
Billie Eilish Could Rebound After Leaving The 2025 Grammys Empty-Handed
At just 23 years old, Billie Eilish is already one of the most decorated pop singers of all time when it comes to the Grammys. The singer-songwriter has scored nine trophies out of 32 nominations – an amazing sum with just three albums to her credit. While she's not in need of any additional gold, Eilish is always a contender whenever she has any music eligible for music's biggest night.
Despite her decorated history, Eilish lost every category she was nominated in at the 2025 ceremony, including some of the biggest fields. She has a chance to return at the upcoming show, and she could collect a milestone tenth award if her latest single can earn a nomination.
Two Billie Eilish Singles are Grammy-Eligible
Eilish's most recent album, Hit Me Hard and Soft, which she's been promoting since last spring, is ineligible at the upcoming Grammys. The full-length and several tracks featured on it were up for awards at the most recent show, which means they aren't going to be in the running in a few months when nominations are handed down. Two singles featured on Hit Me Hard and Soft should be eligible in 2026, as Eilish pushed both 'Chihiro' and 'Wildflower' as promotional cuts from the project.
The current eligibility period began in September 2024, and since then, both were sent out as singles, so the two tracks have a chance at being submitted. Between the pair, 'Wildflower' is the likely contender, as it's the one that performed best at radio in the United States. While 'Chihiro' climbed slightly higher on the Hot 100, 'Wildflower' has already been certified double platinum by the RIAA, while 'Chihiro' has moved one million units and earned a platinum certification.
Can Billie Eilish Finally Win Best Pop Solo Performance?
Eilish could be headed for her sixth nomination in the Best Pop Solo Performance category with 'Wildflower.' She's previously been nominated for 'Bad Guy,' 'Everything I Wanted,' 'Happier Than Ever,' 'What Was I Made For,' and, last time around, 'Birds of a Feather,' also from Hit Me Hard and Soft. Somewhat shockingly, and despite being one of the biggest names in pop music of the past half-decade or so, she's never won in this field.
'Wildflower' is also a possible contender for both Record and Song of the Year in what may be a sleepy year at the Grammys, though its relatively low peak position doesn't suggest it's a frontrunner for a slot.
A Grammys Rebound
While Eilish has never professed to be awards-obsessed, she may be looking to rebound after batting zero at the 2025 ceremony. Hit Me Hard and Soft was up for Album of the Year and Best Pop Vocal Album, while 'Birds of a Feather' was in the running for Record of the Year, Song of the Year, and Best Pop Solo Performance. She didn't claim any new honors at that show, but 'What Was I Made For' did earn Song of the Year and Best Song Written for Visual Media at the prior ceremony, so it's not as if it's been long since she last scored big.
Eligibility for the 2026 Grammys runs from September 1, 2024, until August 30, 2025. Nominations are expected to be announced later this year.
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The Bonnie Blue documentary on Channel 4 is compelling but dangerous
Bonnie Blue may have slept with over a thousand men in a day as a publicity stunt, but that's not the bit that most sticks with you from her new Channel 4 documentary. 'We're the two most misunderstood people out there at the moment,' she sighs of Andrew Tate, the YouTuber facing charges including rape, actual bodily harm and human trafficking, all of which he denies. Tate is a self-proclaimed misogynist, having said on the platform that he's 'a realist and when you're a realist, you're sexist. There's no way you can be rooted in reality and not be sexist.' Blue, 26, whose real name is Tia Billinger, admits she engages in 'rage bait'. In other words, she says willingly provocative things to drive her engagement. She says she likes having sex with 'barely legal or barely breathing' men, that she'd like to have a disabled gang bang and that 'lazy' women are the reason men seek her out for sex. The new documentary tells the story of the Brit who became one of the most successful porn stars on OnlyFans, and features behind-the-scenes footage from the 'thousand men' stunt. It claims to examine a woman living 'at the edges of modern morality'. But fleeting shots of the hanky-panky and the 'how did she do it' narrative – that she had a doughnut halfway through bonking a small cruise ship's worth of men to keep her sugar levels up – disguise a more sinister narrative. In general the doc is too sympathetic to a dangerous character; it might have been better to have commissioned a multi-voice piece focusing on a broader picture of the sex industry today or for director Victoria SIlver to have appeared more in the piece to share her own views to provide more balance. Bonnie Blue seems plainly out of her depth, as someone who hasn't given much thought to the radicalisation of young men There are endless attempts at trying to justify her. During the piece her mum says 'if you earn a million pounds a month, your morals would change and you'd get your tits out.' But that's the thing: we can't. None of us are Blue. She was earning a reported $1 million a month on OnlyFans before she was banned for posting increasingly outrageous content, because she is an extraordinary character with a troubling ability to climb the porn ranks. The Channel 4 documentary is wrong: she isn't on the fringes of moral society, she's parroting highly irresponsible and dangerous narratives to vulnerable, largely young, people. She says she doesn't agree with everything Andrew Tate says, but by giving him such an over-arching praise and aligning herself with him so directly, she has lost the possibility for any nuance. Someone with Blue's platform, which reaches tens of millions of impressionable people, needs to understand the harmful effect their words can have. Her stunts earned her millions of followers, for obvious reasons. Her fans, many of whom are teenagers, were able to queue up and have sex with her for free. She has brought the fantasy of online porn into the real world. 'They sit at home wanking wondering what it's like to fuck me. So just come fuck me,' she says. But as the documentary also examines, she is sexist, suggesting in reductive generalised statements that it's women's fault that men aren't sexually satisfied. On stage during a press event for the documentary she spoke flippantly about 'fat' women. As she puts it: 'I'm happy to piss off the women because they're not my target audience.' Bonnie Blue isn't likeable or unlikable – just incredibly frustrating She worked for five years as a successful recruitment consultant, and through her porn persona you can see how she brings the bullishness of her former job into new territory. 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The mainstreamisation of porn is going nowhere as the proliferation of online creators continues, but Channel 4's documentary may end up bolstering her toxic narratives. At the media Q+A, even director Victoria Silver seemed uncomfortable being asked how she felt personally about her subject. Blue does seem to have a deep-rooted love for men She comes across as someone plainly out of their depth, who hasn't given much thought to mental health or the radicalisation of young men. She seems content to bulldoze her way to another million, unwilling or unable to take responsibility for her actions. She isn't likeable or unlikable, more just incredibly frustrating. There are glimmers of a distinctive form of compassion: she is perhaps most believable and truly herself when she says how much she enjoys pleasuring men. Interestingly, the only man she had thrown out of the thousand men stunt was someone penis size-shaming other men. I do think she probably has a deep-rooted care for men. The documentary is also utterly compelling, you cannot take your eyes off her and the outrageous things she says. It's just a shame that her love might also be deeply damaging. airs on Channel 4 on Tuesday 29 July at 10pm
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He was brought up in a Scottish slum, like Ian's grandfather. His father was a truck driver, his mother a cleaning lady." He adds: "Among choice biographical details: He had delivered milk to Bond's second school Fettes, and acted at the Oxford Playhouse as an aristocratic diplomat in Pirandello's Naked. Above, that's Fleming, left, with Connery, right, on the set of the first Bond movie, 1962's Dr. No. The Right Man for the Job? Shakespeare's book notes that according to Fleming's film agent, Robert Fenn, Fleming was initially shocked because Connery "couldn't speak the Queen's English. Fleming said, 'He's not my idea of Bond at all, I just want an elegant man, not this roughneck.'' Later, according to the book, Fleming would call Connery an 'over-developed stuntman' and wonder if he had 'the social graces' to play his hero. Above, Connery is fitted for 1962's From Russia With Love. License to Kill Fleming, obviously, needed a woman's perspective. His friend Ivar Bryce's cousin, Janet Milford Haven, was known as a good judge of people — and men — and offered her input after a lunch with Fleming and Connery. Her opinion of Connery? 'I said, 'I think that fellow is divine. He's not too good-looking, he looks masculine, he looks like a proper man and one that would be used to that life. He looks like he is very clever, he looks like he would know how to do everything, who could kill,'' said Haven, according to Shakespeare's book. Above: Connery and Shirley Eaton in Goldfinger. A Real Charmer Shakespeare writes that Fleming finally became convinced that Connery was the right Bond, writing to his muse and mistress, Blanche Blackwell: 'the man they have chosen for Bond, Sean Connery, is a real charmer – fairly unknown but a good actor with the right looks and physique.' Above: Sean Connery with Ursula Andress and Fleming in a publicity image for Dr. No. Athleticism Whether or not he was an "over-developed stuntman," Connery's athleticism was a key component of his success as 007. Above, he cavorts on a Jamaican beach with Ursula Andress, who played Honey Ryder in Dr. No. Here are 13 Behind the Scenes Images of Ursula Andress in Dr. No. Chemistry His chemistry with Andress on Dr. No was a huge part of the first Bond film's success, and would provide a template for Bond's dynamics with legions of future "Bond girls." The chemistry came through even though Andress' voice was dubbed for the role. (Andress' languages include French, German, and Italian, but her English was accented.) "He was very protective towards me, he was adorable, fantastic," Andress said in a 2020 interview with the Italian newspaper Corriere della Sera after Connery's death at 90. "He adored women, He was undoubtedly very much a man.'' 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Buoyant Despite his serious approach to the role, Connery had just the right mix of seriousness and levity to play the deadly superspy who treats everything like a game. That's him behind the scenes of Thunderball with Claudine Auger, who played Domino. Also Read: All 007 Bond Actors, Ranked Of Course Given the technology of the time, sometimes Connery was forced into Roger Moore levels of silliness. That's him behind the scenes of 1967's You Only Live Twice, above. It only adds to the charm. Forever Sean Connery left the Bond franchise after You Only Live Twice, and George Lazenby took over for 1969's On Her Majesty's Secret Service, perhaps the most tragic of all Bond movies, given its bummer ending. But Connery returned for 1971's Diamonds Are Forever. Above, he shares a laugh on the Diamonds Are Forever set with Jill St. John. Never Say Never? 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