The GAA Social with All-Ireland winner Johnny Glynn
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Scottish Sun
2 minutes ago
- Scottish Sun
Spider-Man ace Tom Holland spotted on Glasgow street as filming for blockbuster ramps up
Click to share on X/Twitter (Opens in new window) Click to share on Facebook (Opens in new window) HOLLYWOOD icon Tom Holland has been spotted on a Glasgow street as filming for the new Spider-Man flick ramps up. The Avengers star is in the city to shoot scenes for the latest instalment of the masked web-slinger's story. Sign up for the Entertainment newsletter Sign up 7 Tom Holland has been spotted in Glasgow filming for Spider-Man Credit: The Scottish Sun 7 He was seen on set this morning chatting to production crews Credit: The Scottish Sun 7 Spider-Man was hooked up as he stood on a tank for a chaotic car scene Credit: PA Media The blockbuster film, due to be released next year, has generated excitement amongst locals over the last few months. The eagerly awaited sequel, officially titled Spider-Man: Brand New Day, will see Tom Holland reprise his iconic role. It is believed that Stranger Things actress Sadie Sink has been cast to star alongside Holland. And over the last few days, Bothwell Street in the city centre has been transformed into downtown New York. Crews working on the big-budget Marvel movie spent the sunny Saturday prepping an intense stunt involving a TANK after filming officially started on Friday. And today, Holland was spotted in his iconic Spider-Man suit walking along the streets as crews prepared to film more scenes. He was seen chatting to director Destin Daniel Cretton and other members of the production team as they walked across the set. They then began filming a chaotic car stunt, which saw Spider-Man standing on top of a tank as it flew down Bothwell Street. Three New York-style police cars followed in hot pursuit as they sped down the road with their lights flashing behind him. Extras on foot were seen running and surrying up the pavement in a panic guided by actors dressed in police costumes. Spider-Man 4 starts shooting in Glasgow as Hollywood film swings into city A huge scaffolding structure safety rig was set up around the tank for Spider-Man to be harnessed in as he stood on the roof. He was attached to cables, which kept him steady as the vehicle sped down the street. It comes after crews filmed a huge chase scene yesterday which saw cars thrown into the air. A huge crowd lined the bottom of the street as a black film car raced ahead of the tank as it rumbled down the road. A taxi and a van attached to hydraulic ramps were thrown into the air as the war machine sped past, with punters gasping in excitement as the vehicles were left suspended in the air. A high-tech drone with a camera attached was zooming overhead to get aerial shots of the stunt. The tank then came to a screeching halt at the bottom of the street. There were some cheers and applause after the stunt ended, bringing some excitement to both movie fans and people going about their day. In later scenes, a stunt double for Tom Holland was spotted on top of the tank as it sped along the street. TOP FILMING LOCATION THE flick has brought movie-fever to Glasgow once again, with some punters dressed as Spider-Man putting in an appearance. Holland, 29, returns as the titular character, with real-life girlfriend Zendaya, 28, as Michelle Jones "MJ" Watson, Jon Berntha, 48, portraying The Punisher, and Charlie Cox, 42, as Daredevil. Filming is set to move further along into Merchant City after Wednesday, August 13, with scenes are also expected to be shot on Glassford Street and Virginia Street. It is just the latest lot of filming taking place in Glasgow. Earlier this year, Hollywood hunk Glen Powell filmed scenes for sci-fi flick Ghost Writer on Bothwell Street. It is his second time in the city in a year, as he filmed on the exact same street for the remake of 80's hit Running Man in November. World War Z, which starred Brad Pitt, 61, previously used George Square to represent Philadelphia, while the city was also transformed into Gotham City for Batgirl and The Batman. And the Merchant City got turned into 1960's New York for a parade chase scene in Indiana Jones and the Dial of Destiny. Glasgow is starting to resemble the Big Apple for Tom Holland's latest MCU appearance. Historic street signs have been covered with decor from Manhattan. Hot dog carts and newsstands are scattered among the streets. American adverts for flats to rent and insurance firms are even plastered over buildings on the street. Movie vehicles are also being stored on West Campbell Street. The road is lined with an ambulance and New York Fire Department pick-up truck. There are also scores of iconic New York yellow taxis and NYPD police cars. 7 Filming is currently taking place on Bothwell Street Credit: PA Media 7 Yesterday, locals watched as crews filmed a huge chase scene Credit: Splash 7 Tom Holland's stunt double was seen filming scenes yesterday Credit: Splash
Telegraph
2 hours ago
- Telegraph
Lions tour ratings: Every player from best to worst
The British and Irish Lions tour of Australia is over and Andy Farrell's men return home victorious, albeit without the clean sweep they craved. Telegraph Sport rates how every Lions player who featured fared. "The play of the day, if you want to look what a Lion should do for his teammates was from Mack Hansen" "That's the type of spirit we want" @lionsofficial Head Coach Andy Farrell singled out this play by Mack from Saturday's win over Western Force 🦁 #OneConnacht — Connacht Rugby (@connachtrugby) June 30, 2025
The Guardian
4 hours ago
- The Guardian
Goodbye, And Just Like That: why it's the right time to end the cursed spin-off
And just like that, it was over. Friday's announcement by the showrunner Michael Patrick King that the third series of And Just Like That would be its last was met with little surprise and I suspect some relief. Following a forthcoming two-part finale, Carrie Bradshaw will hang up her Manolos for good – and not a moment too soon. If a theme could be pulled from the scrambled threads of the third season of the Sex and the City reboot, it is, I think, the question of appearance versus reality. Early on in the series, rattled by the discovery of a rat infestation in her meadowy garden, Carrie seeks comfort from Aidan, the man she's technically in a relationship with but due to a muddled and implausible arrangement, can't actually be with for five years. Carrie thought her garden was perfect, she says, 'but I just wasn't looking underneath'. After three seasons of And Just Like That the answer to what lies beneath is, I fear, nothing. Take the shoes – in a frankly criminal throwback to one of the best plotlines of the original show, Carrie namechecks a superior earlier episode as she complains about her curmudgeonly downstairs neighbour asking her to remove her stilettos in the house. In A Woman's Right to Shoes, Carrie's stolen Manolo Blahniks stood for, in no particular order, the gulf that can open between friends at different life stages, the way marriage and motherhood are celebrated when the milestones of an independent life are not, attention inequity in friendships, and a woman's right to spend her money however the hell she chooses. In Under the Table, Carrie's shoes signify … that she has a crush. That's not to say And Just Like That hasn't had its moments of insight – they just tend to be immediately binned in favour of something silly. Despite episodes averaging 40 minutes in length, this season has been the trimmest so far, with excisions both necessary (Che Diaz) and unexplained (Nya) giving the remaining characters room to breathe. Seema learns that the key to romance is not pretending to be someone else, but letting go of the desire to be seen in a certain way. Lisa flounders in her attempt to balance work and family life. Charlotte, previously troubled by such challenges as the cancellation of her dog, finally gets a storyline worthy of her default mode of hysteria when Harry is diagnosed with prostate cancer. Charlotte and Lisa's Park Avenue-set struggles with family life have some meat to them, but are bedevilled by every interaction with their children seeming to have come straight out of a toothpaste advertisement, or hell. See: Charlotte freaking out about not being able to work the party circuit to sell art as her smug children talk about veganism and polyamory, or the Todd Wexley family's cringe banter and Lisa's dismissive comments that her husband should start Ozempic. At times like these the show feels like a charmless sitcom about the super-rich. In Sex and the City, the weekends in the Hamptons were just the backdrop to more resonant storytelling – in And Just Like That, sometimes the setting is the story. In one scene, Charlotte begins to spiral at Tiffany's, wondering if life is as fragile as the glass cabinets around her – but what might have been a serious meditation on midlife and mortality morphs into an unfunny joke about which society events Bitsy von Muffling is and isn't invited to. Sometimes these vignettes verge on outright cruelty – after Lisa's nemesis is marked as a gauche interloper by her Michael Kors handbag (wrong kind of designer, honey), it's a lot harder to see her mother-in-law's pronouncement that she has no time for the working class as mere satire. Meanwhile, the inexplicably homeless Miranda deflowers a nun, becomes a meme and gains a girlfriend, who, in lieu of a personality, possesses two Italian greyhounds and vile British colleagues apparently scooped straight from the cutting room floor of Too Much. It's not until the 10th episode that we get to see Miranda, who barely resembles the beloved judgmental ice queen of Sex and the City, do the first Miranda-y thing of the entire series so far, when she stalks the woman her son got pregnant. The one bright spot of the season has been its treatment of Carrie's faltering relationship with Aidan. A standout episode in which she visits him in Virginia sees a diminished Carrie, too afraid to ask for what she wants, settling for the smallest thing he can offer her – a spot in the guesthouse. Carrie switches her magenta Vivienne Westwood for a 'sister wives' prairie dress, to attempt the role of cool country stepmum. But the performance of a happy blended family falls to pieces in a rare decent domestic scene, in which resentment and alienation explode into a conflict that ends with a broken window and a return to reality. The relationship eventually crumbles when Carrie realises that no matter how she changes for Aidan – selling her apartment, not being a brat in the countryside (remember Suffern?) – he cannot move past her previous infidelity. This, to me, is the point of returning to a story decades later: to show how people change, and how they don't. How the cracks in a relationship can run so deep that even the layering sediment of time can't fill them in, but only hide them. When Carrie finally ended it, I felt a tug of genuine emotion that can only come from having spent so much time with these characters. A lot has been made this season of the idea of the hate-watch, especially given Miranda's obsession with a Love Island-style show called Bi Bingo. 'I finally discovered the joy of hate-watching,' she says, in what I assume is meant to be a winning nod at self-awareness by the showrunners. The thing is, I don't believe that's what those of us who loved Sex and the City (for who else would bother watching And Just Like That through three unexceptional seasons?) were doing. I'd describe it as something closer to hope-watching. We wanted to see the characters we loved, women once so convincingly and lovingly drawn, being flirty, frivolous and fabulously dressed in New York City. But more than that, we held out hope that something substantial might still remain beneath the sparkle. In two episodes' time we'll finally know the answer – and if we're disappointed again, at least it'll be for the last time.
