Tom Fletcher forced to apologise for ‘insensitive' post shared after Air India plane crash
McFly singer Tom Fletcher has been forced to apologise for an 'insensitive' post shared in the wake of the Air India plane crash that has killed more than 250 people.
On Thursday (12 June), the plane, which was flying to London Gatwick, crashed into a hostel building in Gujarat five minutes after taking off.
Images and videos from the city showed plumes of smoke pouring from the wreckage of the plane as firefighters tried to douse the charred remains of buildings impacted by the crash.
Shortly after, Fletcher, 39, shared a post on his Instagram Stories about becoming a trained pilot, which had been accompanied by Foo Fighters song 'Learn to Fly'.
But when many of his two million followers alerted him to the news, Fletcher realised the poor timing and deleted it. He immediately issued an apology, writing in a follow-up post: 'Sorry, I've only just seen the terrible news about the Air India crash. So awful.
'Had I known earlier, I obviously wouldn't have posted about my flight today. I understand why that must have looked insensitive and have deleted it.'
The former Strictly Come Dancing contestant said that his 'whole heart goes out to everyone involved in the crash and all their friends and families'.
Fletcher's apology arrived hours after The Only Way is Essex star Mark Wright addressed an 'inappropriate' post he'd shared in the aftermath of the Air India crash.
After his followers questioned the post, which saw him complaining about leg room on flights, Wright explained that he had written and scheduled it before the crash had occurred. He called it a 'horrendous coincidence'.
'I apologise for a post I just put up on my page after today's heartbreaking events,' he wrote on his Instagram Stories.
'I have posts from a holiday that are on the scheduled setting, which go out on future days I have set them for which was done last week. It's a horrendous coincidence that today's post was on such a devastating day.'
He continued: 'Once I logged in to my Instagram and realised the post had gone out, I immediately deleted. My heart goes out to everyone who has been affected from today.'
Wright apologised 'for this mistake and any offence caused'.
A British national was the sole survivor of the Air India flight. Vishwash Kumar Ramesh, who had been sitting in seat 11A, was identified by local police shortly after the crash.
Indian civil aviation minister Ram Mohan Naidu Kinjarapu said on Thursday night that a formal investigation in keeping with international protocols had been initiated.
A UK team had been dispatched to join the investigation as well, Prime Minister Keir Starmer said.
The flight was under the command of Captain Sumeet Sabharwal, a line training captain with 8,200 hours of flying experience, and First Officer Clive Kundar, who had logged 1,100 hours.
There were 10 other crew members on board, civil aviation authorities said.

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Geek Tyrant
32 minutes ago
- Geek Tyrant
Horror Short Film RECIEVER is About a Telephone Councelor Who is Hypnotized By a Caller — GeekTyrant
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And the photography of the hypnotic imagery was one of the most relaxing, enjoyable parts of the shoot for me. I spent a week after the main body of the shoot was complete making miniature ice floes and sea ice. We brought together dry ice, a fog machine, and fan to shoot the miniature ice effects in a pan outdoors (at cinematographer John Tarver's sailing club, of all places), with the painting from Sriyani's apartment as the reflected 'sky' behind the ice. And we spent 4 hours shooting every imaginable configuration of ice, smoke, fog, and wind. It was just raw, unencumbered experimentation, whose deadline was set only by how long we had before all the ice miniatures melted. It made me feel like I was in film school again. What is a favorite story or moment from the making of the film you'd like to share? Production designer Jennifer Tam and I wanted to be subtle with how Sriyani's apartment was designed. 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Though there are far more small-scale motion control tools available now than 20 years ago, it remains a finicky, precise, and technical means of filmmaking that independent filmmakers should be cautious when using. I had worked with motion control before, and I was still a little overzealous on set (which is part of the reason why my next film THROUGH THE THROAT, which also used double effects, relied on much more traditional filming and editing cheats to put the two characters in the same scene). If it did, how did your film change or differ from its original concept during pre-production, production, and/or post-production? How has this changed how you'll approach future projects as a result? When Luke and I wrote the film, we had a much different conception of how Drake would speak. As you never see the main antagonist in the flesh, we knew Drake needed a distinct voice, and we assumed that a 'bigger' and more imposing voice would be more unnerving to the audience. 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Picture editor Luke Higginson I have known for 20+ years (we met in film school), and sound designer James Bastable had worked with me on my previous film HANGNAIL. Composer Deanna Choi I met two years before when she was workshopping a stage musical at the Soulpepper Theatre in Toronto -- I was fascinated by her work (she was a recent graduate), and I called her up to say I wanted to work with her in the future. Production designer Jennifer Tam was recommended to me by my designer on HANGNAIL, and I was thrilled that she and I hit it off so well. And DOP John Tarver is the current cinematography professor at my alma mater. When I approached him to see if he could recommend any recent cinematography grads, we began talking about RECEIVER, and when he heard that I wanted to shoot and light the film like a 1980s Brian DePalma film, he asked if he could submit his reel for consideration instead. John has a great eye, and we bonded a lot over a love of hard lighting. 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I had hoped that RECEIVER would bring some attention to the new direction of my film work (it was the first real horror film that I had directed after writing several scripts in the genre), and it did. So I was thrilled with what it accomplished. And then I moved on to writing THROUGH THE THROAT. What is your next project and when can we expect to see it? My next project after RECEIVER, THROUGH THE THROAT, is screening at Film Quest right now, and is at the beginning of its festival run. I hope it will be out to more festivals and streaming in 2025. Where can we find more of your work and where can interested parties contact you? Do you have a website or YouTube/Vimeo channel? Social media handles? My website, has links to my YouTube and Vimeo accounts, and currently hosts RECEIVER as well as my previous film HANGNAIL, both of which are available to watch for free. In addition, I'm on Instagram and Facebook @InterlockPictures, Letterboxd at SecamTO, and Twitter @CCamOperator Bonus Question #1: What is your all-time favorite film? It's a tie between Lawrence of Arabia and Blade Runner. Please don't ask me to choose which of my children is my favourite. Bonus Question #2: What is the film that most inspired you to become a filmmaker and/or had the most influence on your work? I would like to say North By Northwest, which my dad introduced me to at the very cusp of becoming a teenager, and it was hugely influential. Now, all of that is true, but the real answer is Raiders of the Lost Ark. I was an 80s kid, and adored Indiana Jones and Star Wars. But it was my love of Raiders (and wearing out two VHS tapes of the film) that had me set at 10 years old to make films with my life, before I even understood what a film director does. Granted I don't really make adventure films, so we might say that the storytelling of North by Northwest and Raiders weren't so much the influence as the precision of their craft, and their absolute foregrounding of audience experience. Sometimes the 'light' films can be the most profound.
Yahoo
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'World's Hottest Police Officer' Goes Viral At The Beach
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Digital Trends
5 hours ago
- Digital Trends
You Asked: Budget Sony OLED? Does TV Tech Surpass Human Perception?
On today's episode of You Asked: Panasonic Mini LED or LG QNED? What's the best Sony OLED to get that won't cost you as much as the A95L? And with such good sound and picture quality from the latest TVs and speakers, how much more can they even improve? Panasonic W95A vs. LG QNED80T Steve Beaty asks: I've been trying to decide between the 85-inch Panasonic W95A and 86-inch LG QNED80T. I found them both for the same price. Which would be the best for my money? Or do you know of something better in the same size and price? Thanks for sending in the question, Steve. We've also noticed that the Panasonic W95A has been seriously discounted lately. It's easily one of the best deals available right now, especially considering it was one of the best Mini LED TVs of 2024. And that is where my answer begins. The W95A has Mini LED backlighting, which is a notable upgrade over the QNED80T's edge-lit capabilities. With the Panasonic, you'll see much better contrast and local dimming. This is particularly true when viewing HDR content, where your highlights will really pop and stand out. In terms of viewing popular shows and movies, the QNED80T is also lacking HDR10+ and Dolby Vision. So you won't be getting the best out of many of the shows and movies available to stream. And overall, it's not nearly as bright as the W95A. And again, not that brightness is the end-all be-all, but for viewing in daylight or brighter rooms—and for some of the reasons I just mentioned—you're going to want that extra juice sometimes. As far as any other options, for that price and size, the W95A is going to be hard to beat. In our review last year, we tested it alongside the Sony Bravia 7. So check that video out if you want further details. But that Bravia 7 does cost a good bit more than the Panasonic right now. Even comparable options from Hisense and TCL are currently priced higher than the W95A. So I'd go for the Panasonic and don't look back. What's the best Sony OLED that isn't the A95L? @rikram33 asks: Is there a Sony OLED recommendation? Preferably 65 inches? I'd love the A95L, but need something less than that price-wise. Appreciate the question. And in this case, Sony's TV lineup actually makes the answer a little easier if you're set on that brand. The Bravia 8 (2024 model) is probably going to be your best bet. Unlike brands that offer three or four different levels of OLED TVs, Sony keeps their offerings pretty simple. Currently, you have the Bravia 8 Mark 2 (their latest and greatest QD-OLED), the A95L (their QD-OLED from 2023, which is still highly competitive with 2025 offerings), and the Bravia 8 Mark 1, a W-RGB OLED. Right now, that Bravia 8 Mark 1 is going for about $1,200 less than the A95L at the 65-inch size—and that's a pretty solid deal. While you do miss out on the color and brightness advantages of QD-OLED, it's still OLED. And with Sony's picture processing, it still looks gorgeous. Plus, the discounted price makes it easier to stomach those differences. Compared to the A95L, you're getting the same inputs (two HDMI 2.1 and two HDMI 2.0), the same game mode features and refresh rates, the same supported HDR formats like HDR10 and Dolby Vision—and overall, when you're watching the Bravia 8, I don't think you're going to be disappointed at all. Keep in mind, reviewers bring up performance differences between TVs because it's their job. But as a viewer, these differences aren't nearly as magnified—especially if you're not watching the TVs side by side. All that said, here are a few more options outside the Sony family that sit just below and just above the Bravia 8 price-wise: LG C4 (2024): A bit less expensive than the Bravia 8 (around $400 less), with more brightness and four HDMI 2.1 ports. LG G4: A few hundred dollars more than the Bravia 8, but still less than the A95L. Objectively, it's a better TV in terms of brightness and color with its MLA panel. Both LG models support faster refresh rates in game mode and Dolby Vision. There are also Samsung OLED options, though that's a bit of a rabbit hole. We did a buying guide on that recently if you're interested. But since you asked about Sony, I assume you have your reasons. So do with that what you will. If you're set on Sony, I love the Bravia 8 for you. Can you even hear or see the difference anymore? @lilyharyett353 asks: Have we gotten to a point where picture and sound quality surpass the ability of the human eyes and ears to take in? And if so, why try to improve anymore? What's funny is, I often think about this myself. Don't get me wrong—I love seeing new TVs and tech in general—but when you see as many good ones as we do, you start to realize, 'Yeah, this one looks great. So does this one. Wow, I love how this one looks too.' So you do have to ask: what is there left to achieve? In my opinion, the answer is twofold. One side is technological. The other is about convenience. From a tech perspective, I'd say OLED still sets the bar for best-looking mainstream TVs. So now we're seeing a race between QD-OLED panels (from Sony and Samsung), MLA panels (from LG), and the new four-stack OLED panels from LG and Panasonic. Each year brings slightly brighter colors and better HDR performance. Will you notice the difference year over year? Sometimes—like with the LG G4 versus G5. But most of the time, it takes a bigger leap to see improvements that are worth spending money to upgrade for. Then you've got Mini LED tech trying to catch up to OLED. Picture quality is getting better every year—deeper blacks, richer colors. RGB Mini LED backlight tech from Sony and Hisense is a good example of that. And because not everyone can afford OLED, there's real value in Mini LED competition. Then there's the convenience side. Think Samsung's One Connect Box, The Frame Pro, LG's OLED M Series with Zero Connect. These don't boost picture or sound quality directly, but they make the whole setup experience easier and cleaner. Same goes for audio. Not everyone has space for a soundbar or full speaker setup. But now we have things like Sony's Bravia Theater Quad, which simplifies surround sound without much space or hassle. The bottom line? Yes, we're spoiled with incredible home theater quality—but there's still room to innovate. Not just in making things look or sound better, but in how we experience it all.