
Princess Charlene of Monaco and her twins Prince Jacques and Princess Gabriella pull out of family trip to Japan with Prince Albert
Princess Charlene of Monaco and her children have pulled out of an official trip to Japan due to 'current events' in the Middle East.
Charlene, 47, Princess Gabriella, and Prince Jacques, both ten, were expected to fly to Japan this week for World Expo 2025 Osaka Kansai, an event sharing technologies to improve future societies.
The palace said today via Hola: 'In light of current events taking place in the Middle East, this has led to the decision that H.S.H. Princess Charlene and the Princely children would not be participating in this trip.'
However, 67-year-old Prince Albert will still carry out the planned engagements in Japan.
Instead of travelling with his immediate family, Albert will be joined by his younger sister, Princess Stephanie, and her children, Louis Ducruet, Pauline Ducruet and Camille Gottlieb, and her daughter in-law Marie Ducruet.
In the statement, Princess Charlene expressed her gratitude: 'H.S.H. Princess Charlene wishes to express her sincere thanks to the teams of the Monaco Pavilion, as well as to the partners and hosts who were to welcome her in Japan, for their understanding and ongoing commitment.'
The royal's activities will commence on June 27 with a charity football match titled 'United through Legends' at Panasonic Stadium Suita in Osaka.
Elsewhere, Albert is expected to attend an official luncheon and enjoy an orchestra concert.
Princess Charlene has kept a relatively low profile in recent months, only stepping out for a handful of public engagements alongside her husband.
However, last week Charlene put on a united front with Prince Albert at the Monte Carlo Television Festival - amid allegations that her husband had a 'discreet bachelor pad' set up shortly after they wed.
The royal mother-of-two, channelled her late-mother-in-law Grace Kelly as she stepped out in a sky blue halter neck ball gown that elegantly fell to the floor paired with silver heels, oozing old Hollywood glamour.
Sporting dazzling diamond earrings and a glamorous 20s style flapper girl crimped bob, the former Olympic swimmer appeared to be enjoying the spotlight as she strutted into the prestigious event arm-in-arm with her husband of 14 years, Prince Albert.
The pair beamed as they made their way onto the blue carpet and posed alongside stars such as, Famke Janssen, Robin Wright and Judith Light at the 64th international Television Festival.
Charlene and Albert put on a display of unity as palace sources claim the Princess is seeking solace in Brigitte Macron following explosive claims made by Claude Palmero, the Palace's former money man.
French newspaper Le Monde published excerpts from a police interview with 68-year-old Palmero, former financial adviser to the Palace of Monaco, who was arrested by Monegasque officials last September and released without charge.
Included in Palmero's statements were claims he had prepared a 'bachelor pad' for Prince Albert in 2012 - a year after he married Charlene.
The Prince's former confidant claimed he had been 'commissioned' to find his boss 'a discreet pied-á-terre in complete confidentiality'.
In 2017, he was also allegedly asked to 'make sure the property was ready' for the Prince to go there. Palmero also claimed that Albert had listed him as the official tenant to conceal his true motives.
Palmero, 68, looked after the family's money, including their investments, properties and the main palace, from 2001 to 2023, just as his father, André, had done for Prince Rainier III of Monaco two decades before him.
However, he was sacked by Albert in 2023 after being targeted by a mysterious anti-corruption website. A few months later, French newspaper Le Monde published Palmero's 'secret notebooks', which claimed to detail reckless spending by the Royal Family, with a particular spotlight on Charlene.
In light of the explosive claims, the Mail's Alison Boshoff reported that Princess Charlene has been seeking solace in Brigitte Macron, wife of French president Emmanuel.
'Both are high profile women who are regularly caught up in unpleasant situations,' a senior Palace source in Monte Carlo told the Mail.
'They accordingly had much to discuss, and were very glad to be able to share their experiences. They gave each other advice, while enjoying a very happy time together.'
The pair were recently seen cosying up to each other at the start of the month during a visit to the Albert II Nautical Centre for an event organised by the Princess Charlene Foundation.
They have also enjoyed a spot of tea in the gardens of the royal palace in Monaco and lunched together at the Colombe D'Or restaurant in France over the past couple of months, echoing their close-knit friendship.
Both women are in sizable age gap relationships, as Charlene is 20 years younger than Albert, and Emmanuel is 25 years Brigitte's junior.
Brigitte hit headlines after she was caught on camera pushing Emmanuel in the face at the end of a flight on a private jet last month.
The images reverberated around the world, however the French politician explained that they were 'just joking around as we do'.
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
Bizarre moment boxer gets ELECTRIC SHOCK and collapses during 'Weed Boxing' event in Thailand
Russian boxer Ivan Parshikov was left lucky to be alive after a terrifying accident at a controversial cannabis-themed boxing event in Thailand. The bizarre spectacle, known as 'Weed Boxing', encourages fighters to smoke cannabis before entering a ring surrounded by a pool of water. After winning his match, Parshikov climbed the ropes to celebrate his victory, grabbing onto a nearby lighting fixture. But disaster struck when he immediately received a powerful electric shock. It left the former ONE Championship star frozen and limp, collapsing unconscious in front of stunned fans. Emergency crews rushed to his aid, fearing the worst, but Parshikov regained consciousness moments later and was cleared by medics. The Russian boxer was competing at a controversial cannabis-themed boxing promotion, which encourages fighters to smoke before entering the ring Incredibly, the 29-year-old even leapt into the pool surrounding the ring, joking about the ordeal and later sharing footage of himself undergoing electrotherapy treatment. Parshikov later joked on Instagram: 'The idea of diving from the ring into the pool was not the most successful one. I'll upload the full chronology of the events a bit later.' Thai authorities had previously shut down 'Weed Boxing', citing damage to the reputation of traditional Thai boxing and legal concerns. However, organisers insisted that cannabis was optional for fighters - not mandatory - which has allowed the event to stay.


The Guardian
4 hours ago
- The Guardian
Less death, more social media: Formula One films decades apart reveal a changed world
'Let's try to get the season off to a good start, shall we? Drive the car. Don't try to stand it on its bloody ear.' Have you watched the movie? It's about a rule-breaking American Formula One driver, the kind who blows past blue flags and crashes into his own teammate. You must have heard of it. They shot it in real race cars, across some of the most prestigious circuits in the world. It even had contemporary world championship drivers making notable cameos on the track. If you've never watched 1966's Grand Prix, now is the time to do it. This summer's blockbuster slot may belong to F1; and its director, Joseph Kosinski, may have gone to extraordinary lengths to capture the visceral speed of the fastest class in motor sport. But John Frankenheimer got there first. The close parallels between the two films have gone largely unremarked in the reviews. Six decades ago, when the glamour of the sport was peaking, Frankenheimer set out to capture its thrill, daring and inescapable danger. He fixed cameras to the chassis of Formula Two cars – the same substitute Kosinski has used – that hared round Brands Hatch, Spa, Monaco. Like Kosinski, he spliced real race footage into his own. His American lead, James Garner, did his own driving, just like Brad Pitt. There are even occasional shots in Kosinski's film that seem to pay tribute, intentional or not, to its predecessor – the moment that recalls Frankenheimer's stylistic use of split-screen, or when Pitt jogs around the old Monza banking. F1 the Movie, to be clear, is a billion-dollar industry giving itself a full valet – shampooed squeaky clean and buffed to an impossible sheen. But it's also the kind of sports-washing I'm prepared to indulge for the sake of the pure adrenaline thrill. After watching Top Gun: Maverick at the cinema, I walked straight back in for the next screening and sat in the front row so I could pretend to be in the cockpit. At the Imax this week I was practically climbing into the screen. I was definitely the only woman my age leaning into the turns, and wishing they would stop cutting back to Pitt's face so that I got more track time. For a bit of perspective, I had gone with my father, a man with a decades-long following of motor sport and a habit of nitpicking at movie details. Ten minutes into F1's opening track sequence he leaned over, and I braced for a critique of the pit crew's refuelling technique. 'We can go home now,' he whispered. 'It's good enough already.' A movie that can impress my father with its motor racing action deserves all the hype it gets. But neither he nor I had anticipated just how much it would remind us of Grand Prix – or how well that 59-year-old work would stand up in comparison. The Silverstone marching band, paraded past the clubhouse by a moustachioed sergeant-major, has given way to night-race fireworks in Las Vegas, and the ruinous cost of running an F1 team has jumped from a few hundred thousand to £100m. The stomach-buzz as the asphalt whizzes beneath you remains the same. Putting the two stories side by side does, however, show you interesting ways the sport has changed. Grand Prix's opening lingers, fetishistically, over images of working pistons and twisting wrenches. Such lowly mechanical details are almost entirely absent in F1, where the team headquarters looks like a space station and every element of the engineering process is rendered in gleaming sci-fi. There's also a lot less death. Frankenheimer's crashes are genuinely shocking – not because the stunts are realistic (and they are) but because of the bluntness of their outcome. Drivers are catapulted from their seats to fall on whatever part of the landscape they meet first. Spectators aren't safe either. The fact that horrifying incidents are a part of the public's fascination with Formula One is a recurring theme. F1 still plays on the life-or-death stakes, but does it in a very different way, as you'd expect from a film licensed by the governing body as a big-screen advert for the sport. It's also pretty keen that everyone you meet on screen shows motor racing in a good light. Team principals are loving family men! Drivers' managers are cuddly BFFs! People cycle eco-consciously to work! Everyone is so empathic and good at giving advice! It was the latter that had me balking at the chutzpah. There's a point where our hero tells the rookie to stop thinking about his social media. The hype, the fan engagement – 'it's all just noise,' he says. This in a movie that was produced, at phenomenal cost, as a method of growing hype and fan engagement. The film's only baddy, meanwhile, is a corporate investor, who we know must be a bad 'un because he spends his time schmoozing The Money in hospitality. Here's a game for you when you're watching F1: try to go two minutes without seeing or hearing the name of a brand that's paid to be there. I left the auditorium still blinking the name of accountancy software. By contrast, Frankenheimer's film seems bracingly honest. In Grand Prix, the drivers may have moments of self-reflection but they're also uncompromisingly selfish in their pursuit. The philosophical Frenchman Jean-Pierre Sarti suggests they live in denial: 'To do something very dangerous requires a certain absence of imagination.' 'Why do we do it? Why not tennis, or golf?' It's the question at the centre of every motor-racing film. In Le Mans, Steve McQueen answered by stripping out everything but the sound and feel of the track. F1's hero describes the feeling when he's 'flying' (not for nothing does he arrive walking down the tarmac, carrying a duffel like a certain fighter pilot). Perhaps that's what makes motor racing ripe for big-screen treatment – it's the most literally escapist form of sport there is. If F1 gives it the glossy treatment, Grand Prix sees beneath the sheen.


The Review Geek
5 hours ago
- The Review Geek
Squid Game – K-drama Season 3 Episode 6 Recap, Review & Ending Explained
Episode 6 Episode 6 of Squid Game Season 3 begins with Jun-ho rescuing Player 246. With 246's directions, they head towards the island. Once they call the coast guard, Jun-ho swims to the island alone while the mercenary bandages 246's wound. The coast guard soon arrives and the Squid Game staff is alerted. Once the game is over, the Frontman begins evacuation. To erase all evidence, he starts a 30-minute timer. It is linked to bombs all over the place which Jun-ho notices as he climbs into the base. Why do Myung-gi and Gi-hun fight? To begin the final round of the game, the staff activates the bridge connecting towers 2 and 3. However, Myung-gi takes the pole and demands Gi-hun hand over the baby and stay on the second tower. Which means, only Myung-gi and the baby will play the final round. Gi-hun is shocked as he thinks Myung-gi means to kill the baby and let the men win. Gi-hun points out that he will still be eliminated for not crossing tower 2. Gi-hun planned to kill himself and leave the kid with her father but Myung-gi doesn't trust him. He claims people like Gi-hun have constantly screwed him over. To wrap up their bickering, the staff announces that the bridge will be withdrawn in 5 minutes. When it is down to 40 seconds, Gi-hun pretends to agree. He retrieves his knife from 203's corpse on tower 2 and reaches tower 3 in time. Cornered, Myung-gi reminds Gi-hun of his original plan but he claims Myung-gi doesn't deserve his sacrifice. They fight and the pole falls. Myung-gi grabs his kid and threatens to drop her till he gets the knife. Gi-hun complies and they fight once more till both men fall off the tower. Gi-hun grabs a rod and saves himself while Myung-gi falls to his death. But since the timer wasn't pressed, the round hadn't begun. Which means Myung-gi's death is wasted. Gi-hun gets back on the tower and starts the round which excites the VIPs as they think he is going to finally kill the child. Why does No-eul change her mind? No-eul doesn't just burn 246's record, but all the files in the archive. She spots her file which states her husband is executed and her daughter is dead. She is about to kill herself when she hears Jun-hee's child crying. She is in shock as she watches Gi-hun holding the child on the edge of the tower. She starts crying as Gi-hun keeps the child on the tower and sacrifices himself. She decides to live and escapes via the staff's getaway boat. One can assume that she changed her mind because Gi-hun's sacrifice renewed her faith in humanity and restored her will to live. Is Jun-ho able to stop the games? The VIPs look bored as Gi-hun decides to kill himself. In-ho seems upset as Gi-hun screams that they are not horses to be bet upon but humans. Gi-hun jumps and kills himself. Jun-hee's child wins the game. Evacuation begins but In-ho goes to the tower and takes the baby. Jun-ho ends up in the empty VIP viewing suite and points his gun at In-ho. He demands answers but In-ho simply leaves with the child. Jun-ho escapes right when the island goes up in flames. The coast guard is too late. Later, someone takes Gi-hun's remaining prize money. Do all the living characters find closure? It is 6 months later. No-eul visits 246 as a customer who is back to working as a sketch artist at the theme park. 246 finds her familiar but she claims they are ex-colleagues. His daughter has recovered and No-eul gives the kid a lollipop before leaving. Her old broker contacts her and reveals that her daughter has been spotted in China and she instantly books a flight. The broker has also found Sae-byeok's mother and brings her to Sang-woo's mother and Sae-byeok's brother, Kang Cheol. Woo-seok is freed from prison and Jun-ho picks him up. His friend, Kim is with them and he apologises for being a bad lookout. Having not seen Gi-hun's dead body, they hope he is still alive. Woo-seok and Kim decide to renovate the Pink Motel and run it. Jun-ho goes home to find Jun-hee's baby. In-ho has also left a bank card which shows all of her winnings – 45.6 billion won. What does In-ho find in USA? Next, In-ho visits Gi-hun's daughter in USA. Her anger at her absent father turns to shock when In-ho reveals that he is dead. He gives her Gi-hun's belongings. It includes the second game's uniform and a bank card with Gi-hun's remaining prize money. At the end of Squid Game Season 3 Episode 6, In-ho is stuck at a red light when he spots two people playing ddakji in an alleyway. It is a Squid Game Saleswoman (cameo by Cate Blanchett) and a potential player. The Saleswoman and In-ho smile before he drives away. This suggests that there are different variations of the Squid Game all over the world, including USA. The Episode Review The Squid Game finale is interesting, to say the least. The fight between Gi-hun and Myung-gi is definitely the highlight. They could have easily come to an agreement with some good old communication but where would the fun be in that? It is the misunderstandings and the assumptions and the jumping to conclusions that make it so exciting. In-ho is yet another character to watch out for, even though he doesn't really voice out his thoughts in this chapter. The flashback to his game reveals much about what kind of person he is. Like his brother, he is a good man who starts out with good motives and ends up losing faith in humanity following his exposure to the game. This is seen with him finding a kinship in the kind but misguided Gi-hun, yet looking upset when Gi-hun does the right thing and sacrifices himself. However, it is a shame that Jun-ho's storyline in the end doesn't amount to anything. Sure, it adds suspense and thrill but he never was a threat to the games with his small band of mercenaries going against a squadron of powerful billionaires. At least No-eul's one-man crusade succeeded in what she wanted to do from the start – save 246 and his daughter. Not to be all doom and gloom, but looking at Jun-ho's storyline, the same can be said for Gi-hun's in these last two seasons. Squid Game Season 1 worked because the ambitions were low – survive, win and escape which was a satisfactory ending. In Seasons 2 and 3, Gi-hun, Jun-ho and Woo-seok have big plans on taking down an invincible and invisible corporation. It is doomed from the start because the trio's plans are not big enough. This K-drama tries to be what dystopian trilogies like The Hunger Games are – starting small, playing the game and then toppling the foundation from within. If the writers never wanted the trio to win but provide a satisfactory ending and send a message that greedy and powerful groups will continue to be greedy and powerful, the show should have ended with season 1. But guess Netflix got greedy… hmmm, sounds familiar.