logo
Happy Valley star James Norton feels like he has ‘become a man' after break-up

Happy Valley star James Norton feels like he has ‘become a man' after break-up

Rhyl Journal6 days ago
Norton, 39, said he initially found it hard but said he would always be friends with the woman, who he did not name, during a talk, called Daring To Change, on The Information stage at Glastonbury Festival on Thursday.
Norton said: 'It's very f****** hard, but it happened in a very abrupt way, and it happened kind of to me, and I thought that I was on a path.
'I was about to have kids, about to get married, all that kind of stuff, and my life just turned around, completely changed direction.
'And I thought I lost the person, but I also lost the life that I was about to lead, and the kids that we named, all that kind of stuff.
'And actually, in the last year and a half, I have gone through the most monumental change as a result, and I feel like I've grown up, I feel like I've become a man.
'I suddenly feel like I've grown up, I found some friends, relationships, the outpouring of love from my family around me was amazing.
'I ended up going to a Buddhist retreat in the south of France called Plum Village, anyone been to Plum Village? If you haven't, you should go.
'It's the best place in the world, and I went because I was in this pit of pain, and now I have this community.
'It's a Zen Buddhist community, it's amazing, and if you haven't gone, really look it up, it really does change your life.
'But so much has been born from that massive, radical change.'
Norton, who also played Sidney Chambers in ITV drama Grantchester, has been romantically linked to 36-year-old English actress Imogen Poots and artist Charlotte Rose Smith.
During the chat, he added: 'I was very much like the furious optimist, it was hard, I love that person (the unnamed woman) so much, and I will always love her, she's amazing, and we will have a relationship forever I hope, and there's no resentment.
'And actually, in a weird way, I kind of owe her so much, because she was the one who took it upon herself to make that massive decision, and she gave me a gift, she gave me this opportunity to grow up.'
The London-born actor starred as Tommy Lee Royce in BBC drama Happy Valley, and has also appeared in Doctor Who, crime drama McMafia and sci-fi drama The Nevers.
Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

And now let's bomb Glastonbury
And now let's bomb Glastonbury

Spectator

time6 hours ago

  • Spectator

And now let's bomb Glastonbury

A small yield nuclear weapon, such as the American W89, dropped on Glastonbury in late June would immediately remove from our country almost everybody who is hugely annoying. You would see a marked reduction in the keffiyeh klan, for a start, and all those middle-class Extinction Rebellion protestors would find, in a nanosecond, that their rebellion was pointless, because extinction had arrived even more summarily than they expected. Go on, glue yourselves to that, Poppy and Oliver. Street drummers, liberal politicians, provo vegans, radical rappers, spiritual healers, Billy Bragg, that bloke who owns Forest Green Rovers, druggies, tattooed blue-haired hags, almost the entirety of middle-class London – all evaporated. I am not saying that we should do this, of course – it would be a horrible, psychopathic thing to do. I am merely hypothesising, in a slightly wistful kinda way. One on Glasto, one on Brighton, and the UK would soon begin its recovery, with only a few chunks of gently glowing cobalt 60 left to remind us of what we are missing. One on Glasto, one on Brighton, and the UK would soon begin its recovery The BBC would cease to exist, too. It identifies Glastonbury as an expression of the UK 'coming together', which shows you how much it understands about the country. It has poured millions of pounds of licence-payers' money into its coverage, and 400 staff were there last weekend, including the director-general, Tim Davie. Or at least 400 staff were actually working there – I'll bet another 400 or so were there in their little tents, desperate to surf the vibe or whatever the phrase is. All those people, then, and they still couldn't get it right. Nor should we take seriously their claims that pulling the ridiculous Bob Vylan from air would not be anywhere near as simple as flicking a switch. It is every bit as simple as flicking a switch, in that all they had to do was flick a switch. They had rafts of presenters who could have filled the time, plus cameras at every other stage in the festival site. All it needed was someone with the merest vestige of sentience to make the decision – but, then, this is the BBC we are talking about. Whoever was in charge of output at that moment – almost certainly someone called 'Johnny' or 'Ayesha' – probably just thought the stuff about the IDF was 'top bants'. In truth, I am not much worked up about the Bob Vylan (or Kneecap) stuff, per se. They were only doing what an endless list of hip young musicians have done at every summer festival going all the way back to Country Joe McDonald and 'one-two-three-four what are we fighting for?' – i.e., channelling infantile far-left agitprop devoid of nuance and context to an audience of gullible drongos. The difference is that the BBC decided to cover it, thinking – as it unquestionably does – that the majority of the country would be cheerfully humming along with Bob Vylan's tuneful music and are entirely down with the sentiments expressed. That is the BBC's real crime. It is worth a brief digression here on the nature of protest songs, of rock musicians playing politics and whether they have an effect or not. The BBC would argue that they do have an effect, that they tap into a perhaps previously unexpressed sentiment among the wider public and hence herald great change. Au contraire. In the mid- to late-1960s, the more protest songs and festival chants there were, the further to the right swung the rest of the electorate. As evidence, I would point you in the direction of Richard Nixon's comprehensive victory in 1968 and then, after Country Joe had done his stuff at Woodstock, a landslide in 1972. They all seriously believed McGovern was going to win that one, so wrapped up inside their radical bubble were they all (including the broadcasters). All those youthful protests of the 1960s resulted in surprise victories for the right at the polls a few years later – in the UK with Ted Heath in 1970, in France with an unexpected win for Pompidou in 1969, and of course the USA. The more fervently they insist that they are right, the more likely it is that the rest of the country will tell them to get stuffed. I suppose it is possible that Bob Vylan will do for Tim Davie, the DG – although he is the least of the corporation's problems, frankly. He knows he has a workforce which, in its arrogance, subscribes to a set of political beliefs unshared by the people who pay for its existence. And it is so endemic that there is nothing he can do about it. One little thing I noticed: the BBC News dutifully covered the Bob Vylan debacle and did so even handedly. But on every single occasion, on radio and TV, the story was immediately followed by a report of Israeli 'atrocities' in Gaza. Every single time. Do you think that is an accident? There was a programme on BBC Radio 4 on Monday, as part of the 'Currently' series, about Louise Lancaster, an environmental protestor who was finally (on her fifth conviction) handed down a four-year sentence (later reduced to three years) for organising a protest which seriously inconvenienced hundreds of thousands of people. You would be hard-pressed to find a more egregiously biased example of broadcasting. Lancaster – a middle-class teacher from Grantchester – was portrayed as a kind of saint, suffering state persecution for her entirely valid beliefs. The Sun and Daily Mail were mentioned disparagingly and every action taken by Lancaster lauded. The BBC decided first to commission this rubbish and then put it out. Can you imagine it doing a similar piece about Lucy Connolly? Not a chance. That is the real problem with the BBC. It is utterly incapable of recognising the bias it displays every day on an hourly basis, no matter how often that bias is pointed out. Bob Vylan, frankly, is the least of it.

Truly awful: Roblox's Grow a Garden reviewed
Truly awful: Roblox's Grow a Garden reviewed

Spectator

time6 hours ago

  • Spectator

Truly awful: Roblox's Grow a Garden reviewed

Grade: D– There's some scholarly research to be done, I fancy, on the strange psychological appeal of boringness in videogames. These gaudy things could be non-stop excitement, and yet many of the most successful are mega boring. 'Grinding' – repetitive tasks undertaken for incremental rewards – is a matter of pride and pleasure for serious gamers; and some games – I'm looking at you, interior-decorating Sims – really do offer a digital equivalent to watching paint dry. Remember FarmVille, for instance? Here was a truly mind-numbing Facebook game where you managed a virtual plot of land and grew corn and tomatoes and whatnot, traded them for imaginary currency, bought seed to grow more crops, and so ad infinitum. It is what sometimes gets called a 'Skinner box'. It was awful. Everyone loved it. Your mum loved it. It was Facebook's most popular game by miles. Anyway, the kids have now discovered FarmVille in a new form. It's called Grow a Garden, and it's on the Roblox platform, whose audience is pre-teen or tween, and the BBC reports that 16 million people are playing it. God help us. You buy some carrot seed, dump it in your blobby vegetable patch (the visuals are Minecraft meets Lego), harvest, sell, rinse, repeat. Your plants grow while you're offline, so even while you're at school your blocky virtual blueberries are growing. I found the best place to play Grow a Garden was in my allotment, where the time I spent attending to my virtual crops was time I wasn't acquiring blood-blisters digging out couch grass and horsetails and bitterly lamenting the sin of Adam. I felt bad. There's probably a lesson in there somewhere.

Gaza: Doctors Under Attack review – this crucial film is the stuff of nightmares. But the world needs to see it
Gaza: Doctors Under Attack review – this crucial film is the stuff of nightmares. But the world needs to see it

The Guardian

time6 hours ago

  • The Guardian

Gaza: Doctors Under Attack review – this crucial film is the stuff of nightmares. But the world needs to see it

The biggest, and possibly only, failure of Gaza: Doctors Under Attack is that the circumstances of its broadcast threaten to overshadow its content. A brief recap: this film was first commissioned by the BBC, only to be dropped when another documentary – Gaza: How to Survive a War Zone – sparked a furore over impartiality. The abandonment drew uproar from within the corporation, scorn from the wider media and the inescapable sense that what started as a vital piece of film-making had devolved into yet another navel-gazing referendum on the purpose of the BBC. Thanks to Channel 4 picking it up late in the day, Gaza: Doctors Under Attack now exists in the world, and it has never been more evident that this is a work that demands to be seen. Doctors Under Attack bills itself as a 'forensic investigation' into claims that the IDF has been systematically targeting Palestinian medics in all 36 of Gaza's hospitals. The attacks, according to the United Nations, follow a set pattern. First, a hospital comes under bombardment, then it is besieged. After that, it is raided by tanks and bulldozers and its medical workers are detained. And then, once the hospital has essentially been rendered non-functional, the forces move on and repeat. It's a strategy designed to cripple Gaza for years to come, says one talking head. After all, when a building is destroyed, you can throw up another in its place. But medics require years of training. Rob Gaza of their expertise and you deny its chances of ever rebuilding. This is despite, as the film repeats time and time again, healthcare workers being protected under international law. The power of Doctors Under Attack comes in the unhurried way it chooses to unfurl its thesis. There is no clear manipulation, no central villain. What there is, however, is an unceasing timeline of horrors. We are shown doctors doing their best in overwhelmed hospitals with no water or electricity, racing to treat wounds that have already begun to rot. We are shown them coming under what seem like targeted attacks, being detained in black sites where they will be tortured and interrogated. There is footage of a gang rape by soldiers. We are shown children, injured and dead, in vast numbers. The central part of the film, however, is stories of individual doctors. There is Dr Khaled Hamouda, discussing the direct attack on his home that killed 10 members of his family, and the drone strike that moments later hit the house the survivors escaped to. His wife and young daughter dead, he then took refuge in the grounds of his hospital, which was bombarded and raided. He was detained along with 70 other doctors, and beaten. And then there is Dr Adnan al-Bursh, who was detained, stripped, interrogated, disappeared and tortured. Unlike Hamouda, we do not get to hear his testimonial, because he died in prison. But we do get to hear the calls he made to his family before then, telling his children to look after their mother. To hear their stories is to be filled with utter hopelessness. There have been several muscular documentaries about the Palestinian territories this year, either setting the table of the conflict or – as with the case of Louis Theroux's film The Settlers – trying to understand the psychology behind those who choose to exacerbate it. But Doctors Under Attack is by far the most unsparing. The discussion of what has happened to the detained doctors, verified by an anonymous Israeli whistleblower, is the stuff of nightmares. There are beatings. There is torture. Most unsettlingly of all, there are descriptions of mistreatment by Israeli doctors, who would perform procedures without anaesthetic and inform the prisoners that 'You are a criminal and you have to die.' The BBC dropped Doctors Under Attack due to the risk that it created 'a perception of partiality'. However, it is hard to square that claim with the film that has aired on Channel 4. Clarification has been sought from the IDF at every turn. The events of 7 October 2023 are shown here just as graphically as the footage of injured Palestinian children. The film-makers understand that the slightest sign of bias would collapse the argument. In an open letter before its broadcast, Channel 4's Louisa Compton warned that Doctors Under Attack would 'make people angry, whichever side they take.' She is right. This is the sort of television that will never leave you. It will provoke an international reaction, and for extremely good cause. Forget what got it stopped at the BBC. It is here now and, regardless of how that happened, we owe it to the subjects to not look away. Gaza: Doctors Under Attack is on Channel 4 now

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into a world of global content with local flavor? Download Daily8 app today from your preferred app store and start exploring.
app-storeplay-store