
Lindsay Lohan pays homage to Alicia Silverstone's plaid outfit from Clueless as she talks up Freakier Friday
The glamorous actress, 39, had her A-game style-wise, with an ode to a popular '90s film focused on fashion and romance.
Wearing a pastel yellow and black bouclé tweed mini-dress with long sleeves and a pair of high-heel yellow sandals, the Hollywood Film Award winner bore a great resemblance to Alicia Silverstone 's Cher in the 1995 romantic comedy Clueless.
Lohan pulled her long, blonde locks away from her face with a yellow headband, and wore camera-ready makeup behind her dark, round sunglasses as she arrived at the Good Morning America studio.
After seeing the clip on Lohan's and GMA's Instagram, several people pointed out that she looked like the Clueless character, but some said she was also 'giving Parent Trap vibes!!' as they shared a clip of her character Hallie Parker.
Lohan and her Freakier Friday co-star, Jamie Lee Curtis, got up in the wee hours of the morning to talk about their new comedy which debuts August 8 in theaters.
The film is a sequel to their 2003 hit body-switch comedy Freaky Friday.
Curtis, 66, who looked elegant in a pink pant suit with black heels, explained that it took so long for a sequel to take place, because Lohan, who is the mother of a two-year-old son, had to be old enough to ostensibly be the mother of a teen-age daughter.
The Oscar winner said when that happened, it gave her the opportunity to lobby Disney about it and she went straight to the top.
'I've known Bob Iger since since ABC, like early ABC when I was on Anything But Love, and I wrote him an e-mail and he called me and we talked and now here we are.'
Even though the projects were two decades apart, Lohan said, 'when we started, it felt like it was yesterday.'
'We've known each other for so long and we're friends off screen and I think that's the beauty of being able to make Freakier Friday, is you don't get to work to often with people that you genuinely love, so it didn't feel as much like work as it normally would.'
In this new comedy there's a four-way switch.
'Lohan's Anna is a music producer with a 15-year-old daughter. She is engaged to Eric, played by Manny Jacinto, who has a teen-age daughter too.
The future step-sisters don't get along, and Curtis' Tess, is 'still micro-managing me as a mom,' according to Lohan, and thus chaos ensues when the four end up walking in another person's shoes.
The film features a lot of physical comedy, which Lohan gladly engages in.
'Any time I can have a Lucille Ball moment on-screen, I want to take that to my advantage because you don't often see a lot of women doing so much physical comedy.'
'Everyone gets so nervous, and they call in five stunt coordinators so no one gets hurt, and it's like, it's fine guys.'
Lohan said she enjoyed putting her experience as a mom into her character. ' I wanted Anna to be portrayed a little bit softer in this.,' she explained.
'Any time I can have a Lucille Ball moment on-screen, I want to take that to my advantage because you don't often see a lot of women doing so much physical comedy,' she said
Lohan said she also used her experience as a mother to enrich her character. 'We know her as an angsty teen, and now she's a mother, and being a mom just opens your eyes to a whole new world' she said
'We know her as an angsty teen, and now she's a mother, and being a mom just opens your eyes to a whole new world.'
She also added that Anna had become a little more like Curtis' character Tess.
Curtis said Freakier Friday was a must-see because 'this movie is at a time when people need happiness and joy, I might cry,' she explained getting misty briefly before continuing, 'and family and love and connection.'
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Telegraph
6 minutes ago
- Telegraph
How paediatric nurse Harriet Sperling became a royal fiancée
As a single mother, she struggled for years on a nurse's salary and 'scarce' resources. Now, after a whirlwind romance, Harriet Sperling, 45, is set to join the Royal family after becoming engaged to Peter Phillips, the son of the Princess Royal and the eldest grandchild of the late Queen. The happy couple shared their news on Friday, after just 15 months of dating, having already informed the King and Queen. But just who is the new addition to the Firm? Sperling was born Harriet Eleanor Sanders in 1980, the third of four children (she has one brother and two sisters), to solicitor Rupert Sanders and Mary Hoskins and has a fascinating ancestry. Her mother was one of Country Life 's 'girls in pearls': her photograph appeared in the magazine in 1971 to mark her engagement. Rupert Sanders's father, Major Geoffrey Sanders, served as High Sheriff of Gloucestershire, and his grandmother's brother Raymond Courage was Lord of the Manor of Edgcote in Northamptonshire from 1926 until his death in 1951. Fans of the BBC's 1995 dramatisation of Jane Austen's Pride and Prejudice will recognise Edgcote as Mr Bingley's grand estate, Netherfield Park. The estate's most recent owner, Christopher Courage (Sperling's second cousin once-removed), is the scion of a brewing dynasty: Courage Brewery, which dates back to 1787. Christopher sold Edgcote in 2005 for £30m. Sperling's father, who died in 2023, also gives her a royal connection. He attended the 1969 wedding of his first cousin, Timothy de Zoete, to Moyra Dawnay, Princess Alice's niece. Princess Alice was in attendance along with her husband, Prince Henry, the son of George V. Sperling's mother and late father shared a devout faith. Mr Sanders was a long-standing churchwarden, and Mrs Sanders serves in the ministry team at her local church, All Hallows in the Gloucestershire village of South Cerney, where the family has a £1.5m, six-bedroom Edwardian home. Growing up, Sperling attended the Christian Dean Close School in Cheltenham. Sperling studied at St Mary's University in Twickenham, and became an NHS nurse specialising in paediatric care at Evelina London Children's Hospital. The Princess of Wales has been a patron of the hospital since 2018. Despite finding such an admirable vocation, in a 2009 interview with the Daily Mail for an article about young women and faith, Sperling confessed that her faith became 'dormant' when she moved to the capital. She explained: 'Somehow it didn't seem relevant to my life in London, going to famous nightclubs and spending a lot of time in Ibiza during the summer. I was a real party girl.' But the end of a seven-year relationship marked a turning point: 'I went to church as I felt there was something missing.' She chose St Paul's in Onslow Square, west London, Sperling said, because of its 'intimate feel' and active engagement with the wider community. It had brought her a sense of fulfilment and peace, she explained, adding: 'I pray not only on Sunday, but all the time, often just quietly to myself.' That helped her with her job, which could be 'quite stressful and emotionally engaging'. Sperling once told a magazine she had a particular passion for 'early brain development', and in 2010 she was part of a heroic medical team who helped save the life of critically ill baby Phineas, who had been struck down by a deadly virus. Speaking in 2012, Sperling recalled: 'Just 20 minutes after receiving the call to collect Phineas, the retrieval team were on our way in an intensive care ambulance.' In 2012 Sperling, who was previously married to fitness instructor Antonio St John Sperling, gave birth to her own child: daughter Georgia. But, writing for Christian magazine Woman Alive in March last year, she revealed that she had brought Georgia up on her own. 'Resources were scarce and the future was uncertain,' she said. 'Yet, in the absence of material security, I discovered the strength and life that comes from true, selfless love.' She added: 'My daughter and I journeyed 10 years with only each other. I liken us to an island and it has often felt hard to imagine anyone joining that island.' However, at around this time, someone new did enter her life. Sperling reportedly met Phillips, 47, at a sporting event involving their similarly aged children. Phillips has two daughters, Savannah, 14, and Isla, 13, with Canadian ex-wife Autumn Kelly (the pair divorced in 2021). Phillips and Sperling's public debut in May 2024 at the Badminton Horse Trials was also a family affair, attended by Phillips's daughters, his sister Zara Tindall and her husband Mike, and the Queen. It was Sperling's first time in the media spotlight, yet she appeared to take it all in her stride. A friend of Phillips told The Telegraph that the pair were 'enjoying each other's company and spending time together like any normal couple', while an onlooker said of Sperling: 'She looked very happy and relaxed in his company and pleased to be shown off at one of the biggest social events in the equestrian world.' Sporting occasions played a large part in the couple's summer of love. In the June, they were spotted in the VIP tent at the Beaufort Polo Club in Gloucestershire, and that month also saw them attend Royal Ascot, where Sperling met the King and Queen. One year on from their first public outing, Sperling and Phillips returned to the Badminton Horse Trials – this time cheering on Zara Tindall, who was being awarded the event's Armada Dish. Sperling also joined the family at the Bahrain Grand Prix in April, where she spent time with Princess Beatrice and Princess Eugenie; in Wimbledon's royal box, alongside the Queen; and at the Royal Charity Polo Cup in Windsor, in support of Prince William. But it was another event that truly cemented Sperling's place as a future royal bride. In June she made her royal carriage debut in the procession at Ascot, accompanying Phillips in carriage three. That suggested Sperling, who appears to have slotted naturally into the Firm, had been given the official seal of approval. Even so, it was a surprise on Friday when she and Phillips announced their betrothal. The news came via Hello! magazine, which published two photographs of the couple (in which Sperling showed off her diamond engagement ring, estimated by one expert to cost at least £10,000) shortly after Phillips and Sperling spoke to the King and Queen. The choice of magazine prompted reminders of Phillips's first wedding, in 2008, when he caused controversy by selling the exclusive photographic rights to Hello! for a reported £500,000, allegedly angering the late Queen, who was not consulted in advance. The pictures marking Phillips and Sperling's engagement, however, are said to have been taken privately and it is understood that no commercial arrangement was made with Hello! or any other publication. The couple have yet to announce a date for their wedding. However leading designers will surely be champing at the bit to dress Sperling. She has already won praise for the elegant way in which she mixes high-street brands such as Zara with royal-approved British designers. In her engagement photos, Sperling is wearing a white cheesecloth top and skirt set by Me+Em, a home-grown label favoured by the Princess of Wales. It's likely that the couple's new blended family will be highlighted in the ceremony, perhaps with their three daughters acting as bridesmaids. Savannah and Isla previously took that role at Princess Eugenie's wedding in 2018. As both an elegant figure, coolly unfazed by public duties, and a hard-working NHS nurse and single mother, Sperling is the ideal fit for a gradually modernising institution. It appears she's not just a great match for Phillips: she could be the Royal family's shining new star.


Telegraph
36 minutes ago
- Telegraph
For Elvis, death has proved disturbingly good business
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It makes you wonder where they find this stuff? What dusty vault still contains unreleased Elvis recordings more than half a century since he died? Elvis put out 24 studio albums and 17 soundtracks within a 21-year period between his recording debut aged 19 in 1954 and death aged 42 in August 1977. Since then, there have been a mind-boggling 307 posthumous compilations, 21 remix albums, 80 box sets and 271 special collectors' releases in the Follow That Dream series. That is a lot of music, and a lot of it is the same music, repackaged over and over again. The 'Elvis lives' slogan started appearing in the immediate aftermath of his televised funeral procession, as the world grappled with the sudden disappearance of this lightning-bolt figure who had symbolised such virility. Nearly half a century later, what started out as a kind of sentimental wish seems manifestly true in terms of the way Elvis has persisted as a fixture of popular culture. The curation of the Elvis legend and management of his estate have become object lessons in the commercial exploitation of posthumous music careers. Where Elvis treads, every ageing pop brand (and their heirs) can only aspire to follow. Mercifully it is not all exploitative tat like the much derided 'interactive experience' Elvis Evolution that opened in London in July, charging up to £300 for a bit of pimped-up video footage and some over-familiar memorabilia. Elvis racks up huge streaming numbers, with more than 20 million monthly listeners on Spotify. A close look at the statistics is fascinating. His key modern audience (according to music industry site Chartmetric) are not old rock'n'roll diehards but women between the ages of 25 and 34. His most popular song is not even one of his classic rockers but dreamily romantic 1961 ballad Can't Help Falling in Love, which has garnered over a billion Spotify streams. Connecting to new generations is crucial to posthumous longevity. You have to remain present in the streaming and social media mix, with constant new releases (archive or remixes), documentaries and films (Baz Luhrmann's 2022 Elvis biopic provided a huge boost to his income and image) and even live (or almost live) performances. The best example is probably Queen, who are Spotify's most streamed vintage musical artists at number 37, and have toured with substitute singers Paul Rodgers and Adam Lambert since the death of Freddie Mercury in 1991. View this post on Instagram A post shared by Elvis Presley's Graceland (@visitgraceland) If we include the Beatles (at 55), Nirvana (111), Bee Gees (335) and the Cranberries (482), there are just 14 deceased vintage 20th-century artists in Spotify's all-time top 500 streamers (Michael Jackson at 78, Bob Marley, 122, Tupac Shakur, 157, Elvis, 205, Frank Sinatra, 208, David Bowie, 224, the Notorious BIG, 249, Whitney Houston, 294, and film composer John Williams, 446). There are also a number of late contemporary 21st-century stars, including Amy Winehouse (343), Aviici (74) and rappers Juice Wrld (21), XXXTentacion (20), Mac Miller (70) and Pop Smoke (97). Ozzy Osbourne and Black Sabbath's streams skyrocketed this week following Osbourne's death, increasing between 1,000 and 2,000 per cent, hurling them into Spotify's current top 200 and establishing Ozzy as the number one heavy metal artist in the world. I wonder if Sabbath might be tempted to tour again with another singer, Queen style? The three surviving members were on incredible form at Ozzy's farewell concert, and it would almost be a shame if they let that music fade away. There would be no shortage of contenders, with great singers from pop star Yungblud to Rival Sons' Jay Buchanan and Lzzy Hale of Halestorm giving powerful renditions of Sabbath classics at that moving show. Death can be disturbingly good for business, as anyone who has pored over Forbes's ghoulishly fascinating annual chart of highest-earning dead celebrities can attest. Yet there are notable absences, too, from once-supreme bands and stars who appear to be fading from the firmament, such as the Doors, Marvin Gaye and even Jimi Hendrix. To protect your legacy, you have to work it. Elvis Presley's personal fortune at death was a modest $5m (around $20m/£15m adjusted for inflation). By 2022, it was estimated at more than $1bn, and he is still raking in around $100m a year, with his granddaughter, Riley Keough, his sole beneficiary following the death of her mother, Lisa-Marie, in 2023. Elvis is literally worth more dead than alive. Sunset Boulevard is out now On the Record I've been listening to Lord Huron's fine new album, The Cosmic Selector Vol. 1, a slice of atmospheric Americana with thoughtful lyrics, pitched somewhere between such unmodern influences as the Band and Chris Isaak. Movie star Kristen Stewart lends her moodily dramatic delivery to one track. The surprising thing is how popular this old-fashioned, rootsy US quartet are. One of their songs, The Night We Met, has accrued more than three billion plays on Spotify since its release in 2015. It is the 22nd most popular song of the streaming age, putting it ahead of anything by Taylor Swift (whose Cruel Summer is number 28 in all-time streams). Come critical lists and award season, I expect Jim Legxacy to be a contender for his intriguing second album, Black British Music. He is a singer, rapper and producer with an experimental bent married to sinuous pop craft, blending indie, rock and folk with quirky electronica and grime influences. It hints at the shapeshifting potential of such groundbreaking American producer-songwriters as Frank Ocean and Kanye West, and provides an interesting snapshot of a kind of uniquely British take on modern musical forms.


Daily Mail
36 minutes ago
- Daily Mail
Report: The next two late-night hosts who could face axing
Two late-night mainstays could find themselves on the chopping block after helping NBC lose an eye-watering $100 million-plus per year. The shows of longtime hosts Jimmy Fallon and Seth Meyers, combined with the network's iconic sketch comedy series SNL, have created the nine-figure shortfall, it was reported this week. NBC officially declined to comment on the reported losses. But an insider told the Daily Mail that the three shows are actually losing closer to half that amount when taking into account revenue generated through sources like streaming and digital - though conceded they're still in the red. The news come days after CBS announced the cancellation of The Late Show with Stephen Colbert, amid reports his program was losing $40 million per year. Many, including Colbert - a longtime critic of President Donald Trump - cited political motivations in the decision to pull the plug. But as the speculation swirls over CBS's decision, industry experts told the Daily Mail that NBC's silence on its own hosts' futures speaks volumes. 'They're letting the narrative take hold that Colbert was canceled purely for political reasons - and that works in their favor. It distracts from the financial bloodbath happening across the late-night industry,' said Rob Shuter, a veteran media columnist and author of Naughty But Nice. ' NBC isn't denying the $100 million [loss] because if everyone's talking about politics, they're not talking about whether these shows are even sustainable anymore.' Robert Thompson, founding director of the Bleier Center for Television and Popular Culture at Syracuse University, agreed. 'NBC would want people to think that CBS canceled Colbert for political reasons, not viewership,' he said. After news of Colbert's cancellation emerged, the host called himself a 'martyr' and told Trump to 'Go [expletive] yourself' as the president gloated publicly over the decision. Colbert had previously ripped the decision by CBS' parent company, Paramount Global, to pay Trump $16 million to settle a lawsuit he filed over a 60 Minutes interview with Kamala Harris . The settlement was seen by many as a necessary move by the company to earn the Trump administration's approval of its $8 million merger with Skydance. Colbert more bluntly called it 'a big, fat bribe.' Colbert's Late Show has drawn hundreds of thousands more viewers than his closest late-night competitor, ABC's Jimmy Kimmel, whose show has remained profitable when non-traditional TV advertising revenue is taken into account, a source told CNBC. And while Kimmel and Meyers have been more aggressive in taking on Trump, Fallon has avoided the pile-on. 'If you're really making these deals Paramount are making, Colbert, Kimmel, and Meyers come off as a one-trick pony,' Thompson said. 'Fallon was the only one who didn't completely alter their brand to make fun of the president.' Shuter said Fallon's style could ultimately end up saving his skin - but not forever. 'Fallon didn't pivot hard into anti-Trump satire, and that may have bought him time. But let's be clear - this isn't about politics anymore. It's about money,' he said. 'The moment a format stops printing cash, the ideology behind it becomes a footnote.'