Pregnant Rihanna covers up her baby bump in a baggy black jumper as she steps out in casual ensemble in Paris
The singer, 37, touched down in the French capital last Friday to support her beau A$AP Rocky, 36, at the Dior show during Paris Fashion Week.
And this week she made a casually chic entrance to the Dior boutique on Avenue Montaigne in Paris, rocking oversized shades, a black hoodie, and pinstripe pyjama pants.
With her signature yellow tote in hand, the fashion mogul effortlessly turned a casual look into a style win.
The outing comes after A$AP appeared to accidentally reveal the gender of their third child while attending the world premiere of her film Smurfs held at Mont des Arts in Brussels, Belgium on Sunday.
When ET 's Kevin Frazier asked the 36-year-old rapper 'Is that the girl you've been waiting for' he immediately replied: 'It is, man, it is.'
Feeling cornered, A$AP (born Rakim Athelaston Mayers) then held up a plush Smurfette doll and redirected: 'Right here, you know what I'm saying? Right here.'
Over on ET's official Instagram account, fans went wild with user @aysenuurkc exclaiming: 'It's [a] girl!'
'He definitely gave it away,' Instagram user @khadija_sufi laughed.
'How cutely he promoted the movie and showed his love for her!' Instagram user @fashionistaera21 gushed. 'That's a real man supporting his girl.'
Instagram user @hot_cheetos_0001 commented: 'Put a ring on it. Do it the right way.'
'He needs to marry her,' Instagram user @chibiapril0412 agreed.
When Frazier asked the expecting 36-year-old the same exact question, she smiled coyly and replied: 'Let's see if it's a Smurfette...It could be a Papa Smurf. Who knows?'
Riri (born Robyn Fenty) did confirm that the couple would give their next child a name that begins with R: 'That's the one thing me and Rocky don't fight over.'
When asked how many more children they planned on having, the two-time Grammy nominee joked: 'We [are] going to be like the Wayans' family, you know? Yeah, I mean, love is beautiful and it's just [about] spreading it.'
The nine-time Grammy winner and A$AP Rocky already welcomed two sons - RZA Athelston Mayers, 3; and Riot Rose Mayers, 22 months - during their five-year relationship and she hasn't been shy in the past over her dream of having a daughter.
But the power couple - who share matching 1988 tattoos to mark their birth year - originally met in 2011 when she first enlisted him to rap on her song Cockiness (Love It).
A$AP Rocky was facing up to eight years in prison until February 18 when a jury found him not guilty of two counts of assault with a semi-automatic firearm stemming from a 2021 shooting of his longtime friend A$AP Relli (born Terell Ephron).
The AWGE founder's late Bajan father reportedly went to prison when he was only 12, and he spent his teen years moving around homeless shelters with his mother and sister.
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Daily Mail
4 hours ago
- Daily Mail
EXCLUSIVE I was paid to tend garden at Liam Gallagher's £3million French chateau... but he sacked me: Meet the one man hoping tonight's mega Oasis reunion FLOPS
For more than a year, Tom Ceze lovingly tended to the bougainvilleas and citrus trees in the grounds of Liam Gallagher 's spectacular hideaway home on the French Riviera. The professional gardener seemed to get on well with the Oasis singer who hired him personally and would often encourage him to break off from his horticultural endeavours and join him for a coffee or a cold beer. But he says their relationship ended on a sour note when he received a call out of the blue - telling him he was being given the chop. And now Tom has spoken for the first time about how disappointed he's been with the way he has been treated by the singer who is set to earn a reported £50m from the Oasis reunion tour which begins on Friday. The 45-year-old told MailOnline: 'I built my life around that job.' He said he believed he had 'a gentleman's agreement' with the star over his long-term employment carrying out gardening work in the grounds of the Wonderwall singer's six-bedroom 18th-century villa. Reports of a fallout between the pair first surfaced last August when Tom posted in on an expat forum to express his frustration, writing: 'This is not nice! We are in France! 'There are rules here... please act responsibly and at least have the balls to sack me face to face.' Now, in an exclusive interview, Tom has given his first detailed account of what happened. He told how after years of gardening work, he thought he had landed his dream job working on the six-acre estate which Liam bought from TV star Noel Edmonds for £3million in 2023. 'He hired me in person after his manager found me. I built my life around that job and let half of my gardening clients go to accommodate Liam's vast property and his needs.' Latvian-born Tom had been based on the French Riviera for a number of years, tending to the gardens of wealthy landowners as well as helping to look after properties. He said he was interviewed by Liam, 52, and his fiancee Debbie Gwyther, 40, before they hired him to work for them at just over £25-an-hour (30 euros) in early 2023. The couple took him on shortly after buying the property which is set in the hills in Provence, around a 30-minute drive from the millionaires' playground of Cannes. The sprawling rustic mansion, described as 'a luxurious Provencal bastide', features traditional stone walls and blue shutters. With three floors, the stunning pad is decked out with luxury furniture and decor, and enjoys spectacular views of the surrounding vineyards. It comes complete with a heated swimming pool and pool house along with a 'summer kitchen'. Its extensive landscaped gardens are described as being 'planted with Mediterranean and exotic trees' and includes an olive grove. It was built as the home for a wealthy family of acclaimed perfumiers in an area known as 'the world's perfume capital'. Manchester-born Liam is said to have fallen in love with the tranquility of the bolthole, which is 'half the world away' from his life in London where he owns a £4 million mock-Tudor mansion. He recently posted a rare selfie of himself on Instagram sunbathing at the property - with another of his rescue dogs, Buttons, having a snooze on a chair. A third image shows part of his garden, with the pool and sun loungers, and is simply captioned: 'spiritual.' Tom continued: 'We shook hands on that deal, and where I am from, we believe that a handshake is enough if you are both honest people. 'Liam seemed like a nice guy. He told me the garden was a success, and he was always offering me and the other staff coffee and beers.' But this happy period was not to last. Tom went on: 'In April last year, as I was about to board a flight, his manager Gemma called to tell me I was being let go without notice. 'She didn't provide any explanation; she just said they 'don't want you anymore'. 'I've been trying to contact Liam to say that losing this job has really messed up my life. 'I was relying on the work, and now other millionaires in the South of France won't hire me as they think I will make problems.' Tom told how he hired another gardener to help him manage the workload and insisted he had been carrying out the duties he was asked to perform in a professional way. He said: 'Liam was a pleasure to work for at first and Debbie too, and the chateau is like a castle, it's the most incredible property. 'He has special requests for the garden - he wanted it to look rustic, which means overgrown with valuable plants. But, he claims he was left out of pocket after he turned down other lucrative work before he was axed without warning - leaving his tools behind. Tom said he was told not to return to the mansion, but no explanation was given for his dismissal, and all contact was broken off. He said he had to contact lawyers to get 'just two weeks' notice' and permission to return to collect his working equipment. He said he was left hurt when he was sacked by one of Liam's employees in a cold phone call - rather than the singer speaking to him face-to-face. He told MailOnline: 'It was my dream job because I really liked Liam and I believed he was the type of man that would honour his word. Tom told how he had contacted lawyers in Nice over his sacking. He said: 'I had to fight to get just two weeks' notice so I could go back and collect my tools.' He has now quit the south of France and is working in Uganda after setting up Tom's Green Coffee Company. He describes his firm as an eco-friendly supplier of specialty coffee from beans grown in the Rwenzori Mountains that are hand-picked by local farmers and families. He said: 'I'm in Uganda right now, but I will be back in France speaking to the lawyers again soon. I need to reach a resolution, even if I have to go and ring on his doorbell. 'My message to Liam is, You hired me in person so you should at least have the balls to fire me face-to-face.' Liam bought the property from Edmonds, 76, who first listed it for sale in 2017 after he and third wife Liz Davies moved into a luxury apartment in Monaco before relocating to New Zealand. After looking round the property, the pop star is said to have been amused by 'multiple engravings' by its previous celebrity owner - who shares his first name with Liam's brother. When the couple first moved in, a source said: 'Liam's been telling mates, 'I've bought Mr Blobby's house'. 'Him and Debbie plan to put their own stamp on it. They think all the carvings of Noel's name are quite funny and ironic.' Liam and Noel, 58, had famously been through a spectacular falling out which led to Oasis splitting up 16 years ago. Their long-awaited comeback tour is set to kick off on Friday with the first of two gigs at the Principality Stadium in Cardiff. The brothers are said to have secretly reunited at the villa days after they announced they were reforming last year. Liam reportedly previously had problems months after he moved in following claims the property had been invaded by British doggers. Holidaymakers boasted about their alleged escapades on a members-only swinging site with one writing: 'Me, the missus and our pals love that we're rockin' out at Liam's place. He's welcome to join in.' A second bragged: 'I've had plenty of meets there because a lot of the time it's empty' while another said: 'Had a few nawties at Noel Edmonds' gaff in the grounds'. However, one warned their fellow swingers to be careful, saying the French Police in the area 'don't have a sense of humour'. Liam later denied the claims saying: 'There are no doggers, no sex people. 'I went round the grounds looking.' In February last year he told Mojo magazine that he spent most of the previous summer at the house. He said: 'There's an Irish bar around the corner, a lobster shack down the road. 'I can sit in with Debbie, get absolutely rat-arsed, and nobody turns around and says 'Are you that b***end from Oasis?' And the weather is nice.'
The Guardian
4 hours ago
- The Guardian
‘Forgotten' designer of art nouveau Métro entrances to get Paris museum
The 'forgotten' designer of Paris's most iconic Métro station entrances and art nouveau buildings is to be given his rightful place in the city's history with a museum dedicated to his work. Hector Guimard left a distinctive mark across the French capital in the early 1900s, creating elaborate and monumental Métro entrances whose fans of iron and glass resembling unfurled insect wings were nicknamed dragonflies. The remaining station surrounds of sinuous cast iron, with lamps resembling lily-of-the-valley flowers and topped with the stylised Métropolitain sign that Guimard also designed, feature in postcards, tourist photos and style books. When installed in the early 1900s, however, many Parisiens were scandalised. One critic declared the green paint 'un-French' and another said the ornate signs were 'confusing to children trying to learn their letters … and stupefying to foreigners'. Art nouveau went out of fashion, and by 1913 the transport authorities had dropped Guimard's designs. By 1942, when Guimard died aged 75 in New York, where he and his American Jewish wife had sought refuge from the Nazis, he had already been forgotten and much of his work consigned to the scrap heap. 'It may be surprising to foreign visitors but the French have never really liked art nouveau,' said Fabien Choné, a Guimard collector and head of Hector Guimard Diffusion, a company involved in establishing the new museum. 'There was great opposition to Guimard's Métro entrances. While visitors saw them as marvellous symbols of the belle époque Métro, Parisians criticised it as what they called spaghetti style and couldn't understand why tourists liked them.' On returning to Paris in 1948, his widow, Adeline, an artist whose work had been displayed at the 1899 Beaux-Arts salon, worked tirelessly to preserve and promote her husband's legacy, which included about 50 residential buildings. She donated his drawings and smaller creations, including furniture, to museums, many of them in the US, and offered to bequeath the couple's art nouveau home, the Hôtel Guimard, and its contents to the state and then to the city. Both turned down the offer and the building was converted into flats with the furnishings scattered. In the wave of modernism that swept post-war Europe the style was sober and many Guimard creations were declared without historic or artistic value and destroyed. Of the 167 Métro entrances that he designed – described by Salvador Dalí, who painted Tribute to Guimard in 1970, as divine – only 88 remain. Choné said: 'After the war, each time the city did any work on the streets, they got rid of Guimard's designs. Even up until the 1960s to 70s the logic was one of destruction rather than preservation.' The museum will be established at the Hôtel Mezzara, a four-storey building in Paris's 16th arrondissement designed by Guimard in 1910 and which features much of his signature ironwork, including a spectacular glass skylight and chandeliers. The building, originally commissioned by Guimard's friend Paul Mezzara, a rich textile manufacturer from Venice and later acquired by the education ministry and used as student accommodation until a decade ago, will undergo a €6m (£5.2m), two-year renovation before opening around the end of 2027. Once open it will display known Guimard creations including art nouveau furniture and decorations as well as an archive of his designs and documents. 'It is absurd that there is recognition of Guimard at museums around the world, especially in the US, and nothing in Paris when he created some of the most important symbols of the city,' Choné said. Nicolas Horiot, an architect and the president of Le Cercle Guimard, an association created 23 years ago to save Guimard's designs and documents, said it had been a decade-long battle to get the state and Paris authorities to recognise the designer's work. He said the museum would right a historic wrong. 'After the second world war, Guimard was completely forgotten. Art nouveau no longer interested people in the urban design of the 1960s and many of his pieces were destroyed,' he said. 'The revival started in 1970 with an exhibition in New York, but it was a step-by-step process. We see this museum as repairing an injustice done to Guimard.'
The Guardian
11 hours ago
- The Guardian
‘The film wouldn't even be made today': the story behind Back to the Future at 40
The actor Lea Thompson has had a distinguished screen career but hesitated to share it with her daughters when they were growing up. 'I did not show them most of my stuff because I end up kissing people all the time and it was traumatic to my children,' she recalls. 'Even when they were little the headline was, 'Mom is kissing someone that's not Dad and it's making me cry!'' Thompson's most celebrated role would be especially hard to explain. As Lorraine Baines in Back to the Future, she falls in lust with her own son, Marty McFly, a teenage time traveller from 1985 who plunges into 1955 at the wheel of a DeLorean car. Back to the Future, released 40 years ago on Thursday, is both entirely of its time and entirely timeless. It was a box office summer smash, set a benchmark for time travel movies and was quoted by everyone from President Ronald Reagan to Avengers: Endgame. It is arguably a perfect film, without a duff note or a scene out of place, a fantastic parable as endlessly watchable as It's a Wonderful Life or Groundhog Day. It also, inevitably, reflects the preoccupations of its day. An early sequence features Libyan terrorists from the era of Muammar Gaddafi, a caricature wisely dropped from a stage musical adaptation. In one scene the young George McFly turns peeping tom as he spies on Lorraine getting undressed. To some, the film's ending equates personal fulfilment with Reagan-fuelled materialism. It caught lightning in a bottle in a way that is unrepeatable. 'If you made Back to the Future in 2025 and they went back 30 years, it would be 1995 and nothing would look that different,' Thompson, 64, says by phone from a shoot in Vancouver, Canada. 'The phones would be different but it wouldn't be like the strange difference between the 80s and the 50s and how different the world was.' Bob Gale, co-writer of the screenplay, agrees everything fell into the right place at the right time, including the central partnership between young Marty (Michael J Fox) and white-haired scientist Doc Brown (Christopher Lloyd). The 74-year-old says from Los Angeles: 'Oh man, the film wouldn't even be made today. We'd go into the studio and they'd say, what's the deal with this relationship between Marty and Doc? They'd start interpreting paedophilia or something. There would be a lot of things they have problems with.' Gale had met the film's director, Robert Zemeckis, at the USC School of Cinema in 1972 and together they sold several TV scripts to Universal Studios, caught the eye of Steven Spielberg and John Milius and collaborated on three films. The pair had always wanted to make a time travel movie but couldn't find the right hook. Then Gale had an epiphany. 'We put a time travel story on the back burner until I found my dad's high school yearbook and boom, that was when the lightning bolt hit me and I said, ha, this would be cool: kid goes back in time and ends up in high school with his dad!' Gale and Zemeckis pitched the script more than 40 times over four years but studios found it too risky or risque. But Spielberg saw its potential and came in as executive producer. After Zemeckis scored a hit with Romancing the Stone in 1984, Universal gave the green light. The character of Doc Brown was inspired by Gale's childhood neighbour, a photographer who showed him the 'magic' of developing pictures in a darkroom, and the educational TV show Mr Wizard which demonstrated scientific principles. Then Lloyd came in and added an interpretation based on part Albert Einstein, part Leopold Stokowski. Thompson was cast as Lorraine after a successful audition. She felt that her background as a ballet and modern dancer gave her a strong awareness of the movement and physicality required to play both versions of Lorraine: one young and airy, the other middle-aged and beaten down by life. 'I was perfectly poised for that character,' she says. 'I understood both the dark and the light of Lorraine McFly and understood the hilarity of being super sexually attracted to your son. I thought that was frickin' hilarious. I understood the subversive comedy of it.' Thompson has previously worked with Eric Stoltz, who was cast in the lead role of Marty at the behest of Sidney Sheinberg, a Universal executive who had nurtured Spielberg and put Jaws into production. But over weeks of filming, starting in November 1984, it became apparent that Stoltz's serious tone was not working. Gale recalls: 'He wasn't giving us the kind of humour that we thought the character should have. He actually thought the movie turned out to be a tragedy because he ends up in a 1985 where a lot of his life is different. People can argue about that: did the memories of his new past ripple into his brain, did he remember both his lives? That's an interesting conversation to have and it gets more interesting the more beer you drink.' Eventually it fell to Zemeckis to inform Stoltz that his services were no longer required. Gale continues: 'He said he thought that possibly Eric was relieved: it was not like a devastating blow to him. This is just hindsight and speculation but maybe Eric's agents thought that it would be a good career move for him to do a movie like this that had Spielberg involved. Who knows?' Stoltz's abrupt departure came as a shock to the rest of the cast. Thompson says: 'It was horrible. He was my friend and obviously a wonderful actor. Everybody wants to think that making a movie is fun and that we're laughing for the 14 hours we're standing in the middle of a street somewhere. 'But it's also scary because you need to feel like you've made a little family for that brief amount of time. So the minute someone gets fired, you're like, oh wait, this is a big business, this is serious, this is millions of dollars being spent.' Stoltz was replaced by the young Canadian actor Michael J Fox, whom Zemeckis and Gale had wanted in the first place, and several scenes had to be reshot. Fox was simultaneously working on the sitcom Family Ties so was often sleep-deprived. But his boundless charm, frazzled energy and comic timing – including ad libs – were the missing piece of the jigsaw. Thompson comments: 'He is gifted but he also worked extremely hard at his shtick like the great comedians of the 20s, 30s and 40s: the falling over, the double take, the spit take, the physical comedy, the working on a bit for hours and hours like the greats, like Laurel and Hardy and Charlie Chaplin. Michael understood that. 'Being a dancer, I was fascinated and kind of weirdly repelled because it didn't seem like the acting that we were all trying to emulate: the De Niro kind of super reality-based acting that we were in awe of in the 80s, coming out of the great films of the 70s. I feel like Eric Stoltz, who is a brilliant actor, was trying to do more of that. Michael was the face of this new acting, especially comedy acting, which was in a way a throwback and a different energy.' It was this lightness of touch that enabled Fox and Thompson to carry off moments that might otherwise have seemed weird, disturbing and oedipal. When 1950s Lorraine – who has no idea that Marty is her future son – eventually kisses him inside a car, she reports that it is like 'kissing my brother' and the romantic tension dissolves, much to the audience's relief. Thompson says: 'It was a difficult part and it was a very dangerous thread to put through a needle. I have to fall out of love with him just by kissing him and I remember Bob Zemeckis obsessing about that moment. It was also a hard shot to get because it was a vintage car and they couldn't take it apart. Bob was also worried about the moment when I had to fall back in love with George [Marty's father] after he punches Biff. 'For those moments to be so important is part of the beauty of the movie. These are 'small' people; these are not 'great' people; they're not doing 'great' things. These are people who live in a little tiny house in Hill Valley and to make the moments of falling out of love and falling in love so beautiful with that incredible score is fascinating.' Back to the Future was the biggest hit of the year, grossing more than $200m in the US and entering the cultural mainstream. When Doc asks Marty who is president in 1985, Marty replies Ronald Reagan and Brown says in disbelief: 'Ronald Reagan? The actor? Then who's vice-president? Jerry Lewis?' Reagan, a voracious film viewer, was so amused by the joke that he made the projectionist stop and rewind it. He went on to namecheck the film and quote its line, 'Where we're going, we don't need roads,' in his 1986 State of the Union address. Thompson, whose daughters are the actors Madelyn Deutch and Zoey Deutch, was amazed by Back to the Future's success. 'But when I look at the movie, I do understand the happy accident of why it's become the movie it's become to generation after generation. The themes are powerful. The execution was amazing. The casting was great. The idea was brilliant. It was a perfect script. Those things don't come together usually.' And if she had her own time machine, where would she go? 'If I could be a man, I might go back to Shakespeare but as a woman you don't want to go anywhere in time. Time has been hard on women. So for me, whenever I'm asked this question, it's not a lighthearted answer. I can only give you a political answer.' The film ends with Doc whisking Marty and girlfriend Jennifer into the DeLorean and taking off into the sky. But Gale points out that the message 'to be continued' was added only for the home video release, as a way to announce a sequel, rather than being in the original theatrical run. Back to the Future Part II, part of which takes place in 2015, brought back most of the main characters including the villain Biff Tannen, who becomes a successful businessman who opens a 27-storey casino and uses his money to gain political influence. Many viewers have drawn a comparison with Donald Trump. Gale explains: 'Biff in the first movie is not based on Donald Trump; Biff is just an archetype bully. When Biff owns a casino, there was a Trump influence in that, absolutely. Trump had to put his name on all of his hotels and his casinos and that's what Biff does too. 'But when people say, oh, Biff was based on Donald Trump, well, no, that wasn't the inspiration for the character. Everybody has a bully in their life and that's who Biff was. There's nothing that resembles Donald Trump in Biff in Part I.' Back to the Future Part III, in which Marty and Doc and thrown back to the old west, was released in 1990. A year later Fox was diagnosed with Parkinson's disease at the age of 29. He went public with his diagnosis in 1998 and became a prominent advocate for research and awareness. He also continued acting, with roles in shows such as The Good Wife and Curb Your Enthusiasm, and in October will publish a Back to the Future memoir entitled Future Boy. Thompson, whose brothers both have Parkinson's, sees Fox twice a year. 'He's endlessly inspiring. He's very smart and he's done the spiritual work, the psychological work on himself to not be bitter about something awful happening to him but also be honest: this sucks.' Time's arrow moves in one direction but Back to the Future found a way to stage a comeback. One night after seeing the Mel Brooks musical The Producers in New York, Zemeckis's wife Leslie suggested that Back to the Future would make a good musical. Gale duly wrote the book and was a producer of the show, which premiered in Manchester in 2020 and has since played in London, New York and around the world. Gale says: 'It was total euphoria. The first time I saw the dress rehearsal with the DeLorean, before we had an audience, I went out of my mind how great it was, and then to see the audience going completely out of their minds with everything was just such a joyous validation. 'I'm so blessed to have a job where I get to make people happy. That's a great thing to be able to do and get paid for that. I don't ever take any of this for granted. I'm having a great time and the idea that Back to the Future is still with us after all these years, as popular as it ever was, is a blessing. I think about it all the time that if we had not put Michael J Fox in the movie, you and I probably wouldn't even be having this conversation right now.' Why, indeed, are we still talking about Back to the Future four decades later? 'Every person in the world wonders, how did I get here, how did my parents meet? The idea that your parents were once children is staggering when you realise it when you're about seven or eight years old. 'Your parents are these godlike creatures, and they're always saying, well, when I was your age, and you're going, what are they talking about, how could they have ever been my age? Then at some point it all comes together. If you have a younger sibling and you're watching them grow up, you realise, oh, my God, my parents were once screw-ups like me!' And if Gale had a time machine, where would he go? 'I don't think I would go to the future because I'd be too scared,' he says. 'We all see what happens when you know too much about the future. My mom, before she was married, was a professional musician, a violinist, and she had a nightclub act in St Louis called Maxine and Her Men. I'd like to travel back in time to 1947 and see my mother performing in a nightclub. That's what I would do.'
