Ioan Gruffudd packs on the PDA with pregnant wife Bianca Wallace as they attend The Fantastic Four: First Steps premiere in LA - 20 years after he starred in the Marvel film
The Welsh actor, 51, looked every inch the proud father-to-be as he tenderly cradled his new wife's growing baby bump while posing on the blue carpet.
Ioan famously portrayed the role of Mister Fantastic in the 2005 version of the Marvel film, starring alongside Jessica Alba, Chris Evans and Michael Chiklis.
And 20 years later, Ioan stepped out in support of his successors as he and Bianca arrived at Dorothy Chandler Pavilion to watch the movie.
The film star cut a dapper in a black suit with a white shirt as he cosied up to actress Bianca, 32, whom he married in April this year.
Meanwhile, the mother-to-be looked radiant as she displayed her bump in a strapless grey midi dress, which she paired with black sandals and a black clutch bag.
The couple looked happier than ever despite Ioan's bitter legal battle with his ex Alice Evans, 56, who it's reported to have demanded more support money for her and their two young daughters.
The film marks the latest reboot of Marvel's iconic superhero team and is one of the studio's most anticipated releases in years.
It follows the title characters as they must protect Earth from the nefarious villain known as Galactus.
The film is set in what Marvel describes as, 'a 1960s-inspired, retro-futuristic world,' a nod to the comics origins.
The comics - created by Stan Lee and Jack Kirby - debuted in 1961 in what was known as the Silver Age of comics.
The film will be the Fantastic Four's first foray into the Marvel Cinematic Universe, but the quartet has been on the big screen before.
20th Century Fox released Fantastic Four in 2005, starring Ioan Gruffudd, Chris Evans, Jessica Alba and Michael Chiklis.
The film took in $333.5 million worldwide and spawned the 2007 sequel Fantastic Four: Rise of the Silver Surfer.
The studio also released the much-maligned 2015 Fantastic Four reboot starring Miles Teller, Michael B. Jordan, Kate Mara and Jamie Bell.
In February, Marvel fans were delighted to see the first-look trailer for The Fantastic Four: First Steps.
They took to social media to give their opinions on the latest instalment of the superhero franchise, with one person writing on X: 'Okay the Fantastic Four trailer wasn't bad. I'm pleasantly surprised.'
Another added: 'I'm not even a Fantastic Four fan, but this looks really sleek. It's nailing the period setting in the same way that First Avenger did.'
Someone else weighed in: 'Watched the Fantastic Four trailer and I actually am excited for a Marvel movie again.'
And another social media user described the Fantastic Four comic series as 'the only ones I've been able to stomach,' adding, 'The trailer looks so great. I need this.'
The film will be released nationwide on July 24.
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The moment Ozzy Osbourne's rarely-seen daughter Jessica revealed he'd become a granddad for the first time as she's snubbed from family's statement announcing his death
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Telegraph
an hour ago
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Madonna hasn't had a fresh idea in decades
'The future, the future, the future,' trills Madonna, on stuttering repeat in her latest album, Veronica Electronica, out Friday. And if you think the future of which she sings sounds suspiciously like Madonna's own past, well, that might be the point. Veronica Electronica is a remix album featuring tracks from her 16-million selling 1998 blockbuster Ray of Light. Now that was a moment when Madonna really did sound like the future, working with British ambient electronic producer William Orbit to create a thrilling, sinuous mix of science fictional synthetic sound with dance-floor beats drawing on trip-hop, drum & bass and techno interweaving with lyrically rich songcraft, engaging with parenthood and personal growth through a mystical new age lens. Madonna was turning 40, a dangerous age for a mainstream pop star, with its implications of dawning middle age in a youth-obsessed medium. Yet Ray of Light was a triumph. After the oversexed experiments of 1992's Erotica and 1994's Bedtime Stories, Madonna found a way to make grown-up pop music that still sounded at the cutting edge of things. I think it remains her most mature work, and features her most accomplished singing, a consequence of vocal training she underwent for her starring role in the 1996 film Evita. It spawned five global hit singles, propelling her towards a further imperial period, albeit with fun but less progressive albums such as Music (2000) and Confessions on a Dance Floor (2005) casting her as reigning Queen of the Dance rather than bold pioneer of new pop frontiers. It is curious that Madonna is revisiting Ray of Light now. It is not an anniversary, and there seems to be no pressing reason for its release. Indeed, it is not even new. Veronica Electronica features seven re-edited and sequenced B-sides and DJ mixes from the 1990s, plus one extra demo presumably tagged on to make completists feel like they are getting something previously unavailable. The disembodied repetition of the phrase 'the future' on a remix of Nothing Really Matters seems misleading when shorn of context. The original line from which it was taken was 'Nothing takes the past away / Like the future.' And here she is, nearly three decades later, fetishising her own past. Perhaps that is all pop is capable of now, when everything is arguably a remix, remodel or reformatting of things that have gone before. There is a confluence of reasons for that, mainly bound up with the rise of streaming as the dominant distribution method and its emphasis on algorithmic curation as the chosen way of organising music. The slow death of old music media (magazines, radio) has contributed to a homogenisation of musical discovery, with algorithms predicated to deliver similar-sounding tracks to keep listener retention high, reinforcing familiarity rather than innovation. At the same time there has been a weird blurring of genres, with an emphasis on mood and contextual lifestyle playlists serving audiences whose access to the entire history of music at the press of a button has arguably led to less tribal division. In the modern musical soundscape, anything goes and everything mixes together. Throw into that the growing influence of AI creation tools – which by their very definition are only ever going to regurgitate what has come before – and you have a situation where past and contemporary music are becoming indistinguishable. Here we are, a quarter of the way through the 21st century, and the most notable new musical trend of recent years has been the rise of country music. Rock (a genre long written off as on the verge of death) is experiencing the strongest new listener growth according to a mid-year report from American entertainment data company Luminate (whilst Christian / Gospel music is also surging). Meanwhile, the top trending stars in the world right now (via industry statistics site Chartmetric) look very familiar, including four pop facing singer-songwriters (Taylor Swift, Ed Sheeran, Billie Eilish and Bruno Mars), two dance pop superstars (Rihanna and Lady Gaga, both of whom owe a considerable debt to Madonna), one veteran rapper (Drake) and a durable teen idol (Justin Bieber). Madonna herself currently registers as the 58 th most popular artist in the world, which might not seem impressive on her imperious terms until you consider that she is one of only six artists in the top 100 who was making music before the internet was unleashed upon us (the others being Michael Jackson at 39, Queen at 71, AC/DC at 75, Elton John at 80, The Beatles at 94 and Fleetwood Mac at 98). There is, of course, a relentless deluge of new musical artists vying for attention, yet nothing feels like a distinctive break with the past. It would be nice to think that her remix album shows Madonna reorienting herself by focussing on her finest work, except it is shoddily done, a repackage of old remixes that are already out of date and add nothing to her story. Really, I suspect it is just about releasing product, because the only way to stay visible and competitive in this relentless smorgasbord of endless choice is to keep providing content for algorithms to gorge on. It has been six years since Madonna released a new album (the underwhelming Madame X) but in that time she has completed two world tours, released a major compilation, and is currently developing a Netflix TV series about her life (most likely starring Jennifer Garner). If you have nothing new to offer, just remix the past. Everybody else is doing it. On my radar Earth: The Legendary Lost 1969 Tapes (Big Bear Records). With weirdly prescient timing, Ozzy Osbourne 's first known recordings are soon to be released, with the group that would become Black Sabbath. This is a set of demos recorded at Zella studios in 1969, that demonstrate what a wildly inventive and fearsome band Osbourne, guitarist Tony Iommi, bassist Geezer Butler and drummer Bill Ward already were, conjuring something between heavy blues and frenetic free jazz. Add a dose of the occult, and heavy metal was born later the same year. Ozzy was ultimately laid low by Parkinson's disease. Coincidentally, I have been reading an advance copy of The Tremolo Diaries: Life on the Road and Other Diseases by Justin Currie, in which the Del Amitri band leader offers an acerbically entertaining and unsentimental account of touring whilst struggling with a Parkinson's diagnosis. He describes it as 'the uneasy feeling another man is growing inside of me and is slowly seizing the means of control.' It will be published by New Modern on Aug 28. I was much taken with this passage by Justin on his experience of hearing modern pop in a shopping mall: 'I'm staring down the barrel of Taylor Swift and Ed Sheeran's weirdly thin music. It ticks all the boxes that pop needs to tick – pretty tunes, catchy hooks, lyrics with a modicum of real feeling. It just feels like all the guts have been taken out. At the end, we'll be living underground, drinking the filtered urine of the rich while Elon Musk transmits this sonic anaesthetic from his throne on the moon.' I don't think he's a fan. How do you solve a problem like Kanye West? Unarguably one of the most influential artists of our times, the reportedly mentally ill rapper-producer has made himself persona non grata in pop culture with his embracing of Nazi symbology, blatant anti-Semitism and self-hating racism. He's got new music coming this week, dropping more weirdly lo-fi tracks for his album in progress Bully. Don't expect to read many reviews of the most controversial man in pop, yet whilst researching my article about Madonna, I was surprised to find West is still ranking incredibly high on Chartmetric's assessment of currently trending artists. He appears at no 33 on their chart, with over 60 million monthly listeners on Spotify, and 105 million monthly views on YouTube. Cancellation is clearly not what it used to be.
