her own controversial reality series which features girls dubbed 'Baddies' who live together as they tour city to city in a bid to 'get the bag (money)'. As the girls live together and make a number of club appearances, things often get heated and have involved physical and verbal altercations. The most recent series, who airs on Zeus Network, kiced-off in African before concluding in London. It has now been reported that the next season will be called Baddies UK and will follow reality stars from both the UK and across the pond. And fans have now speculated that Mutya has signed up to the show after the singer was seen hanging out with the shows biggest star Ahna Mac. In the video, Ahna danced with Mutya and other internet personalities including controversial YouTuber Miss R Fabulous. She wrote: 'POV: I'm with the London baddies & they love Waves.' Fans flooded the comments pointing out Mutya's appearance in the 13second clips. They wrote: 'My fav sugababe Mutya!!! OMG BADDIES TAKE OVER; Not the cross over i was expecting but i'm here for it; 'Naaah Mutya has been a baddie from 00; YESSSS MUTYA; Why is no one mentioning Mutya? Or is that just her doppelgänger??????; 'This is such a strange mix of people in one vid. Please what Mutya doing there?; Is that Mutya??; Is that Mutya & Miss R Fab - & why the hell not; 'Mutya and ren in the same space my brain can't handle this; aww is that mutya a sugababe; Is that Mutya????? Does she not age?'. MailOnline have contacted Mutya's representatives for comment. It comes as Mutya has reportedly signed up to Celebrity Bake Off, which is set to air in 2026. The Sugababes star will take part in the Channel 4 show to raise money for Stand Up To Cancer, according to The Sun. A TV insider told the publication: 'Mutya will be seeing if she can get a handshake from Paul Hollywood when she goes into the tent. 'She doesn't consider herself much of a baker, but it's for charity and there are bound to be some.' MailOnline has contacted Channel 4 and Mutya's representative for comment. Mutya will be hoping to find her footing in the kitchen after her Celebrity MasterChef appearance last year, where she struggled with a cheesecake challenge. She famously created a buttery biscuit base that was so thick you could have used it to wedge open a door. Despite crashing out of the competition, the singer said she was proud of her progress. She said: 'I wanted to do Celebrity MasterChef because I enjoy cooking in general and I love cooking for my family and friends.

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