Jackie ‘O' Henderson teased by Kyle Sandilands for sleeping with ‘rando' fan
During an interview with OnlyFans star Annie Knight, Henderson was teased by co-host Kyle Sandilands for once sleeping with a fan of the show.
'Pick and chose those fans, bro,' he told a producer on-air, who said they had received a DM from a fan on the weekend.
'They're not all that good. Jackie found that out that hard way too, right Jackie?'
'No, that's not true. I have [slept with a fan] and he was lovely,' she replied as Sandilands continued to mock her for sleeping with a 'rando' she met while out clubbing years ago.
'He was in her ear and he goes, 'I can't believe I'm having sex with Kyle and Jackie O,' Sandilands claimed.
'He did not say you! You were not mentioned,' Henderson laughed. 'Stop inserting yourself into my story.'
It was this time last year that Henderson first confessed to getting intimate with a fan.
The 50-year-old said she decided to give the fan a go but things didn't go quite as she had hoped in the bedroom.
'He was a really big fan of the show. I don't mind that, if they listen to the show, I think that is good … I like that,' she said about the man, whose identity she did not disclose.
'It turns out he was a super fan. Halfway through sex, he says, 'I can't believe I'm having sex with Jackie O,'' she added of the man, who also said he felt like 'he was in a dream' when sleeping with her.
Henderson said that although that was 'off-putting', she still found him to be lovely.
'It was so sweet. He was the sweetest guy,' she concluded.
Elsewhere in that conversation, Sandilands asked his co-host if it was hard to date people, given she is 'a famous person'.
'I forget that part,' she replied. 'I'm just the same as them. You're vulnerable. You meet someone there's so much pressure.'
Her latest sex life discussion comes one week after Henderson broke down in tears on-air as she spoke about her love live and manifesting a partner.
'How would you manifest your ideal partner when you don't have a vision of what they look like? How do you do that?' the radio host asked her guest, American author and motivational speaker Gabrielle Bernstein.
'I can't tap into that. But I also have done quite a lot of work on myself, and I didn't realise that I never felt good enough until I went deep,' Henderson added. 'And then it all came up and it was like a bloody pressure cooker and everything came out.'
She added that finding love was tough while she was still working on herself an her sobriety journey.
'I know it takes a long time to do that. You know, to heal. I feel like I've been working on it for two and a half years, constantly,' she said.
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Sydney Morning Herald
3 hours ago
- Sydney Morning Herald
Why Hollywood's comedy king thinks Aussies appreciate him most
Paul Feig, the American filmmaker behind Bridesmaids, The Heat, Freaks and Geeks, A Simple Favour and a whole lot more, makes no bones about what it means to be the inaugural recipient of a lifetime achievement award from South by Southwest Sydney. 'Gateway to death.' He laughs. 'No, I'm honoured, because I have spent my whole life working on this and hopefully I've got a few more years left. 'It'd be one thing if I wasn't working any more and couldn't get a job,' he continues. 'Then you'd be like, 'Oh boy, there's the booby prize'. But to me it's a great honour because I'm continuing to work and I'm doing stuff that I'm really proud of.' Feig (it rhymes with Smeeg) has just finished shooting a new feature, The Housemaid, which should be out by Christmas. Another Simple Favour – the sequel to his beloved crime-thriller comedy A Simple Favour (2018) – dropped on Prime Video in May, having debuted at the original SXSW in Austin, Texas, in March. And according to he now has about 20 projects – including a sequel to the 2015 Melissa McCarthy movie Spy – in various stages of development. At 62, the perennially dapper writer-director-producer has no intention of slowing down. 'I'm all about speed,' he says. 'My whole thing is I'm looking for runaway freight trains, because the things you develop for years are just caught in the muck and the mire, people overthink, it starts to sag, and people get tired of the stuff that was good, you know.' Getting a project up and running quickly is vital to maintain the momentum, especially in comedy. 'I think energy is the biggest thing that makes a movie or a project great,' he says. 'Everybody goes into it with a head of steam. I'm not saying good things don't come out of being cautious and taking time. It's just for me, that's not a pace I like. I like, 'blam, here it is'.' For the most part, that approach has served Feig well. Having started his career as a performer, he switched to the other side of the camera after his breakthrough role in Sabrina the Teenage Witch was cut after one season because, he was told, they didn't really know how to write for his character. 'It was this thing of, 'Wow, if you're an actor in this business, you're completely out of control'. They can fire you at any time. You are stuck in a contract for seven years unless they let you out of it. So it just cemented in my head that I want to do this.' His first attempt, a self-funded feature he wrote, directed and starred in (alongside illusionist Penn Jillette, of Penn and Teller fame), wiped out his and his wife Lauren's savings and was never picked up for distribution. 'I was like, 'it could potentially be over right now',' he says of the film, Life Sold Separately, which has not been released to this day. But rather than give up, he took inspiration from his friend Matt Reeves, who had just co-created the college drama Felicity with J.J. Abrams (Lost). 'I decided to write a pilot based on my high school.' The show was Freaks and Geeks, and after Judd Apatow, a friend from stand-up days, agreed to come on board as producer, he was off at the races. 'Suddenly we got sold to NBC, we're making a pilot, we got picked up. It was just redemption at the highest possible level.' The show only lasted a single season – and NBC initially screened only 12 of its 18 episodes before dumping the final six one Saturday night a year later – but it launched the careers of actors Linda Cardellini, James Franco, Seth Rogen and Jason Segel. And, obviously, of one Paul Feig. Those 18 episodes will screen at SXSW in October in a marathon 14-hour session. 'Sadly, I'm not going to be there when they're doing it, that would have been kind of fun,' he says. 'But I don't know if I could even survive that. I can't sit that long.' Also screening are Bridesmaids and The Heat. The first time I chatted with Feig was in 2011, when I met him, Kristen Wiig and Rose Byrne on a Melbourne rooftop to talk about Bridesmaids. At the time, the film was at the centre of a debate after some old hands (comedian Jerry Lewis, and journalist Christopher Hitchens among them) insisted women weren't funny. Looking back, can you even believe that was a thing? Loading 'Well, I'd like to say we've moved on, but our current political situation here [in the US] is just such a disaster. Always when things feel like they're accelerating forward, there's some nefarious force to put the brakes on and pull it back. 'I always thought the conversation about 'are women funny?' to be ridiculous,' he adds, 'because all I do is work with funny and talented women. The evidence doesn't bear out any of that, so it all just feels like misogyny to me when people say it.' Feig also found himself in the sights when his remake of Ghostbusters (2016), featuring an all-female team, was review-bombed on Rotten Tomatoes before anyone had even seen it. The attacks on African-American comedian Leslie Jones were especially vile. 'If you look at the timing, it was right during the rise of Trump,' he says. 'The manosphere, which I didn't realise existed, had an axe to grind, and we were the perfect moment for them.' His response, he admits, was one of shock. 'I was such a novice to criticism on the internet at that point because, from Freaks and Geeks to Bridesmaids, The Office [he directed 15 episodes of the US version], all these things I'd been involved with were really popular, it was just nothing but goodwill out there for what I was doing. And so, when suddenly it turns, you're like, 'Wait, who are these evil-feeling forces that are coming at me with such anger and venom?' It kind of knocks you sideways. 'Now I'm immune to it,' he adds. 'But at the time, it brings up all the old bullying and things you went through as a kid. And you just realise, 'OK, I can be in my 50s and still be completely pulled back into the schoolyard'.' Thankfully, that's all a long way behind him now. A lifetime, you might say. Feig admits he is looking forward to receiving the award in person and to visiting a country that has always embraced his work again. 'I think Australians have a great sense of humour, and they kind of get what I go for,' he says. 'All my movies are comedies, even when they're thrillers or whatever. I mean, some are very hidden dark comedies, but they're still meant to entertain you. 'It's OK to laugh when things get extreme,' he says. 'And I just feel like Aussie audiences have always kind of gotten that.'
The Age
3 hours ago
- The Age
Why Hollywood's comedy king thinks Aussies appreciate him most
Paul Feig, the American filmmaker behind Bridesmaids, The Heat, Freaks and Geeks, A Simple Favour and a whole lot more, makes no bones about what it means to be the inaugural recipient of a lifetime achievement award from South by Southwest Sydney. 'Gateway to death.' He laughs. 'No, I'm honoured, because I have spent my whole life working on this and hopefully I've got a few more years left. 'It'd be one thing if I wasn't working any more and couldn't get a job,' he continues. 'Then you'd be like, 'Oh boy, there's the booby prize'. But to me it's a great honour because I'm continuing to work and I'm doing stuff that I'm really proud of.' Feig (it rhymes with Smeeg) has just finished shooting a new feature, The Housemaid, which should be out by Christmas. Another Simple Favour – the sequel to his beloved crime-thriller comedy A Simple Favour (2018) – dropped on Prime Video in May, having debuted at the original SXSW in Austin, Texas, in March. And according to he now has about 20 projects – including a sequel to the 2015 Melissa McCarthy movie Spy – in various stages of development. At 62, the perennially dapper writer-director-producer has no intention of slowing down. 'I'm all about speed,' he says. 'My whole thing is I'm looking for runaway freight trains, because the things you develop for years are just caught in the muck and the mire, people overthink, it starts to sag, and people get tired of the stuff that was good, you know.' Getting a project up and running quickly is vital to maintain the momentum, especially in comedy. 'I think energy is the biggest thing that makes a movie or a project great,' he says. 'Everybody goes into it with a head of steam. I'm not saying good things don't come out of being cautious and taking time. It's just for me, that's not a pace I like. I like, 'blam, here it is'.' For the most part, that approach has served Feig well. Having started his career as a performer, he switched to the other side of the camera after his breakthrough role in Sabrina the Teenage Witch was cut after one season because, he was told, they didn't really know how to write for his character. 'It was this thing of, 'Wow, if you're an actor in this business, you're completely out of control'. They can fire you at any time. You are stuck in a contract for seven years unless they let you out of it. So it just cemented in my head that I want to do this.' His first attempt, a self-funded feature he wrote, directed and starred in (alongside illusionist Penn Jillette, of Penn and Teller fame), wiped out his and his wife Lauren's savings and was never picked up for distribution. 'I was like, 'it could potentially be over right now',' he says of the film, Life Sold Separately, which has not been released to this day. But rather than give up, he took inspiration from his friend Matt Reeves, who had just co-created the college drama Felicity with J.J. Abrams (Lost). 'I decided to write a pilot based on my high school.' The show was Freaks and Geeks, and after Judd Apatow, a friend from stand-up days, agreed to come on board as producer, he was off at the races. 'Suddenly we got sold to NBC, we're making a pilot, we got picked up. It was just redemption at the highest possible level.' The show only lasted a single season – and NBC initially screened only 12 of its 18 episodes before dumping the final six one Saturday night a year later – but it launched the careers of actors Linda Cardellini, James Franco, Seth Rogen and Jason Segel. And, obviously, of one Paul Feig. Those 18 episodes will screen at SXSW in October in a marathon 14-hour session. 'Sadly, I'm not going to be there when they're doing it, that would have been kind of fun,' he says. 'But I don't know if I could even survive that. I can't sit that long.' Also screening are Bridesmaids and The Heat. The first time I chatted with Feig was in 2011, when I met him, Kristen Wiig and Rose Byrne on a Melbourne rooftop to talk about Bridesmaids. At the time, the film was at the centre of a debate after some old hands (comedian Jerry Lewis, and journalist Christopher Hitchens among them) insisted women weren't funny. Looking back, can you even believe that was a thing? Loading 'Well, I'd like to say we've moved on, but our current political situation here [in the US] is just such a disaster. Always when things feel like they're accelerating forward, there's some nefarious force to put the brakes on and pull it back. 'I always thought the conversation about 'are women funny?' to be ridiculous,' he adds, 'because all I do is work with funny and talented women. The evidence doesn't bear out any of that, so it all just feels like misogyny to me when people say it.' Feig also found himself in the sights when his remake of Ghostbusters (2016), featuring an all-female team, was review-bombed on Rotten Tomatoes before anyone had even seen it. The attacks on African-American comedian Leslie Jones were especially vile. 'If you look at the timing, it was right during the rise of Trump,' he says. 'The manosphere, which I didn't realise existed, had an axe to grind, and we were the perfect moment for them.' His response, he admits, was one of shock. 'I was such a novice to criticism on the internet at that point because, from Freaks and Geeks to Bridesmaids, The Office [he directed 15 episodes of the US version], all these things I'd been involved with were really popular, it was just nothing but goodwill out there for what I was doing. And so, when suddenly it turns, you're like, 'Wait, who are these evil-feeling forces that are coming at me with such anger and venom?' It kind of knocks you sideways. 'Now I'm immune to it,' he adds. 'But at the time, it brings up all the old bullying and things you went through as a kid. And you just realise, 'OK, I can be in my 50s and still be completely pulled back into the schoolyard'.' Thankfully, that's all a long way behind him now. A lifetime, you might say. Feig admits he is looking forward to receiving the award in person and to visiting a country that has always embraced his work again. 'I think Australians have a great sense of humour, and they kind of get what I go for,' he says. 'All my movies are comedies, even when they're thrillers or whatever. I mean, some are very hidden dark comedies, but they're still meant to entertain you. 'It's OK to laugh when things get extreme,' he says. 'And I just feel like Aussie audiences have always kind of gotten that.'
West Australian
4 hours ago
- West Australian
'I witnessed the birth of Oasis firsthand'
It's hard to think about the 90s without Oasis. Not only were they the most successful British group of the decade, the Gallagher brothers came to define the so-called 'lad culture' of those high times. As standard bearers of a genuine working-class revolution, they were caricatured as the drinking, drugging, brawling 'supayobs' — but Oasis were far smarter, and artier, than they were letting on. They combined the majestic power of the Sex Pistols and the melodic nous of the Beatles to create their own 'Sex Beatles', just like Nirvana was doing. Yet, unlike Kurt Cobain, they were more about redemption than nihilistic self-destruction. They were renegade outsiders who believed in the power of rock'n'roll as a means of escape; their life-affirming songs soundtracked a youthful optimism for better times. I got to know a pre-Oasis Noel Gallagher on the Manchester band scene whilst attending gigs in the late 1980s and early 1990s. He seemed to be at every gig, the Hacienda or the all-night raves in squatted flats in the then-bohemian wasteland of Hulme. He already had an in-depth knowledge of bands and music history, and was as passionate about the classics as great lost Manchester bands such as World Of Twist or Yargo. Soon after, when he started roadying for the Inspiral Carpets, I would see him at their gigs or at the band's office at New Mount Street, the hub of the 80s Manchester music scene. When he first formed Oasis in 1991, he gave me demos — which I still have including one of the band's very first, which he handed me on Whitworth Street near his then-flat in Manchester city centre. It was a demo full of hope of a band straining against a national music scene that had decided Manchester was over. Early Oasis rehearsed next door to my band in the Boardwalk rehearsal rooms around the corner from the Haçienda — the heart and soul of the Manchester music scene. Most of these bands would rehearse a couple of times a week, but Oasis seemed to be in there every day, grafting and plotting in the dusty damp of the cellar rooms. They were in there so much that they had even decorated their room, painting the brick walls white, adding a small pop-art Union Jack painting and two Beatles posters. These were the psychedelic April 1967 photoshoot with American photographer Richard Avedon, and the shot of The Fabs on the steps of Brian Epstein's London flat on the day of the launch party for Sgt Pepper's Lonely Hearts Club Band. There was method in the madness. One of the smartest people I've met in bands, Noel always knew what he was doing. The three years on the road around the world with the Inspiral Carpets had been a crash course in how bands worked. He understood the dynamics and the graft as he sound-checked all the Inspiral Carpets' instruments, and had even tried out to be the band's singer when Stephen Holt, their original vocalist, had left. He also spent hours in the office on the phone or looking after the T-shirts. After Inspiral Carpets rejected his audition as frontman, he entered 1993 determined to make it with his own band. It wasn't easy — in the early days the band were overlooked despite his connections and drive. London bands like Suede were all over the music press, and it felt like Manchester bands were out of fashion. A few years later Noel said he felt like 'the last one of my generation to make it'. In that first year, it seemed like Oasis was a hobby built around Noel, with a quiet, 20-year-old Liam in tow. But Liam had rockstar looks and a wild self-belief. And both, growing up sharing a cramped bedroom on a council estate in Burnage, were united by the desire to escape the drudgery of life, the shadow of their errant, difficult father and their then-broken city. In fact it was Liam who had initially found a local band who made a great racket but needed a singer with star power. After coaxing Noel to join, they knew they had something powerful. The brothers' dynamic was fascinating: Noel would write and Liam would deliver his brother's lyrics in one or two perfect takes, just minutes after learning them. It was this innate understanding of his brother's emotions that contrasted so dramatically with the pair's many fall-outs. The brothers' psychodrama was described perfectly in 1997 by an 18-year-old Pete Doherty: 'I subscribe to the Umberto Eco view that Noel Gallagher's a poet and Liam's a town crier.' Still reeling from the effects of the post-industrial meltdown, late-80s Manchester was far removed from what it is today. The city's famous two Sex Pistols gigs in 1976 had sparked a post-punk revolution of the 'Manchester kids with the best record collections', as Tony Wilson once quipped, from the Buzzcocks, Factory Records and the Haçienda to Joy Division, The Smiths, The Stone Roses, and the Happy Mondays. The young Oasis became the final chapter in the city's transformation. Live Forever: The Rise, Fall And Resurrection Of Oasis by John Robb is out now. Oasis play Docklands Stadium, Melbourne, October 31, November 1 and 4 and Accor Stadium, Sydney, November 7 and 8. © John Robb / Telegraph Media Group Holdings Limited 2025
