Eamonn Holmes opens up about ‘horrible' former co-stars he has worked with branding some of them ‘false'
The Belfast man was speaking on his Things We Like podcast he hosts alongside Paul Coyte, as Thursday's episode featured The Departed actor Ray Winstone and the trio got onto the subject around the world of showbiz.
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Daily Mirror
3 hours ago
- Daily Mirror
What is really going on with Liam Neeson and Pamela Anderson after romance rumours
Speculation has been growing about the potential romantic connection between Pamela Anderson and Liam Neeson and the pair put on a show at the UK premiere of the latest Naked Gun movie Pamela Anderson and their cosy-looking appearance turned heads with their cosy-looking appearance at the premiere of their new film. The Hollywood duo are to feature on screen together in the reboot of The Naked Gun. And they got people talking with their actions at the premiere in London on Tuesday. Speculation over their relationship status has been rife in recent months after the Northern Irish star told of his love for his co-star. As they took to the red carpet at the event, they were very hands on with each other. Pamela, 58, was seen giving the 73-year-old star a peck on the cheek as they posed for images. And now a body language expert has revealed their thoughts on whether it is a showmance or a potential romance. Speaking to Mail Online, Judi James claimed: "These red carpet poses are undeniably romantic, flirty, sensual and playful... "But I'd also have to add, in my opinion, "performed" to the end of this list but with no detriment to either of these two popular and talented actors." She continued: "In the photos, we see Pamela with the classic celebrity hand on Liam's chest in a gesture of ownership and their moments of mutual eye contact plus her pucker as she leans up to plant a very tended kiss on her co-star's lips." Judi added that it appeared as thought the former Baywatch star choreographed certain poses, including the cheek kiss. And she labelled Liam as appearing to be the "perfect gent". The expert also said: "'Their 'after behaviour' defines a mutual fondness and respect with signs of friendship and a sense of playfulness. Pamela wipes her lipstick off Liam's cheek, but they couple break quickly to walk off." And Judi concluded that the signals show nothing more than a "warm friendship" with one big tell-tale sign as being how far apart their pelvises are held. It comes after Pamela recently played down any romantic connection, too. Speaking to Entertainment Weekly, she said: "I think I have a friend forever in Liam. And we definitely have a connection that is very sincere, very loving, and he's a good guy." Speaking to The Sun recently, Liam joked that his favourite part of the latest filming was having an "intimacy co-ordinator. "I'd never had one before. But she was in the background. There was no kind of, 'OK! Excuse me!'". The Naked Gun was originally created by Jim Abrahams and brothers David and Jerry Zucker. The plot centres a passionate police detective enduring many comical mishaps. The 2025 instalment is directed by Akiva Schaffer and produced by Seth MacFarlane and Erica Huggins. In the latest offering, Pamela plays a nightclub singer who goes to Police Squad for help after her brother is murdered.
Daily Mail
a day ago
- Daily Mail
Eamonn Holmes 'takes brutal swipe at ex-wife Ruth Langsford' as he gushes over new love Katie Alexander
Eamonn Holmes reportedly took a brutal 'swipe' at Ruth Langsford while gushing over his new girlfriend Katie Alexander. The TV presenter, 65, found love with Katie, 43, following his divorce from Ruth, 65, in May 2024, when they split after 14 years of marriage and two decades together. Eamonn and Katie have not been shy of showing off their affections for one another and looked very loved-up at GB News star Nana Akua's engagement party earlier this month. While attending the glitzy party, Eamonn seemingly took a swipe at his ex-wife Ruth while discussing his blossoming new relationship, according to Bella Magazine. He described Katie as his 'soulmate', before adding: 'In sickness you find out who is there for you.' A source told The Mirror of his remark: 'It was an insensitive comment from Eamonn, but he's smitten with Katie and does feel like she has been there for him through the hard times. 'That said, it is a kick in the teeth for Ruth because she has been there for him since the beginning.' Eamonn has battled a number of health problems in recent years, including a double hip replacement surgery, slipped discs and ongoing spinal problems. MailOnline has contacted Eamonn's representatives for comment. Eamonn and Katie grew close last summer and began dating soon after, with engagement rumours even swirling in December. Eamonn and Ruth had shocked fans with their joint statement on May 25, 2024, confirming the end of their 14 year marriage. However, the TV presenter continued wearing his wedding ring before he ditched the band last month, while Ruth has also stopped wearing her ring. At first, Ruth had resolutely kept her ring on, even declaring to a fan that she wouldn't remove them 'because I am still married', before officially ditching the band. The exes are now going through divorce, with Ruth thought to be desperate to finalise their split, having sought advice from lawyers to keep their £3.6million six-bedroom home in Surrey. However, Eamonn is reportedly 'dragging his feet' and is 'determined' to get his finances back in order to give Katie the same lavish lifestyle his ex Ruth enjoyed. A source told The Sun: 'Katie's been a rock to Eamonn throughout his ongoing divorce Eamonn's health is always a big concern and after a few tax blows lately, he is more determined than ever to get his finances back in order. 'Eamonn feels hard done by in the divorce. 'He's dragging his feet because Ruth's got the house and they have a lot of other financials still to sort out between them. 'Eamonn knows his mobility issues are a worry, he needs a carer to help him get ready for work and that's expensive.' The insider added that Eamonn 'doesn't want to lose' Katie, and is keen to give her the 'kind of lifestyle she deserves'.
The Guardian
3 days ago
- The Guardian
A new Irish writer is getting rave reviews – but nobody knows who they are. That gives me hope
What's in a pen name? Irish writer Liadan Ní Chuinn's debut short story collection, Every One Still Here, is receiving rave reviews and rapturous praise, but hardly anyone seems to know who they are. A cursory Google turns up no photos or biographical information. All we know is that the writer is Northern Irish and was born in 1998, the year of the Good Friday agreement. A statement from Irish publisher The Stinging Fly reads: 'The Stinging Fly has been working with Liadan on these stories for the past four years. From early on in the process, they expressed a desire to publish their work under a pseudonym and to protect their privacy throughout the publication process. No photographs of the author are available and Liadan will not be participating in any in-person interviews or public events.' Writing anonymously or under a pseudonym is a long-established custom in publishing. Jane Austen's novels were attributed to 'a Lady', Mary Ann Evans went by George Eliot, and the Brontë sisters were Currer, Ellis and Acton Bell. Although women no longer need to disguise themselves as men, and 'the low trade of writing novels' is less stigmatised, the tradition of the pen name has continued throughout the 20th century into the present day: John Le Carré was really David Cornwell; Eric Blair became George Orwell; and no one has heard of Erika Leonard, but everyone has heard of EL James. When questions regarding the veracity of nature memoir The Salt Path caused outrage among the nation's book groups, the fact that the author had changed her and her husband's names was the least remarkable revelation. If anything, it can feel more unusual to meet an author whose books have the name they were born with on the cover. In the world of modern publishing, the spectrum encompasses everything from 'uses a pen name but has an author photo and gives interviews' to 'has an opposite gender or gender-neutral author persona'; 'uses different pseudonyms for different genres'; 'uses a different name for political reasons, eg to escape persecution in their home country, or personal or professional reasons'; and even 'secret anonymity' (is anonymous but tries to make it so that no one actually knows they are). Nepotist offspring will often use a less famous parent's surname to stave off accusations that they owe their success to their connections or, as in the case of AS Byatt, an author may use their married name to distance themselves from a novelist sibling (Margaret Drabble). Total anonymity, however, is a different business. The most famous modern example we have is of course Elena Ferrante (or it was, until she was possibly and, to my mind, very rudely unmasked by an Italian journalist). Yet even Ferrante did some press through correspondence, including writing for the Guardian. To not give interviews at all, especially as a young debut author, is unusual indeed, and especially in a publishing landscape where 'personal brand' is key, and short stories remain such a hard sell. You could say that Liadan Ní Chuinn's collection being published at all is something of a miracle. Literary quality is not always prioritised above profile. I cannot tell you how many proofs I am sent by writers who are big on Instagram but can't string a grammatical sentence together. With publicity budgets not what they used to be and many authors needing to do much of the work themselves, a debut writer who won't give interviews or attend events represents a challenge to any acquiring publishing house and their publicity department. I admire Ní Chuinn. As an author myself – in the next six months I have two books coming out – I know that the stress of exposure and the risk of burnout can be very real. Ní Chuinn could be forgiven for looking at Sally Rooney, another writer in the same literary ecosystem who started young, and thinking that level of exposure looks unappealing. The way a young woman – because it's usually a young woman – who creates something great becomes a sort of shorthand for everything that is wrong/right about her chosen art form is hardly an incentive to put yourself out there. Rooney's writing shows a deep ambivalence about fame, and her decision to now largely only put herself forward in the media when it serves her impassioned political beliefs is to be admired. Yet newspapers are still terribly prone to what I call 'Rooney-itis'. Look, I'm doing it now. When you're an author, public exposure doesn't just affect you, but the people in your life whose stories often overlap with yours. When you are writing about sensitive topics that have a lasting, painful legacy on real people's lives – as Ní Chuinn does in their excavation of the murderous legacy of English colonialism in Ireland – it can be an act of care and protection to remove yourself from the spotlight. Most of all, it makes the interaction between author and reader purely about the quality of the work. For a publisher to agree to publish an anonymous author, as so many did Ferrante, and publishers in Ireland, the UK and the US have Ní Chuinn, that writer has to be extraordinary. And Ní Chuinn is. It should give any avid reader of fiction – and any author who cares about sentences but is rubbish at TikTok – hope. The work can still be the thing, at least sometimes. Rhiannon Lucy Cosslett is a Guardian columnist
