Emotional moment radio guest shares devastating brain cancer news live on air with Carrie Bickmore
The radio queen had Australian of the Year Professor Richard Scolyer on her Carrie & Tommy show, with the esteemed pathologist discussing his brain cancer.
The 58-year-old got emotional as he told Carrie that his cancer has spread and that he didn't know how much time he had.
'I haven't given up. There're still opportunities out there,' Scolyer told a moved Carrie.
'That's a reflection of many people - and me included. The fact I'm still alive and the three of us are able to have a conversation gives me some hope.'
From A-list scandals and red carpet mishaps to exclusive pictures and viral moments, subscribe to the DailyMail's new showbiz newsletter to stay in the loop.
Scolyer added however that he understands it's a race against time.
'The scan that showed this recurrence was a big deal, and I hadn't had any (scans) for more than a year' he said.
'75% of people are dead within a year (of diagnosis), and this was at 18 months… so with that coming up, I just felt a bit different.'
It's a very meaningful topic for Carrie, who tragically lost her late husband Greg Lange (right) to brain cancer in 2010 at age 35, after a 10-year battle.
She continued his legacy by starting her own charity, Carrie's Beanies 4 Brain Cancer, which she announced during her Gold Logie acceptance speech in 2015.
While promoting the charity, Carrie was welcomed back to The Project on Tuesday night in a downpour of confetti.
The television and radio star, who quit the Channel Ten show back in 2022, returned to her old stomping ground for a good cause.
The 44-year-old was on the desk for a ten minute segment that closed the show - but only as a guest.
She was there to celebrate the tear year anniversary of her charity foundation, Carrie's Beanies 4 Brain Cancer, which has raised $24 million for cancer research.
Viewers were happy to see her again, with one writing on social media: 'Ah a blast from the past of when The Project was actually good, funny and popular.'
Another person watching at home chimed in: 'Just like old times'.
Carrie announced her departure from The Project after 12 years on air in October, 2022.
She had been absent for a three month 'sabbatical' with her family in London earlier that year, before returning to the panel in July, only to quit in October.
Three months after leaving the show, Carrie announced she'd split from her partner of 11 years Chris Walker.
'It's with immense sadness that Chris and I have decided to separate,' she wrote in a statement on Instagram.
'While this is a tough time, our focus is on parenting, loving and supporting our three children Ollie, Evie and Addie with everything that we've got.
'They are doing great. We won't be making any further comment.'
Carrie is now the host of the Carrie & Tommy show on the Hit Network alongside Little.
Their radio show has dominated the national ratings survey last year.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Daily Mail
an hour ago
- Daily Mail
Jock Zonfrillo's widow Lauren parties with Michael Clarke in Paris
Lauren Zonfrillo, the wife of late celebrity chef Jock, has been spotted partying in Europe. MasterChef Australia star Jock was found dead in a Melbourne hotel room in May 2023, after police were called to conduct a welfare check on the 46-year-old. After two years of dealing with the grief of Jock's passing, Lauren was all smiles this week when she was seen partying with cricket legend Michael Clarke in Paris. The former Australian captain took to Instagram on Tuesday to share a photo that showed him enjoying some downtime with pals in a Parisian bar. Michael looked chuffed to be in good company that included pals Nick and Amy Campbell and partner Arabella Sherborne. From A-list scandals and red carpet mishaps to exclusive pictures and viral moments, subscribe to the DailyMail's new showbiz newsletter to stay in the loop. Cuddling up close to Arabella at the edge of the group, Lauren was positively beaming as she posed for the happy snap. Lauren showed off her svelte frame in a sleeveless white playsuit that flaunted her trim and toned arms and shoulders. Arabella was seen clutching Lauren's arm as the five pals took time out to document the soiree. It comes after Lauren recently shared the harrowing final moments she spent with her MasterChef Australia star husband as she said goodbye to his lifeless body. Lauren raced home to Australia from Italy with the couple's two young children, where she was faced with seeing his body in a Melbourne morgue. She told 7NEWS Spotlight's Liz Hayes in May that she was full of fear – but needed to see her husband, and speak to him. 'I was scared of it, but it was just what I needed. It was just a very strange feeling' she said while tears rolled down her face. 'Jock was in his pyjamas. I could smell his aftershave. I could smell his hair product. It was just like Jock was sleeping. 'I went up to him, and I wanted to touch him but I was quite scared. And so I started with his hair, and then I could touch his face, then I was kind of, was okay with it. But it was really my time to say goodbye to Jock' she continued. 'He was still there. I really felt he was there. I told him that it will be okay, that I've got this. That I will make sure the kids live big lives. And that, no matter what, we would be a family.' Lauren said that she begged her husband to tell her what happened to him, and wished that he would reply. 'I asked him what the f*** happened, and I just wanted the words from him. He just looked completely normal to me. 'I could not undo what was in front of me. Like, I am broken now. That's it. There's no fixing me. This is the person I love that much, who cannot be there.' When asked to disclose Jock's cause of death, which has never been revealed, Lauren remained protective of her husband. 'A lot of people want to know the answer to that, I'm really aware of that. I've had a lot of experiences with people coming up to me, all strangers, and asking how Jock died, and it's very unsettling' she said. 'Jock was very open in what he was willing to talk about. And I now don't want to make those decisions, because I don't know what he does and doesn't want to talk about.' A fortnight after Zonfrillo's death his wife led about 200 mourners who gathered for a funeral at Macquarie Park Cemetery and Crematorium at North Ryde on May 13. Among those who attended the service were celebrity chefs George Calombaris, Matt Moran, Colin Fassnidge, Manu Feildel and Shannon Bennett as well as Zonfrillo's co-stars Allen and Melissa Leong. Lauren delivered a eulogy before Zonfrillo's friend and fellow Scotsman, Jimmy Barnes, sang Amazing Grace with his daughter Mahalia. Before his death, Zonfrillo had been preparing for the launch of MasterChef's 15th season, which was set to premiere the night his body was found. He was also in the early stages of planning a new restaurant and had started working on a cookbook prior to his death. Zonfrillo and his wife, who married in 2017, had put their four-bedroom Carlton terrace up for rent ahead of a potential permanent move to Italy, where his father was born. Lauren also candidly opened up about life after Jock in her 2025 memoir Till Death Do Us Part.
The Guardian
2 hours ago
- The Guardian
‘I went vegan on the second day of filming': James Cromwell on making Babe, the talking pig classic
Chris Noonan, the director, had been in a battle with producer George Miller, who wanted an all-Australian cast for Babe. Thankfully, a wonderful casting director believed I was right for farmer Hoggett and pushed for me to get a meeting. George had found the book that the film is based on – The Sheep-Pig by British author Dick King-Smith – while on a trip to Europe with his daughter. I thought farmer Hoggett was from Yorkshire, but the studio said: 'No. Movies with accents don't make money.' Of course, Schindler's List won the best picture Oscar that year and it was filled with accents. They wanted me to keep my American accent so I thought I'd blow smoke up their ass and spent a whole day using this Texas shit-kicker accent. In the end I had to re-record all of those lines using the British accent I ultimately went with. During my makeup test, George was standing nearby. As he walked past, he said: 'Lose the sideburns.' I don't know what got into me. I just said: 'No. I like them.' George went, 'Who the fuck is he?' and walked off. I was very pleased with myself. We had an animatronic sheep in the middle of real sheep – which doesn't stick out. The crew used to bet on which one of the flock was fake. At the end of a take, you'd see the real sheep continue to look around and the animatronic one power down. You'd then hear a crew member say, 'I got it!' On the second day of filming, I broke for lunch before everybody else. All the animals I'd worked with that morning were on the table, cut up, fricasseed, roasted and seared. That was when I decided to become a vegan. The final scene, where the sheep follow Babe, was a miracle. The woman who worked with the sheep spent five months trying to get them to walk three abreast in rows and follow the pig around the circuit. She was working with them right until we shot. I said, 'Away to me pig' and those sheep moved through the circuit without a pause. When the gate closed behind them, the crowd – 200 extras we'd gathered from the local town – went berserk. I asked Chris how he wanted me to deliver my final line and he said: 'Right down the lens.' I didn't expect what happened: reflected back at me in the camera lens I saw not me, but my father. On that thought I laid the line: 'That'll do pig, that'll do.' At the time I hadn't forgiven my father, who was a director and very critical of my work, which stung. I didn't know I had to forgive him. But at that moment, I looked at myself and saw I am my father's son and I love him. Without a doubt, it brought closure. The only negative thing I ever heard about Babe was from a woman who said it ruined her relationship with her daughter. They used to enjoy Big Macs together and now her daughter wouldn't eat animals. I thought: 'If that's what you based your relationship on, it sucks anyway!' What set Babe apart was that it featured realistic animals and not fantasy characters. The goal was to intercut puppets with real animals. To have a convincing animatronic Babe, we had to fit a prosthetic band around the puppet's neck every day and punch in the hairs one at a time with a needle. We'd start early in the morning. We couldn't afford more than one prosthetic head, so to go from a standing pig to a sitting pig, we had to take off the head, put it on to the new puppet body, and then punch in all the hairs again to make it a seamless blend. If anything went wrong, we had to start the entire process all over again. It was terrifying. Up until that point, we had always used foam latex for puppets. It's wonderfully elastic but has no skin-like qualities. We had a chemist working with us who took on the challenge of making skin-like silicone for Babe. He added lots of oil and extra hardener. It set solid but remained flexible. When we'd lay it on paper, it would leach oil. It was a kind of mad chemistry. People who supply silicone skins to the industry use it to this day. Babe's eyes were plastic spheres with a plunger inside that moved back and forth. They had a round silicone ball in front of them. We painted an iris on the ball and filled the spheres with clear silicone gel. By pushing the plunger, we could make the pupils bigger or smaller to create her big brown eyes. Ferdinand the duck was a combination of fur and feathers. We had tried using only feathers but we couldn't lay them individually and make them move. When I watch the scenes with Ferdy and Babe in the shed, I struggle to know what's animatronic and what is real. We shot in Australia and the heat was phenomenal. Silicone is a great insulator so it was like an oven inside animatronic Babe. After we rehearsed, we'd cover Babe in a foil blanket and keep our fingers crossed that nothing overheated. Closeups of animatronic dogs were a degree beyond what we were capable of. The work everybody did was outstanding but there's just so much going on under that fur. We failed – they're impossible. In the end, all dog closeups were digitally enhanced. James had moments of holding Babe in his lap, and there was never a feeling of ridicule. He engaged with the puppets. It was remarkably rewarding to see him reach that level of interaction with something so dependent on your contribution. We did as much as was humanly possible. I'm very proud to have been involved with it.
The Guardian
2 hours ago
- The Guardian
Through his eyes: Corban Clause Williams brings his artwork to a new audience
In the desert of northern central Western Australia, north-east of Kumpupirntily (Lake Disappointment), is an ancient water hole. For thousands of years, the Martu people have used this water source, known as Kaalpa, for nourishment and cultural practice as they have walked and hunted. It's from here that Corban Clause Williams's story comes – and now it will be told to a new audience. Williams is a young Martu man living in Newman, in the Pilbara. As well as working as an on-Country ranger, he is an acclaimed artist and part of the Martumili Artists group. He learnt from his nana, who would paint on one side of a canvas while he experimented on the other. Photograph: Martumili Artists 'Watching her and doing it, she would tell me to sit there and I was painting with her,' he says. 'She was telling me to do it on that side, do it yourself.' Each one of Williams's paintings tells the story of pujimanpa – desert dwellers – who spent their lives around Kaalpa. By including symbols from the land such as yapu (rocks), tuwa (sandhills) and karru (creek), Williams says he's creating something like a map of Martu Country, tracing journeys taken by the old people. Making his art, he says, creates an opportunity to share stories with people who see the paintings. When visitors attend galleries or exhibitions and meet an artist such as Williams, they can ask questions and learn more about the Martu and the Dreamtime. 'The person [viewing the artwork] can know and understand properly about the painting,' Williams says. His connection to Country exists in all of his paintings. 'If you like painting in the art centre in Newman,' he says, 'you start painting your Country and think about your ngurra [your Country]. I see this connection a lot when people aren't on Country – they paint about their ngurra so that they can reconnect to Country.' Williams's art first caught the attention of Specsavers in 2023, when his fellow Martumili artist, Helen Dale Samson, had her art featured on a limited-edition range of eyewear. When Specsavers was looking for an artist for its newest range, Williams stood out for his youthful, contemporary storytelling. The range is part of Specsavers' partnership with The Fred Hollows Foundation. Aboriginal and Torres Strait Islander peoples are about three times more likely than non-Indigenous Australians to experience vision loss and blindness. To fight this inequity, Specsavers has worked with Aboriginal and Torres Strait Islander artists to create ranges of glasses that support the foundation. Now in its ninth year, the initiative will feature Williams's story of Kaalpa. '[It's] something different,' Williams says. 'My eyes are right, but in the future I might need them.' The process began with selecting a shortlist of paintings that Williams felt were his strongest. From there, he worked with Specsavers on the composition and how they would appear on the glasses. With the artwork selected, Williams – a self-confessed fashionista – was invited to Specsavers in Perth, where he tried on and chose from prototypes that would become his own limited-edition range. At every step, Specsavers has collaborated with Martumili Artists and Williams. He travelled to Melbourne for the campaign production, meeting the photographer and videographer, and spending the day on location. Williams was interviewed about his work and the stories of Kaalpa. When the range launched on 10 July, he was there to enjoy the celebrations. He's proud to be sharing the stories of his old people and the land they walked. 'When you're on Country it makes you pukurlpa,' says Williams, referring to the sense of pride and happiness many of the Martumili artists share. 'When you stay in towns and city too much, and you say, I want to go back home, you feel happy.' Martu paintings are an important way of passing stories from one generation to the next, and giving others a way to understand them. Now, they also provide a way to create fairer access to sight. Specsavers hopes this year's glasses will once again generate a significant contribution to The Fred Hollows Foundation. For every pair sold, $25 will be donated to support the foundation's efforts to restore sight, improve access to care, and build a workforce of Aboriginal and Torres Strait Islander people to ensure eye health services are culturally appropriate. 'Wearing them will make you happy,' Williams says, referring to his kuru glass – a mixture of Martu and English meaning 'eye glass'. 'Strangers that don't know who I am rock up and I say, hey, I designed that. 'Sometimes I go out on Country and paint on Country. I come back here [to Newman] and end up doing a solo show or an exhibition. It all goes around.' Explore the limited-edition Specsavers x Fred Hollows range.
