Daniel Craig looks stylish in a tweed blazer as he joins South Korean band Tomorrow X Together at Dior Homme show during Paris Fashion Week
Daniel Craig looked stylish as he joined South Korean band Tomorrow X Together at the Dior Homme show during Paris Fashion Week on Friday.
The actor, 57, wore an oversized tweed blazer with a blue striped shirt and a red tie layered underneath.
He completed his outfit with a pair of dark jeans and dressed his look down with chunky white trainers.
Daniel posed for photos at the brand's Spring-Summer 2026 collection by Tomorrow X Together.
The band, formed of Yeonjun, Soobin, Beomgyu, Taehyun, and HueningKai, released their first single via Big Hit Music in 2019.
Daniel, who finished his time as James Bond with the 2021 film No Time To Die, is looking world's away from 007 with his much longer hair.
The actor - who was a widely popular Bond - enjoyed a five-film stint with the franchise, beginning with the 2006 movie Casino Royale.
During his days as 007 he sported a more rugged look than he does now, with Craig often seen opting for a longer hairstyle at events post-Bond.
Fans of the franchise are speculating over who will replace Daniel as the spy.
The iconic role remains open to offers some four years after Daniel ditched the tuxedo, hung up the Walther PP and handed over the keys to his beloved Aston Martin.
And with Amazon having bought the rights to Britain's longest running film franchise - the next film will be its 26th - the debate around who will seize the baton and become Bond number seven remains hotter than ever.
To date, the likes of Aaron Taylor-Johnson, Henry Cavill, Regé-Jean Page, Richard Madden and Idris Elba have been touted as potential candidates.
Amazon recently took over 'creative control' of the much-loved franchise and are said to be fast-tracking the new film, with Hollywood producers David Heyman and Amy Pascal hired to usher in a new era.
Bookmaker William Hill sees Aaron Taylor-Johnson the most likely to take over at odds of 11/8, while Theo James sits at 7/2.
During his days as 007 he sported a more rugged look than he does now, with Craig often seen opting for a longer hairstyle at events post-Bond (pictured in 2012 Bond movie, Skyfall)
Right behind Aaron Pierre and Henry Cavill is Happy Valley actor James Norton, and chasing his tail is Slow Horses actor Jack Lowden.
Earlier this month, betting companies released their odds for the next James Bond villain - with one unexpected household name topping the list.
The favourite was then none other than Peaky Blinders star Cillian Murphy, who sits at the top of OLBG's odds at 9/2.
The Irish actor - best known for playing Thomas Shelby in the hit BBC show - had previously been touted for the part of Bond but played down speculation, telling Deadline: 'I think I'm a bit old for that.'
Also in the running to play the Bond bad guy are American actor Paul Giamatti (11/2), The Boogeyman star David Dastmalchian (13/2), and unlikely contender Zendaya (7/1).
The bookmaker sees Aaron Taylor-Johnson (left in August) the most likely to take over at odds of 11/8, while Theo James (right in January 2024) sits at 7/2
Despite 'usually playing the good guy' in her previous roles, the female actress told Elle in 2023 that she's ready to enter her villainous era.
'I would love to play a villain of sorts,' the 28-year-old said.
'Tap into the evil, supervillain vibes. Whatever that manifests in, I don't think necessarily in a superhero sense, I just mean in like an emotional sense.
'I feel like I usually play the good guy, so I'd like to play the bad guy.'
Amazon bosses are currently said to be considering locations in which to set the much-anticipated new film, which experts predicted is likely to be released at the end of next year or in 2027.
Due to a filming ban being imposed in Central London next year, new locations are reportedly being considered - with Liverpool a frontrunner, according to The Sun.
Even Zendaya has emerged as a shock contender after expressing her want to be a villain during an interview (Pictured May 2025)
An insider told the publication: 'This will no doubt irk Bond purists who already fear Amazon taking over the 007 franchise may lead to them making big changes.
'But Liverpool is a well-known alternative to London for film-makers.
'It has appeared in everything from The Batman to Captain America and Harry Potter movies, doubling up as international cities.'
The source added that it doesn't necessarily mean the story will be set in Liverpool - though eagle-eyed Merseysiders will no doubt spot their city centre in the background.
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Daily Mail
42 minutes ago
- Daily Mail
People left horrified as mum shares eye-watering amount she spent at Disneyland
A mother has shocked the internet by revealing how much money she spent on a trip to Disneyland. In a video posted on TikTok, Ashley Bradford (@ashleyb_ox), shares exactly what she bought with €270/£229 at Disneyland Paris. The mother first spent money on a Little Mermaid -themed bubble wand, which she explained cost €30/£25.64. Next, she spent €19/£16.24 on face painting for her daughter before buying two Disney-themed macaroons for €5/£4.27. One of the pricier items on her spending list were two burger meals and a kids meal for €49.50/£42.30. She then buys three lollies for €12/£10.26, with a Lilo & Stitch and Minnie Mouse theme, before getting another three lollies for the same price. The family purchased lots of sweet treats throughout the day, including a sweet stick €6.50/£5.56, a Mickey Mouse cookie for €3.50/£2.99, popcorn for €6.50/£5.56, candyfloss for €6/£5.13, a Mickey Mouse donut for €6.50/£5.56 and two crepes for €15/£12.82. When it comes to savoury food, Ashley and family also purchased three hot dogs, one fries, chicken nuggets and three drinks for €60/£51.28, on top of their earlier burger meals. The last buys on the family's spending list were an Ariel-themed key ring for €8.50/£7.26 and a light-up Mickey Mouse toy for €25/£21.37. But while Ashley and her family might have enjoyed their trip to Disneyland, people were pretty horrified by their high spending costs. 'Francescondon79' says: 'Why would anyone throw away their money like that'. 'Heather Simms' adds: 'The bubble wand at 30 euros had me almost choking on my own down Disney.' Another person says: 'I don't understand, this is a place for kids and they sell the things so expensive!' However, many TikTokers weren't surprised by how much the family had spent. One person says: 'I just got back from there. Spent £2,100 spending money in five days there, I have five kids. Soon adds up.' And 'Tiffany Ashworth' says: 'Is it just me that doesn't think this place is expensive?' But Ashley replied to the comment saying: 'If you think though park tickets on top of that at €200/£170 plus a day for a small family. If you've a few kids, it soon would add up.' It comes as a father who took his family of five on a day-trip to Orlando's Walt Disney World resort revealed the unexpectedly high cost of their outing. The man, from Florida, US, took to social media to break down the family's outgoings throughout the day, which later sparked a heated debate among viewers about the importance of budgeting. In a video, reposted by @financedystop on X, the father documented the price of the family's tickets, parking, meals and snacks, as well as the staggering cost of items in souvenir shops. Before the family even entered the park, the father revealed he forked out $30/£22 for all-day parking.
The Guardian
2 hours ago
- The Guardian
Back to the land: revisiting the streets of Aix-en-Provence, the birthplace of Paul Cezanne
When I was 12 years old, my parents moved my sister and me to Aix-en-Provence, the birthplace of and inspiration to Paul Cezanne. In truth, Cezanne had nothing to do with their choice of destination. But his mountain was the one thing my father knew of the region. He was three years into a four-year fine art degree (he painted portraits of the two of us daughters for his finals), steeped in painting and its history. When we landed at Marignane airport in nearby Marseille on 29 August 1989, a wildfire was ravaging the Sainte-Victoire, that celebrated mountain subject of so many of Cezanne's works. In the tumult of the days that followed – our family unhoused, the mountain unrecognisable – my father hustled between estate agents with the sound of sirens ringing in his ears. 'Cezanne must be turning in his grave,' he remembers one saying. In the 119 years since he died, Cezanne (no acute accent; it's how he spelled it himself) has been crowned the father of modern art. It's the lineage a host of disparate painters claimed in his wake. For Matisse he was 'the father of us all' and for Picasso, 'the mother who protects her children'. Futurists, cubists and fauvists felt the same. The symbolists said his was 'pure painting'. And Gauguin, well: he bought six Cezannes when he was flush and only parted with them under duress when he wasn't, having said, of the fabled Still Life with Fruit Dish from 1879-80, that he'd sooner sell everything he owned than lose it. Aix, by contrast, has mostly been famous for hardly owning any Cezannes at all: first because it didn't care to and then, when it was too late, because it couldn't afford to. This summer the town celebrates Cezanne 2025, a season dedicated to rewriting that story. The town set aside a budget of €26m for the full programme. This has included restoring and opening to the public the Bastide du Jas de Bouffan (the family's country home of 40 years); the Lauves studio to the north; and the Bibémus quarries in the foothills of the Sainte-Victoire where Cezanne often worked. Also included is a major exhibition at the Musée Granet, which opens on 28 June, and reassembles for the first time works now housed in museums all over the world that Cezanne made in Aix; along with three other exhibitions in the town and a programme of live events. It is a family reunion. I have come back home to retrace Cezanne's footsteps, literally, in a kind of reductionary process I liken to the expert restorers' painstaking scraping off of decades of paint and paper on the walls of the old bastide. Growing up in Aix, 'Cezanne' was a local lycée, 'Bibémus' the rocks on which I learned to boulder, and the 'Jas', the neighbourhood in which I learned to drive. Returning to Aix, I want to walk where he walked to scrape these words back to their earlier meanings – to let these familiar landscapes be his once again. Cezanne was born in 1839 in the old town centre. He lived in various homes in these narrow streets and, at 13, befriended the author Émile Zola on the school benches of the Collège Bourbon, now the Collège Mignet. His hatmaker father, Louis-Auguste, made so much money selling rabbit-skin wares (the big Aixois industry of his day) that he invested in a bank, in the process becoming even richer. When Cezanne was 20, his father purchased the bastide as a country retreat. From then on, and until his mother's death in 1899, it would be what the president of the Société Paul Cezanne and co-curator of the exhibition, Denis Coutagne, calls 'the centre of gravity' of Cezanne's world. It is where he painted his first big works as a twentysomething, directly on to the decorative walls of the ground-floor Grand Salon. Recent restorations have revealed further Cezannes no one knew about – a scene of a port entrance he then partly painted over with a scene of a game of hide and seek. When the latter was removed to canvas by the home's new owner, along with the Four Seasons and other famous panels, and sold on to museums, these fragments were simply papered over and forgotten about. In 1880, Louis-Auguste, who definitely viewed the property as something to boast about, nonetheless built Cezanne a studio: an enviably large room on the top floor, with a remarkably modern double-height window that bluntly interrupts the symmetry of the mansion's facade. As Laforest puts it, that in itself puts paid to the myth that the father did not support the son's endeavours. I stand at the window. But for the military row of cypress trees forming an extra barrier inside the property wall to the right, I know the mountain is right there. On clear days, from the Jas, it appears as a perfect Matisse-like cutout in pale blue against a paler sky. Musée Granet director Bruno Ely, the other co-curator of the exhibition, tells me that the 1989 fire brought the Sainte-Victoire back to something closer to what Cezanne knew: the pine forest that was burning when I arrived is a 20th-century phenomenon. In the 19th century, all these hills were kept closely cropped by flocks of sheep. From the bastide to the Bibémus quarries takes about an hour and a half on foot. Cezanne would hitch a ride with a driver and a cart to get a bit closer, but once in what are now Aix's north-eastern heights, he'd still have to walk an hour to reach the quarry. As I'm walking – from the bastide to the quarry to the dam Zola's father built and down into Le Tholonet, where Cezanne lived later on; then back into town along the petite Route du Tholonet, which culture minister André Malraux had listed and renamed as the Route Cezanne in 1959 – I watch the mountain, this constant presence. You might say that the Mont Sainte-Victoire, as he called it, was to Cezanne what Rouen Cathedral was to Monet. However, his approach was completely at odds with the impressionists'. Monet recorded the changing light: it's right there in the titles ('grey skies', 'sunshine', 'at sunset'). By contrast, Cezanne's concerns, as Coutagne puts it, are 'never documentary', 'never meteorological', never about 'the instant'. In 1876, Cezanne writes to a friend about olive trees having a greyish colour that is 'permanent'. Matisse, Cezanne's junior by 30 years, understood this. He wrote to a friend in 1918 that 'the olive trees are so beautiful at this hour: the full light of day is magnificent, but frightening. I find that Cezanne conveyed it well, happily not in its brilliance, which is unbearable.' Light, sure, but not changing light; essential light. 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 Art historians have long landed on the notion of 'thingness', to describe what Cezanne sought: not the way a thing looked, but what it was. His allegiance to the supremely local isn't about identifying with the place, but rather that every rock or tree or house he painted is one he saw. That specificity is what makes his work so profoundly, universally resonant. What makes Cezanne's paintings so radical is how he arrived, as Coutagne puts it, 'like a meteor … Nothing, no one prefigures him.' His oeuvre resolutely denies the illusion of all the figurative painting that came before him. It forces the viewer to reckon with his painted surface, to not be duped into thinking that said painting is a window on to the world. Cezanne's Lauves studio, which he built in 1901, is a building site when I visit, inaccessible until later in the summer. Fresh apples have usually been displayed here, much like the fresh lemon left on a pewter plate in the Kettle's Yard gallery in Cambridge, displayed to echo the yellow dot in Joan Miró's Tic Tic, which hangs on the adjacent wall. But perhaps this is why I've never been much inclined to go inside the Lauves studio: with Cezanne, I want to see his apples – that painted appleness – not fresh fruit. Virginia Woolf once wrote about her sister, Vanessa Bell, persuading John Maynard Keynes to lend them a tiny Cezanne he'd just bought – a 1878 still life of seven apples titled Pommes – because their friend Roger Fry wanted to copy it. 'Nessa left the room and reappeared with a small parcel about the size of a large slab of chocolate. On one side are six [sic] apples by Cezanne. Roger very nearly lost his senses. I've never seen such a sight of intoxication. He was like a bee on a sunflower. Imagine … us all gloating upon these apples. They really are very superb.' I finish with a visit to Cezanne's grave in the Saint-Pierre Cemetery. I add a pebble to a few already perched on its aged surface and think about Patti Smith. Her A Book of Days is filled with Polaroids of the headstones of authors she's visited: Rimbaud, Camus, Woolf, Jean Genet. While you can buy a novel for a tenner or read it for free at a library, visiting a writer's grave offers something else, something closer to the unique experience of holding a handwritten manuscript or seeing where the writer sat to write it. A painter's grave though? Standing here, I am both moved and left wanting. It's his actual paintings I want to see. And to see Cezanne originals, you normally have to go on a grand tour, a modern-day pilgrimage, to the big museums of the world. This July, they are, remarkably, all coming to Aix. So I'm heading home again this summer to see those, too. Cezanne at Jas De Bouffan is at Musée Granet, Aix-en-Provence, France, from 28 June to 12 October.
The Guardian
2 hours ago
- The Guardian
Tom Holland, Jacob Elordi and Harris Dickinson at top of James Bond wishlist
Tom Holland, Harris Dickinson and Jacob Elordi are rumoured to be at the top of Amazon's James Bond wishlist, according to a new report. Variety has learned from insiders that the new iteration of 007 would be under 30 and the three actors could be fighting it out for the role. No meetings have taken place and Amazon has yet to confirm anything. The report emerges days after the Dune and Arrival director Denis Villeneuve was announced as the first director of Bond's new era under the Amazon-MGM banner. The French-Canadian film-maker, now working on the third Dune movie, reportedly beat out Conclave's Edward Berger, Westworld's Jonathan Nolan, Paddington's Paul King and Shaun of the Dead's Edgar Wright for the role. 'I intend to honour the tradition and open the path for many new missions to come,' Villeneuve said in a statement. 'This is a massive responsibility, but also, incredibly exciting for me and a huge honour.' Early rumours had suggested the Gravity director Alfonso Cuarón would step up, having worked with Bond's new producer David Heyman before, but he removed himself from the race. Cuarón is set to work on the darkly funny drama Jane with Charlize Theron instead. Holland, best known for playing Spider-Man, has also starred in the video game hit Uncharted and Apple series The Crowded Room. He'll next be seen in Christopher Nolan's The Odyssey before returning for the fourth Spider-Man movie. The 29-year-old actor once tried to pitch a 007 spin-off to Sony. 'I had a meeting after or during Spider-Man 2 with Sony to pitch this idea of a young Bond film that I'd come up with,' he said in 2022. 'It was the origin story of James Bond. It didn't really make sense. It didn't work. It was the dream of a young kid, and I don't think the Bond estate were particularly interested.' Dickinson, known for Triangle of Sadness and Babygirl, recently received rave reviews for his directorial debut Urchin at the Cannes film festival. 'I mean, listen, man, you'd be a fool to not entertain that role,' he said when asked about playing Bond in 2023. 'I'm loving seeing the development of James Bond and seeing how it changes over the years. I think Daniel Craig was such a good Bond that I'd almost be quite frightened to try … Who knows what they're doing with Bond? I'm intrigued.' Elordi is the only Australian of the bunch, but could follow in the footsteps of George Lazenby who played Bond in On Her Majesty's Secret Service. The actor, best known for his role in TV drama Euphoria and Sofia Coppola's Priscilla, will soon be seen in Emerald Fennell's unconventional adaptation of Wuthering Heights with Margot Robbie. In 2023, Elordi called rumours that he was being linked to the role 'beautiful' and added: 'I just like that people maybe want to put me in their movies. That makes me really glad.' The release date for the next film is yet to be announced, but Variety is claiming that anything sooner than 2028 would be impossible. The 26th Bond film will follow Daniel Craig's final outing No Time to Die which made over $774m at the global box office. Earlier this year, in a reported $1bn deal, Amazon MGM bought the rights to gain 'creative control' of the franchise. In March, producers Amy Pascal and David Heyman were hired to take charge of the new film.
