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The Bachelor star Laura Byrne reveals her bizarre find in a bag of chips: 'That's so rank'

The Bachelor star Laura Byrne reveals her bizarre find in a bag of chips: 'That's so rank'

Daily Mail​5 hours ago

Laura Byrne has taken to social media to share a bizarre discovery in a recently-bought bag of chips.
The former Bachelor star, 39, posted a video to Instagram on Sunday showing a packet of chips she had purchased - with a surprise waiting inside.
'Ok... but wtf is that?' she captioned the post, which showed a strange potato creation in a packet of Kettle chips.
'I can't tell if this is an entire potato, a hash brown, I don't know what it is. Or a lot of chips that have gotten stuck on the conveyor belt together,' she could be heard saying in a follow-up clip.
Her husband Matty 'J' Johnson, 37, who she met on the hit reality show in 2017, then asked if he could try a bite of the unidentifiable nugget.
From A-list scandals and red carpet mishaps to exclusive pictures and viral moments, subscribe to the DailyMail's new showbiz newsletter to stay in the loop.
'If you want to, go nuts. Would you? You're disgusting,' the Life Uncut podcast host said as Matty took a bite out of the bizarre find.
Laura then played devil's advocate, saying: 'It's probably the best bit of all the chips. You know how like when they are really crunchy?'
'That's pretty good!' her husband announced, with his eyes wide with delight, before Laura proclaimed: 'That's so rank'.
Laura recently made headlines for calling out her podcast host husband after he accidentally revealed the name of their unborn baby girl on-air.
In June, the reality star was doing an 'ask me anything' questionnaire on her Instagram story when one of her followers brought up the moment, which she was seemingly unaware of.
'Did you punch Matt in the ovaries for revealing [your] baby name on Two Doting Dads?' the question read.
Laura was clearly caught off-guard as she replied: 'He did f***ing what?!'
Later on, the business owner, 39, brought up the blunder with her husband, 37, as they lay in bed together.
'Matt I have a question for you: did you say the girl's name, the baby's name, on the podcast?' she asked him in a clip posted to her Instagram story.
He looked at his partner confused as he denied the accusation.
'I think you might have,' she told him, cheekily.
'I would never, never. Never would I say that,' he said defensively as the couple both broke out into giggles.
Laura told the camera: 'People always ask us, "how do you know the limits when you're telling stories and stuff on the podcast?" and normally we're pretty good... Normally.'
Matty began to pipe up as he sported a giant smile on his face, clearly telling a fib.
'Whoever is spreading this false information, shame on you, because that's not true at all,' he said.
While Matty may have mentioned the little girl's name, it seems it was edited out of the podcast as it could later no longer be found.
The couple already share little girls Marlie and Lola, and are expecting their third in October.

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Bachelor star Matt Agnew goes Instagram official with glamorous new model girlfriend: 'We have fun'
Bachelor star Matt Agnew goes Instagram official with glamorous new model girlfriend: 'We have fun'

Daily Mail​

time41 minutes ago

  • Daily Mail​

Bachelor star Matt Agnew goes Instagram official with glamorous new model girlfriend: 'We have fun'

Matt Agnew has gone Instagram official with his new ladylove. The Bachelor star, 37, shared a series of loved-up photos with model and social media star Lyndl Kean on Sunday. Alongside the photos Matt wrote simply in his sweet caption: 'We have fun.' The images showed the former reality star posing alongside glamorous blonde Lyndl during a night out. Other candid photos depicted the pair cuddling up to Matt's pooch and enjoying a football match together. From A-list scandals and red carpet mishaps to exclusive pictures and viral moments, subscribe to the DailyMail's new showbiz newsletter to stay in the loop. Matt revealed he is a bachelor no more as he opened up about his love life in an interview with Daily Mail Australia on Friday. While he didn't let slip any detail about his new love at the time, he did reveal the difficulties he faced while dating in the public eye - and the shocking moment he 'hit rock bottom'. 'I'm prioritising my love life, yes, love life. I'm seeing someone. So not actively dating,' he said when asked how he was currently fairing in the dating pool. 'I have prioritised it. Not actively dating. Yeah, seeing someone,' he repeated, doing his best to keep the details private - and for good reason. He went on to say dating as a public figure brought with it a whole host of obstacles he never had to worry about before shooting to fame on The Bachelor in 2019. 'It's challenging. It's one of the reasons I am so fiercely private despite the fact I went on national television to date,' the astrophysicist said. 'I am fiercely private about my dating life because it is much harder to date while in the public eye.' Matt went on to say starring in the Channel Ten matchmaking series has forced him to become more aware of whether people only want to date him for the 'novelty' of it. 'In terms of trying to discern and understand people's intentions, it's not as hard as it sounds,' he said when asked how he figures out who is in it for the right reasons. 'People are usually forthcoming about the fact they have watched [ The Bachelor ]. 'It ends up being quite obvious early on if a person is more interested in the novelty of finding out what happened on the show.' Matt went on to say his 'ideal scenario' was meeting someone on the dating apps who didn't recognise him and didn't watch The Bachelor. He said people who had no idea who he was were more likely to want to get to know him on a more personal level away from his public persona. Though the awkward moment would always come around when he had to break the news of his TV fame to them. 'Usually if we progress to exchange social media details... having 130,000 followers and a blue tick usually prompts questions,' he said. 'That's usually the natural point I say, "Look, I was on television a few years ago." It's usually that point I bring it up.' While Matt has never had a preference dating someone either in the public eye or out of the public eye, he said there are benefits to being with another media personality. 'I've dated both people who have been in the media and entertainment circle and those who are not. There are definitely differences,' he explained. 'When dating people who have been in the public eye in that sort of entertainment, social media orbit, there is an extra level of understanding about things. 'It makes certain things easier if you attend an event together, there is a sense of how things like a red carpet works. It seems really trivial, but it can be intimidating. 'I've had in the past where I've been on a few dates with someone, it's gone really well, and they've said they can't deal with the public stuff.' 'It's unfortunate when it happens, because if that is the only thing stopping us then it's frustrating,' he added. Matt's love life has long been the topic of headlines after he broke Abbie Chatfield's heart on the 2019 series of The Bachelor, though they are now close friends. The handsome bachelor chose to pursue a relationship with Chelsie McLeod, though they announced their split just a few months after the finale. He later confirmed he was dating comedian Gen Fricker, before revealing he was again single not long after. Over the years, he has been romantically linked to several different people, such as 'croissant queen' Kate Reid and openly gay MasterChef star Khanh Ong. However, Matt denied both those relationships, taking particular exception to the fact people kept reading into his close and affectionate friendship with Khanh.

Australian influencers warned after several accounts inadvertently promote illegal offshore bookmakers
Australian influencers warned after several accounts inadvertently promote illegal offshore bookmakers

The Guardian

timean hour ago

  • The Guardian

Australian influencers warned after several accounts inadvertently promote illegal offshore bookmakers

Social media influencers have been inadvertently promoting a gambling company that poses as an Australian outfit but is instead licensed and regulated in a tiny island off the east coast of Africa. The influencers, including someone claiming to be 'Australia's #1 biological male' and a duo called DegenerateAngelss, have also shared financial inducements from the bookmaker that encourage Australians into opening accounts with it. The promotion of offshore bookmakers, which are not allowed to target Australians, has infuriated the media regulator. The Australian Communications and Media Authority has threatened influencers with fines of up to $59,400 if they continue to'promote or publicise illegal online gambling services'. Content creators have become increasingly valuable assets for offshore gambling companies, an expert in influencers and the betting sector has warned. One bookmaker being promoted on social media is Leon Australia, which describes itself as 'Australia's #1 Interactive Gaming and Sportsbook since 2008'. Its social media pages feature images of NRL players and the logos of major sporting codes. Sign up for Guardian Australia's breaking news email But there is no such company registered in any Australian jurisdiction, according to an official federal government list. Instead, the company's social media pages link to Leon's international website, which states it is owned and operated by a corporation registered to a relatively small beachside building in Belize. The small Caribbean nation, with its relatively lax regulation and taxation laws, has become a hub for online gambling. Leon's website states it is licensed and regulated by authorities in Anjouan, a small island of about 360,000 people between Madagascar and Mozambique. Anjouan has also become a hub for gambling. Leon is also listed on the official licence register of the Anjouan regulator. This year the Acma asked internet service providers to block Australians from accessing Leon's website after an investigation found it was operating in breach of the Interactive Gambling Act 2001. It has previously banned several other URLs hosting the Leon gaming platform, only for them to reappear with slight changes. On Friday the DegenerateAngelss Instagram account featured a video of two women winning $375 on a poker machine in Australia above a caption that said: 'I think I'm going to take home this win and try my luck on Leon, my luck seems to be EVEN better there. 'If you want to play too, they are giving a $20 bonus when you sign up and pop in $20 to start,' the caption added. The video was also posted on the Shelbyslaps Instagram account. Both women were contacted for comment, but did not respond. The video was removed from both accounts a short time later. A link to Leon's international website on the DegenerateAngelss page was also removed. Another influencer, Steveypants, uploaded a post on 26 February that said he had teamed up with Leon to provide a $500 giveaway to someone who registered with the bookmaker. 'All you have to do is click the link in bio, sign up, (literally takes 30 seconds) deposit $20 AND THAT'S IT'. The account's manager removed the content when contacted by Guardian Australia and said he had been told the bookmaker was based in Australia. Sign up to Breaking News Australia Get the most important news as it breaks after newsletter promotion Julian Woods, a comedian who describes himself as 'Australia's #1 biological male', filmed a video of himself with the caption 'I'm the king of ASMR' while advertising $4,500 bonus deposits with Leon. Woods told Guardian Australia he would 'never actually use Leon'. The video is no longer available online. In June last year the Leon Australia account on X said it was seeking 'streamers and influencers' who would act as 'ambassadors' for the brand. Leon had also secured digital advertising with News Corp, which has since taken action after questions from Guardian Australia. On 28 May the Herald Sun ran a sidebar ad for Leon on its website. A News Corp spokesperson said the ad had been 'delivered by a third-party ad server programmatically'. 'We have blocked it from appearing on our sites,' the spokesperson said. The Acma declined to comment on Leon Australia or the influencers inadvertently promoting it. But last week it issued a blunt warning. 'Social media influencers are on notice: stop promoting illegal gambling services to Australians,' the regulator said. 'If you don't, you risk facing significant penalties.' 'Young Australians who are active online can be more vulnerable. You may be putting people that follow you at real risk of harm.' The Acma said offshore gambling posed a high risk to Australians who were not covered by consumer protections. Leon was contacted for this story. In Australia, Gambling Help Online is available on 1800 858 858. The National Debt Helpline is at 1800 007 007. In the UK, support for problem gambling can be found via the NHS National Problem Gambling Clinic on 020 7381 7722, or GamCare on 0808 8020 133. In the US, call the National Council on Problem Gambling at 800-GAMBLER or text 800GAM

‘It was very hard to see myself as a director': the Australian film-maker changing the documentary genre
‘It was very hard to see myself as a director': the Australian film-maker changing the documentary genre

The Guardian

timean hour ago

  • The Guardian

‘It was very hard to see myself as a director': the Australian film-maker changing the documentary genre

'There are so many hang-ups in the documentary world about this idea of ultimate truth,' says Gabrielle Brady. 'There's only subjectivity in documentary. It's all a construction.' Ever since Louis Lumière filmed workers leaving his factory in 1895, documentary film has struggled with the idea of authenticity. Lumière's 17-metre film is regarded as the first ever made, yet even this modest document is a lie: it was filmed not on a work day, but a Sunday. Ethnographer Robert Flaherty staged scenes in his 1922 documentary Nanook of the North, and it was Michael Moore's crafty editing that made Roger and Me an emotive box office hit. Brady's 2018 breakthrough film Island of the Hungry Ghosts, and her latest, The Wolves Always Come at Night, invite audiences, festival programmers, critics, funding bodies and peers to contend with what is, for many, still a new format: the hybrid documentary. 'I only use that word, hybrid, to signify an in-between space,' Brady says. 'It doesn't tell you how it was made. It just lets you know that it's not entirely documentary, or that the film-maker may have used some fictional tools, which most documentaries have.' Sign up for the fun stuff with our rundown of must-reads, pop culture and tips for the weekend, every Saturday morning To create her films, Brady works with the subjects to tell their story. Island of the Hungry Ghosts was shot on Christmas Island where Brady entwined spiritual ceremonies; the millennia-old migration cycle of the island's famous crabs; and the daily life of Poh Lin Lee, a counseller working with asylum seekers being held in indefinite detention. The film, which failed to get funding in Australia, won 14 different prizes at festivals around the world, including the grand jury prize at Sundance. The film's release drew attention to the risks faced by its subject, who spoke publicly despite laws at the time prohibiting health workers in offshore detention from doing so. For Brady, this was just one of many ethical complexities the project demanded. 'Ordinarily, protagonists don't get any creative input,' she says. 'If they're not being paid and if it's just their story for the sake of everyone else, that doesn't seem a fair exchange. I like to think of people you're working with more as team members, creative collaborators. I'm really big on people getting paid. Not for their story or to say a certain thing, but for their time.' Brady's new film, The Wolves Always Come at Night, follows a young couple, Davaa and Zaya, and their four children, living in the steppes of Mongolia. We get to know them through their connection with their animals and knowledge of the land, lovingly rendered by Brady in bright, dynamic and warmly intimate scenes. After a devastating dust storm, the family are forced to give up their livelihoods and move to the outskirts of the city, a sprawling shantytown known as the ger district. Many of the film's biggest themes – climate change, displacement, economic precarity, the end of a millennia-deep connection to land and animals – haunt the most powerful scenes but go unspoken. Naturalistic conversations take place between the family, scenes that feel inseparable from the story around them. In one particularly intimate moment, Davaa and Zaya lie in bed and contemplate their future. Davaa begins to cry before Zaya quietly scolds him, 'Don't cry in bed.' As Brady explains, moments like this were created collaboratively with the cast and crew. 'For that scene, Davaa and I discussed how the audience can understand the grief he is carrying. I had witnessed that a few times, the burden that he carried; the way he would discuss it was incredibly potent and just laden with this weight. I'd had this idea: what if you were to meet an older herder in the ger district and have this conversation? He said, 'That would never happen. It has to be with Zaya and the kids can't be there. It has to be dark, and it has to be quiet. This is [the only way] I would go to those places,'' she says. 'Then we created that environment with no expectation of what would unfold.' Brady's connection to Mongolia began when she was a teenager. Growing up in the New South Wales Blue Mountains west of Sydney, she studied theatre media in Bathurst with aspirations of becoming an actor. After working as a producer on Sunrise and The Morning Show, Brady joined a volunteer program and spent a year in Mongolia where she produced and co-hosted a children's television program, Voice Box, designed to help people learn English. Mentioning the show brings forth a burst of laughter. 'Oh my god, it was so wonderfully cheesy. We'd travel around, interview kids – like the school chess champion – and live with nomadic families. A lot of what was shown on TV then was imported from Russia or China, so the idea was to make something that was English, learning about Mongolian kids. Everything was handmade. It really looked like a 70s Australian TV set.' Once back in Australia, Brady chased that feeling to Yuendumu, a community in remote Northern Territory, where she helped other film-makers make their films. It was there she realised she wanted to become a director. Sign up to Saved for Later Catch up on the fun stuff with Guardian Australia's culture and lifestyle rundown of pop culture, trends and tips after newsletter promotion 'The longer I stayed in Australia, the more I was being pushed to become a producer,' she says. 'But I wanted to be a director, and [as a woman] it was very hard to see myself as one … I wasn't being held back, I [just] didn't feel there was any opportunity. A lot of my favourite films were from Europe and South America, and I wanted to learn a different way of seeing the world, so I went and studied film in Cuba.' In Cuba, Brady studied at Escuela Internacional de Cine y Televisión, a regional film-making school with no internet connection, where students are banned from using a camera for the first year of their three-year course. There, in a state of culture shock, Brady began again. 'I burned everything I knew to the ground,' she says, 'and rebuilt a vision for how I wanted to make films.' To graduate, she had to travel around the country, interviewing locals and collecting their stories. 'The study itself blurred the lines between documentary and fiction,' Brady says – a practice she took into her own films. 'Both Ghosts and Wolves asked for this way of storytelling – to not create suffering for people to be inside of what they're going through, but instead create a bit of distance. I'm authoring the vision; they're authoring my story.' The seed for the story of her latest film was planted five years ago. On her return visits to Mongolia to see friends, Brady found that some had been forced to leave the countryside and move to the city. When she mentioned this to her friend, producer Ariunaa Tserenpil, Tserenpil said it was the sort of story local film-makers would never tell. 'In Mongolia, we are so connected to nature and our animals, but we are not looking into each other because we are shy,' Tserenpil says. 'We feel more comfortable with nature, and we don't talk about our grief. Outside of the city, each family lives a very long distance from each other, and we do not have a sense of community because nomads are very independent people. But Gab put these people at the centre. This intimacy is very beautiful.' Brady was 'tentative and hesitant' about telling the story. 'There's a long legacy of foreign film-makers coming in and making a certain type of film in Mongolia particularly. But the idea grew on me,' she says. 'We're seeing two polarities. In one extreme, there's this really extractionist way of film-making that's very exploitative. But on the other side you end up saying, 'Can you only make a film from the town you're in?' 'Can you only make a film about a woman if you're a woman?' So, no. Let's make something in between. An insider-outsider film and see if we can find a new dialogue in that way of storytelling as well.' While Brady's work has earned widespread acclaim, it remains an anomaly in the documentary world. When she began making films in the 2010s, the ecosystem was at its critical and commercial zenith, with lauded film-makers including Laura Poitras, Alex Gibney and Errol Morris. Around the end of the decade came the rise of the streaming services and an insatiable demand for cheaply made nonfiction storytelling: formulaic true-crime exposés, sports films and celebrity profiles made with the approval of their participants. Documentaries that reach cinemas and awards circuits often centre on urgent modern catastrophes – the Russian invasion of Ukraine, the war in Gaza. Both trends make Brady's work even more unusual. 'The documentary world is topical by nature, and those are the films that might get awards,' says Brady. 'I see documentaries as much an art form as fiction, but I don't think other people do.' The Wolves Always Come at Night is in Australian cinemas from 3 July. In the UK, it is streaming on BBC iPlayer

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