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Conor McGregor and fiancee Dee Devlin pack on the PDA in series of bizarre videos as he flaunts his luxury lifestyle amid 'cheating' and 'nudes' scandal

Conor McGregor and fiancee Dee Devlin pack on the PDA in series of bizarre videos as he flaunts his luxury lifestyle amid 'cheating' and 'nudes' scandal

Daily Mail​3 days ago
Conor McGregor showed off his immense wealth in a series of bizarre videos in which he and fiancee Dee Devlin continued to put on a united front amid his recent scandals.
Taking to social media, the former UFC champion showed off the lush menu he and his long-term partner enjoyed. The 37-year-old captioned his media dump with the message, 'get with the program'.
It comes after McGregor was captured smooching a mystery brunette in full view of fellow beachgoers in Fort Lauderdale.
The Irish UFC fighter was spotted enjoying a cold beverage while the woman, who was dressed in a racy leopard print bikini, shared his sun lounger.
The pair chatted away in the shade as the sportsman cosied up to her by wrapping his arm around her back.
McGregor has been engaged to long-time partner Devlin since August 2020, with the MMA star proposing while he celebrated his 32nd birthday in the south of France.
But despite questions being raised over their relationship this week, McGregor and Devlin have portrayed the image of the most loved-up couple.
Earlier on Thursday, McGregor posted an image on Instagram that showed a hand on his stomach, which donned a bracelet and pink nails - belonging to Devlin.
Another photo showed the Irishman drinking from a glass, with two hands this time on him, with the left hand showing a watch and ring of Devlin.
Devlin was at it again in McGregor's most recent post, rubbing the former fighter's stomach in one of the videos posed on social media.
Devlin, who is the mother of McGregor's four children, had earlier made her feelings about the fighter known amid the swerling cheating rumours.
Brushing off the recent furore around his behaviour, the MMA star took to Instagram to share a shirtless snap. Hours after sharing a heart-eyes emoji and a prayer emoji, she added: 'My monster.'
McGregor has been at the centre of a public storm following the release of alleged nude photos of himself by rapper Azealia Banks, which she claimed the 37-year-old sent to her unprompted.
Banks, who is known for getting into high-profile feuds on social media, posted two shocking photos seemingly of McGregor posing in the mirror while completely naked, which she alleges he sent to her via direct message on X despite not following him.
As well as the alleged nude selfies, the screenshots also show a message from what appears to be McGregor's account reading: 'Don't be a rat cos all rats get caught.' Alongside one image which seemingly shows his manhood strapped to a dumbbell, the Irish fighter apparently wrote: 'Lifting weights.'
Banks accompanied the photos she posted with the message: 'How you gonna send a b**** a some crooked d*** pics then threaten her not to tell,' she wrote alongside the screenshots. '@TheNotoriousMMA n**** do you know who the f*** I am? This is HARAM'.
Banks then continued: 'Like how are you really going to sexually harrass me with the potato farmer d*** then threaten me not to tell???? Honey…… ain't u trying to be the president of Ireland what is it giving fam? Use some f***ing sunscreen damn'.
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Liam Neeson jokes that his favourite part of making The Naked Gun was filming 'sex scenes' with co-star Pamela Anderson
Liam Neeson jokes that his favourite part of making The Naked Gun was filming 'sex scenes' with co-star Pamela Anderson

Daily Mail​

time4 minutes ago

  • Daily Mail​

Liam Neeson jokes that his favourite part of making The Naked Gun was filming 'sex scenes' with co-star Pamela Anderson

Liam Neeson has joked that his favourite part of making The Naked Gun was filming 'the sex scenes' with his co-star Pamela Anderson. Fans have not been quite sure of the status of the co-stars' relationship after he said he 'loved' her earlier this year - ahead of the new film being released on August 1. And now Liam has joked about their intimate scenes as The Sun reports the pair were given an intimacy co-ordinator on set. The star explained: 'I'd never had one before. But she was in the background. There was no kind of, 'OK! Excuse me!'. Pamela portrays a nightclub singer, who comes to Police Squad for help following the murder of her brother, in Akiva Schaffer's slapstick comedy continuation. Pamela added that the intimacy co-ordinator knew when to walk away and joked that she stormed off, with Liam claiming she threw her hands up in the air and said, 'I can't take this! This is too hot for me. I'm going for coffee'. Last week Pamela set the record straight on romance rumours between the pair as the Baywatch queen posed for Entertainment Weekly for their digital cover. And unfortunately there is no romance yet. 'I think I have a friend forever in Liam,' she said. 'And we definitely have a connection that is very sincere, very loving, and he's a good guy.' Neeson, 73, stars in the film as as Los Angeles Police Squad detective Frank Drebin Jr., son of Nielson's Frank Drebin. It comes after in October Neeson said he was 'madly in love' with the Playboy cover girl. 'She's just terrific to work with,' Neeson told People. 'I can't compliment her enough, I'll be honest with you. No huge ego. She just comes in to do the work. She's funny and so easy to work with. She's going to be terrific in the film.' 'Our chemistry was clear from the start. We have the utmost respect for one another,' Anderson told EW last month. 'I invited him and his assistant over for romantic dinners with me and my assistant so our relationship stayed "professionally romantic" during filming.' Pamela portrays a nightclub singer, who comes to Police Squad for help following the murder of her brother, in Akiva Schaffer's slapstick comedy continuation The Canadian-American beauty and Liam bonded over their shared 'love of literature and a good laugh' and she regularly left cookies, muffins, and homebaked sourdough bread in his dressing room. 'I am in awe of him, his experience, and work ethic. I soaked him in like a sponge,' Pamela gushed. 'I'm hoping people love it. We had so much fun making it. I think it's timely for a beloved comedy like this. I'm a fan of the originals. As Liam says, "We could all use a good giggle." I pray we do more.' And the feeling was definitely mutual for Neeson, who gushed to People last October: 'I'm madly in love with her. No huge ego. She just comes in to do the work. She's funny and so easy to work with. She's going to be terrific in the film.' The Naked Gun - hitting US/UK theaters August 1 - also features Paul Walter Hauser, CCH Pounder, Kevin Durand, Busta Rhymes, Cody Rhodes, Liza Koshy, and Eddie Yu. Jerry Zucker, Jim Abrahams, and David Zucker wrote and directed the original trilogy spanning 1988-1994, which amassed a total $476.4M at the global box office, following the short-lived ABC series Police Squad in 1982. The Oscar-nominated actor is technically five years older than original Naked Gun star Leslie Nielsen was when he shot the third film. Anderson previously worked with the late funnyman - who died, age 84, in 2010 - in Scary Movie 3 (2003) and Superhero Movie (2008), but they did not share any scenes together. This September, the Sonsie Skin co-founder will fly to England to shoot a mystery role in Sally Potter's upcoming funeral drama Alma alongside Dakota Fanning and Lindsay Duncan. In April, Pamela was in Australia filming her role as two-time divorcée Molly in Kornél Mundruczó's upcoming drama Place to Be alongside Ellen Burstyn and Taika Waititi. Last September, Anderson was hard at work on the Spanish set of Karim Aïnouz's dark satire Rosebush Pruning for Mubi alongside Elle Fanning, Callum Turner, Riley Keough, Jamie Bell, and Lukas Gage. The 15-time Playboy cover girl experienced a full-blown career resurgence last year after starring in Gia Coppola's drama The Last Showgirl, which earned her Golden Globe and SAG Award nominations.

What the culture war over Superman gets wrong
What the culture war over Superman gets wrong

The Guardian

time10 minutes ago

  • The Guardian

What the culture war over Superman gets wrong

We've entered the era of the superhero movie as sermon. No longer content with saving the world, spandex saviors are now being used to explain, moralize and therapize it. And a being from Krypton has shown up once again in a debate about real life; about borders, race and who gets to belong. Superman. Of all symbols. I've read reactionary thinkpieces, rage-filled quote tweets and screeds about the legal status of a fictional alien – enough to lose count. This particular episode of American Fragility kicked off because James Gunn had the audacity to call Superman 'the story of America'. An immigrant, by definition, as he was always meant to be. What set things off wasn't just the sentiment – it was who said it, and how plainly. Gunn, now headlining DC's cinematic future, told the Sunday Times that Superman was 'an immigrant who came from other places and populated the country'. He spoke of Superman's inherent kindness as a political statement in itself, noting that the film would play differently in some parts of America before adding, bluntly, that 'there are some jerks out there who are just not kind and will take it as offensive just because it is about kindness'. 'But screw them,' he added. It was that line – less the immigrant metaphor, more the unapologetic framing – that sent the usual outrage machine into motion. Enter Dean Cain, a former TV Superman. Cain accused Gunn of politicizing the character, which is remarkably foolish, considering Superman's been swatting at fascism since 1941. Meanwhile, over at Fox News, it's been a full meltdown over the idea that Superman, canonically not of this Earth, might be played as … not of this Earth. Liberal brainwashing, they suggested. Identity politics in a cape. But have they actually looked at David Corenswet? The man looks like he was made to sell oat milk in a Ralph Lauren ad. All cheekbones and cleft chin. If this is the foreign body in question, no wonder middle America has historically shrugged over Supes being an immigrant by definition. Even still, there's something telling about any collective gasp over a white, blue-eyed man with an immigrant backstory. The scramble to defend him says more than intended. For all the hand-wringing over Superman's alienness, what rarely gets named is how meticulously his story was crafted to cushion the unease of the topic at hand: otherness itself – the very thing people pretend was always central to his character. There are plenty of ways to frame the ridiculousness of this argument, clever ways to connect the dots, but the real fracture in Superman's myth hits, oddly enough, during a quiet scene in Tarantino's meditation on vengeance, Kill Bill: Vol. 2. In the scene, the villain, Bill (David Carradine) unpacks what makes Superman different from every other hero. 'What Kent wears – the glasses, the business suit – that's the costume,' Bill says. 'That's the costume Superman wears to blend in with us. Clark Kent is how Superman views us.' It's one hell of a tell – the kind of observation that pulls back the curtain on how Superman was engineered to understand the world, and how the world, in turn, reinforced how he should fit within it. From the start, Superman was never meant to be an outsider. His creators, Jerry Siegel and Joe Shuster – sons of Jewish immigrants – didn't craft him as a symbol of difference but as a projection of pure Americanness. They gave him a midwestern upbringing, an Anglo name in Clark Kent, and that square-jawed charm. Siegel and Shuster were working against the backdrop of unchecked antisemitism, at a time when Jewish immigrants faced hostility. But instead of exploring immigrant 'otherness', the artists imagined a version of America where that alienness could be easily discarded via an outfit change. Superman wasn't an outsider – he was the ideal immigrant, effortlessly slipping into a world that required no resistance. His story wasn't about struggling to belong, but about the fantasy of belonging, with the privilege of choosing whether or not to fight for it. That projection of safe, silent Americanness hasn't remained confined to the pages of comic books. Today's immigration politics run on the same fantasy. The myth of the 'good' immigrant – quiet, grateful, easy to assimilate – still runs wild. It's the same story that fuels the strange spectacle of politicians praising white South African farmers as victims of racial persecution, all while demonizing migrants from Latin America, the Middle East or sub-Saharan Africa. The notion of who deserves to stay has always been racialized, selective and violent. Tom Homan, Trump's border czar, has said that a person's physical appearance could be a factor in the decision to question them. He later said it could not be 'the sole reason'. But in April, Juan Carlos Lopez-Gomez, a US-born citizen from Georgia, was detained in Florida even after his mother showed authorities his birth certificate. In New York, Elzon Lemus, an electrician, was stopped because he 'looked like someone' agents were after. Maybe he didn't wear his suit and glasses that day. Superman, the immigrant who makes people comfortable, has never been just a comic book character. He's been a metaphor and living testament to the kind of 'other' that wealthy nations have always preferred: those who blend in, assimilate and rarely challenge the systems that demand their silence. If you're still not convinced that Superman's assimilationist fantasy is alive and well, just look at a White House meme from 10 July 2025: Trump dressed as Superman, with the words 'Truth. Justice. The American Way.' It's a glaring example of how cultural symbols are repurposed – hijacked, really – to serve a narrow and self-congratulatory vision of America. That's the trick of Superman: he's been a blank canvas of a both-sides heroism, which makes everyone feel seen. You don't even need to like or dislike Superman for the Maga debate to pull you in, as it was always meant to. The culture war still appointed a celebrity to govern the most powerful nation on Earth. It still turned a corporate diversity initiative into a national crisis. And it took a serious conversation about immigration and made a polished, all-American character its face. The culture war distorts, and it continues, relentless as ever. Noel Ransome is a Toronto-based freelance writer

Whiteboard warrior: Marvel is priming Mister Fantastic to be the new leader of the Avengers
Whiteboard warrior: Marvel is priming Mister Fantastic to be the new leader of the Avengers

The Guardian

time30 minutes ago

  • The Guardian

Whiteboard warrior: Marvel is priming Mister Fantastic to be the new leader of the Avengers

The Avengers need a new leader, and given how many potential candidates for the gig have either died, retired, or turned evil, they need it soon. The multiverse is collapsing, timelines are unravelling, box office numbers are wobbling, the Kang plan is in tatters and Blade is on its ninth script. So, naturally, Marvel's answer is to hand the reins to a stretchy man in sensible shoes who once broke the entire multiverse. Yes, according to The Fantastic Four: First Steps director Matt Shakman, the awesome foursome's Reed Richards is being lined up as the new leader of Earth's mightiest heroes. Or at least, he is (at times) in the comics, and it looks increasingly like he might be the only reality-straddling, buttoned up polymathable to take on this job on the big screen. 'He goes from being the nerdy scientist who's locked away in the lab, to the husband and the father who'd do anything to protect his family, to the guy who's leading the Avengers,' Shakman told Variety, in a new interview ahead of the release of First Steps. 'I realised that the version we were building had to have all of those elements.' With the Fantastic Four's debut in the Marvel Cinematic Universe now only a week away, it's perhaps the right time to take a look at exactly what kind of man Marvel might be nudging into the empty chair. Let's not forget that this is a mantle once sort of jointly held by Iron Man and Captain America. Reed Richards, by contrast, is less a natural leader than he is the kind of man who accidentally invents godhood before breakfast. In the comics, he's a genius, a father, a sometimes war criminal, and very occasionally the most powerful being in existence. If Robert Downey Jr's Tony Stark was all ego, charisma and self-loathing in a can, and Chris Evans's Steve Rogers was apple pie and emotional repression with the ability to bench-press liberty, then Reed is the guy who treats collapsing timelines like a crossword puzzle and has, on more than one occasion in the comics, tried to solve galactic crises using charts. Perhaps the difference this time around (after two attempts to bring the Fantastic Four to the big screen during the 20th Century Fox era) is that Richards is now being played by Pedro Pascal, an actor who has already proven in The Mandalorian that he can project warmth, gravitas and reluctant-dad energy despite wearing a bucket on his head. If anyone can revive Marvel, it's the guy who transformed what should have been another run-of-the-mill zombie video game adaptation (The Last of Us) into high-end post-apocalyptic art-house TV. Giving Reed Richards the top job also speaks volumes about where the MCU is right now. Gone are the days of heroes with moral codes, defined character arcs, and just one version of themselves per universe. We're deep into the age of collapse and crossover, where no one knows who's running what, where half the audience are Googling 'Wait, who is that?' during every post-credits scene, and the only thing holding the multiverse together is the vague promise that Downey's Doctor Doom will eventually reboot the franchise with the sheer force of his contempt. All of which brings us to hints this week (denied by Shakman) that the metal-plated menace might make his first appearance in First Steps, before presumably following Marvel's first family into the main MCU in next year's Avengers: Doomsday. If Reed is Marvel's reset button, Doom is its nuclear option — the character you deploy when you've run out of timelines, villains, and narrative excuses. The idea of Reed going up against a twisted variant of the previous Avengers figurehead – if this new Doom really is some kind of alternate-universe Tony Stark with a god complex and a cloak budget – has a certain multiverse-bending symmetry to it. So why not have Reed face him down as a new type of Avengers leader? They might just be from the same universe, and this is a battle that has been carried out countless times in print. Mister Fantastic is brilliant. He's brave. And he's got a pretty impressive track record of saving all of existence – which could come in useful when you're facing the sort of supervillain who treats the fabric of existence like a mood board for his ego. Unlike Stark or Rogers, Reed doesn't need a cool catchphrase, or a billion-dollar suit with built-in sarcasm. He just needs a quiet room, a few hundred monitors, and the freedom to quietly map the collapse of the multiverse.

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