Latest news with #LondonBridge
Times
4 hours ago
- Politics
- Times
Naming sporting event after IRA leader is obscene
Imagine the outcry if a youth football tournament in England were named after one of the London Bridge terrorists. Or if a community sports facility in Manchester bore the name of the Arena bomber. It would rightly be condemned as grotesque, inflammatory and utterly incompatible with the values of a decent society. And yet in Northern Ireland, we are expected once again to swallow the farce of honouring IRA terrorists under the guise of 'commemoration'. The latest insult comes in the form of a Gaelic Athletic Association (GAA) youth tournament named after Joe Cahill, one of the founding figures of the Provisional IRA, whose record includes gun-running from Libya and lifelong justification of armed violence. Cahill was a convicted terrorist whose career spanned decades of bloodshed. He was unapologetic about the IRA's campaign of bombings and killings, which left thousands dead and many more lives shattered. Naming a 'Joe Cahill Gaelic Competition' for under 12s is obscene. Worse still, this act of glorification is happening at a time when the UK government is preparing to pour £50 million of taxpayers' money into the redevelopment of Casement Park, the GAA's flagship stadium in Belfast. Public money should never be used to prop up organisations that celebrate terrorism. It sends a damaging signal to victims, to wider society and to young people learning history through the prism of sport. How can we say we are building a shared future when one section of that future is lionising men who tried to destroy the very notion of peaceful democracy? This is not about cultural expression or historical memory, it is about rewriting the past to sanctify those who waged war against the people of Northern Ireland, both Catholic and Protestant. It is about embedding the message that political violence is not only excusable but honourable. For years now, Sinn Féin has walked this morally repugnant line, from honouring hunger strikers to naming playgrounds and GAA events after known terrorists. It is part of a calculated political strategy: to cloak murder in martyrdom and to push their narrative unchallenged into the mainstream. If the GAA wants to be a truly inclusive sporting body, it must reject the impulse to lionise gunmen, no matter how prominent they were within republican folklore, and stand with the victims of terror. And the UK government must stop pretending that these issues are separate from its financial support. You cannot fund an organisation with one hand and ignore its moral failures with the other. £50 million buys responsibility, not silence. Baroness Foster of Aghadrumsee is a non-affiliated peer
Yahoo
21-07-2025
- Entertainment
- Yahoo
Desperate Royals Tried to Censor Leaked King's Funeral Plans
Buckingham Palace's top aides are in a tailspin after leaked plans for the death of King Charles made it into the media—sparking a huge censorship operation to 'contain the spill.' The leak to The Daily Telegraph revealed details including how Prince Harry and his wife Meghan Markle, the Duke and Duchess of Sussex, would be central to the current British monarch's funeral—something officials are actively planning as he battles cancer. It comes despite the public fracturing of the king's relationship with his younger son, who has also been at loggerheads with brother William. Prince William will have become king by the time of Charles' funeral. Plans for the funeral, code-named 'London Bridge,' are the most sensitive of royal secrets, meticulously planned by courtiers and ultimately overseen by the king himself. When the Telegraph published the revelations on its front page with the headline 'Prince Harry and Meghan at heart of King's funeral plans,' it was the first substantive insight British papers had given their readers into an event of world significance. But as soon as it was published, courtiers began an extraordinary operation to stop word of any future reconciliation spreading, even though the Daily Beast can disclose that the leak originated from within Buckingham Palace's planning operation. Insiders say the remarkable episode offers an insight into the kind of 'iron fist in a velvet glove' activities that take place behind the curtain of the British royal family as it seeks to control the narrative around the institution. Multiple sources have told the Daily Beast that the king's most senior spin doctor, Tobyn Andreae, 'had a meltdown on the phone' to editors at The Telegraph, a reliably pro-monarchy publication, about its London Bridge story. 'These new details about London Bridge, including that Harry and Meghan will be invited for central roles and that the mourning period will be shortened, had found their way to the Telegraph exclusively,' said a well-placed Fleet Street source. 'There was a conversation with the palace's communications team ahead of publication. Tobyn [Andreae] was very, very, unhappy. He was involved directly and lobbied the Telegraph for more than 24 hours to try and influence the timing and terms of publication.' But, explained a second source, a senior journalist with knowledge of the situation, its editors did not 'wish to be controlled.' That 'went down badly' with Andreae, who was 'very resistant to the publication.' The source said, 'There was a heated phone call. In the end, the view was taken that the paper needed to protect its editorial independence, and it decided to publish its scoop when it wanted to, which from Tobyn's [Andreae's] point of view was premature.' It was then, however, that a censorship operation swung into action, according to a source who said Andraea tried to 'contain the spill.' Andreae used a WhatsApp text message group with other journalists who cover the royal family for British newspapers and television networks—a group known as the 'royal rota'—to trash the Telegraph story and say there would be consequences for any outlet that used the information. In one message seen by the Daily Beast, marked 'not for reporting in any form,' Andreae, a former senior editor at the Daily Mail and Mail on Sunday, criticized the article as 'unconscionable' and 'downright offensive,' given King Charles is currently battling cancer, and warned that outlets which repeated its detail were 'unlikely to receive assistance' in future. In what Andreae described as a 'gentle advisory' message to the group, which has around 15 members, and the 'international rota' group, which has around 30, he wrote: 'While we won't be drawn on the details or accuracy of the claims, the bridges plans are not yet finalised and there is no active planning underway outside of the entirely routine business you will all be familiar takes place for all family members. 'Speculation about demise planning is deeply distasteful in normal circumstances—but downright offensive given that HMK [His Majesty the King] is living with cancer, continuing with treatment… and doing extremely well on it, as you will all have seen from past weeks and months. 'This sort of article is therefore unconscionable, no matter how 'sensitively framed'. It is also a breach of the clear understanding that in order to for us to be able to assist media with operational planning, royal reporters do not write speculative pieces about Bridges planning, whatever the source.' Andreae's threat of removed 'assistance', sent to the influential group of royal rota correspondents, had the intended effect. No other British outlet repeated the details printed in the Telegraph, despite its reputation as an establishment newspaper with reliable royal sources. Some of the details were repeated in the U.S. media. Alongside claims about the Sussexes, the paper revealed that King Charles' 'lifelong dedication to the environment is expected to be recognised with the incorporation of sustainable elements wherever possible,' and that the period of national mourning would last from the day of his death to the day of his funeral, rather than an additional week as was the case when Queen Elizabeth II died in Sept. 2022. The censorship bid was mounted before another bombshell hit the royals: a further leak, this time of a supposed 'peace summit' between the king's courtiers and Prince Harry's aides. Late Saturday, details of a meeting Andreae had at an exclusive London club, of which he is a member, with Meredith Maines, who runs general and media operations for the Sussexes in the U.S., and Liam Maguire, who runs their communications operation in the U.K., appeared in an exclusive report in the Mail on Sunday. Images of the summit were captured in long-lens photographs taken by a well-informed photographer from the paper, whose publisher Harry is presently suing for allegedly hacking his phone and other unlawful information gathering dating back 30 years. The paper denies the allegations. Buckingham Palace and The Daily Telegraph failed to respond to a request for comment. A spokesman for the Sussexes said they never comment on London Bridge planning.
New Indian Express
16-07-2025
- Entertainment
- New Indian Express
Prithviraj Sukumaran-Vysakh film Khalifa begins
Khalifa is scripted by Jinu V Abraham, who wrote Prithviraj's Masters, London Bridge, and Kaduva. He also made his directorial debut with the Prithviraj-starrer Adam Joan. Khalifa, set to start rolling in London on August 6, is planned as a big-scale entertainer. Jomon T John will wield the camera, with music by Jakes Bejoy, edits by Chaman Chakko and action by Yannick Ben. Saregama's Yoodlee Films is backing the film.
Yahoo
10-07-2025
- Entertainment
- Yahoo
‘Too Much' Review: Lena Dunham Returns with a Brash, Big-Hearted, and Oddly Conventional Rom-Com
'Too Much' opens on a slew of red flags. The very first shot is of London's Tower Bridge, accompanied by Fergie's 2006 song, 'London Bridge.' Walking over said bridge is our lead, Jess (Meg Stalter), whose stylish star turn (zebra-stripe winter coat, star-laden vintage bookbag) is marred by her extraneous voiceover. That's two big warning signs in the opening seconds of Lena Dunham's first TV series since 'Camping,' and they're promptly followed up by a third: when Jess imagines herself as the different kinds of women known to thrive in the United Kingdom: Jane Austen-era heroines who are hopelessly in love; hardened police detectives 'who use [their] trauma to solve grisly crimes'; and turn-of-the-century sex workers who will go down in the history books as one of Jack the Ripper's victims. Thankfully, the majority of these storytelling crutches dwindle as 'Too Much' settles in. The soundtrack shifts toward lighter indie rock and away from brain-numbing redundancies, while the story treats those imaginary genre sketches like an accidental off-ramp left in the rearview. But the voiceover continues. Not only does it continue, it intensifies, along with the surrounding events. As they slowly swirl into a tornado of personal excess, Jess learns an important fact of perception: One person's red flags may just be flags to someone else — unheeded warnings that, in time, prove to be utterly unnecessary. You can see them and run for shelter, sure, or you can simply see where the breeze takes you. More from IndieWire Jason Momoa Unites a People in Apple's 'Chief of War' Trailer 'It's Always Sunny's' Version of the 'Abbott Elementary' Crossover Delivers an Exceptional Payoff 'Too Much' will certainly inspire a few Netflix subscribers to retreat to the stock solace of 'Emily in Paris' or 'Nobody Wants This,' but like the algorithmically calculated intro it soon subverts, Dunham's latest pulls off a tricky balancing act: giving audiences what we expect from a TV rom-com, as well as what we don't always get. The familiar aspects are surprising, if only because Dunham's semi-autobiographical series is from, you know, the creator of 'Girls' — a landmark HBO comedy hailed for bucking conventions, expectations, and whatever else you wanted to throw at it. Co-created with her husband, Luis Felber, 'Too Much' fits snugly within those confines, following a young Brooklyn producer, Jess, who moves to London and falls in love with an aspiring musician named Felix (Will Sharpe). The premiere episode sets up its love story rather quickly, from Jess' grievous break-up with Zev (Michael Zegen, well-versed with the despised ex as the former Mr. Maisel), who she dated for seven years, to her job opportunity in London, where she'll oversee a commercial directed by an acclaimed yet pretentious filmmaker (a beautifully sleazy Andrew Scott). Despite her eagerness to embrace life across the pond, Jess can't leave her baggage behind. Shortly before she flees overseas, she breaks into Zev's house in the middle of the night to demand he apologize for their grievous break-up 'in blood.' Luckily, she's all talk — Jess has never met an awkward silence she can't fill with an inappropriate comment, even when (as is often the case) she's the one who brought about the initial awkwardness — but that loquacity becomes its own problem. Jess cannot stop talking to Wendy, Zev's model-hot new girlfriend (played by the actual model, Emily Ratajkowski). She hate-watches Wendy's influencer videos about fashion or hears her voice in her head and then slinks off to a bathroom or quiet corner to yell at Wendy in the style of Gen-Z: via video. Jess' videos (which she posts to a private Instagram feed) form the basis for her aforementioned voiceover. She 'talks to Wendy' all the time — at home, at work, when she's out with her friends or in the middle of a date — and she's only getting angrier, despite a pretty good start to her time in London town, from her job to her friends to her love life. Her co-workers conveniently share her tendency to over-share, whether it's Boss (Leo Reich), an absurdly cocky assistant who brags about his 'acclaimed PDF novel'; Kim (Janicza Bravo), a narcissist and fellow New Yorker who's so in love with England she claims not to remember her time in the U.S.; and Jonno (Richard E. Grant), Jess' actual boss who throws cocaine-fueled dance parties in Notting Hill — for his employees. To say they're a like-minded group is an understatement (and their overlapping romantic issues only double down on Dunham's struggle to imagine characters outside her own bubble), but the lively group supports Jess' journey just fine (and Grant is a particular treat, along with Naomi Watts as his desperate housewife). Jess' family, whom she leaves behind in Long Island but who pop in via FaceTime and flashbacks, is also an invaluable treat. Rita Wilson (as Jess' mom, Lois), Rhea Pearlman (Grandma Dottie), and Dunham, as the recently dumped Nora, all make it clear where Jess comes from — and why she should be proud of what she now calls 'an intergenerational 'Grey Gardens' hell of single women.' Better still, on her first night abroad, Jess meets Felix. (Yes, on the first night! My god!) He's performing in a local pub, she likes his music, and idle chat leads to serious feelings. His unflappable composure pairs well with her constant flapping — when she gets extra worked up, Jess tends to wave her arms around — and they bond over their mutual attraction (Dunham addresses any doubts over their shared desirability in a single, pointedly dismissive conversation), senses of humor (they both make each other laugh in moments where only someone who really 'gets you' can), and pop culture passions. (Although her indifference toward 'Paddington' would be a dealbreaker if not for Felix's personification of Paddington-esque nicecore.) Sure, Jess has been rightly accused of 'giving crazy' and 'giving psychotic,' and yes, Felix is technically an unemployed, recovering addict with a troubling amount of ex-girlfriends (who are now 'friends'). But like any traditional tale of courtship, their love transcends reason, and Dunham's deft dialogue makes it easy to believe their connection. (She wrote or co-wrote every episode and directed all but one.) The 10-episode limited series is loudly and proudly a piece of genre, conforming to expectations to the extent I knew what would happen before the next half-hour began. But how and why, as always, are vastly more important than what, and once you settle in, it becomes clear the sound structure and familiar story are there to support a character — and creator — whose uninhibited inclinations could upend a less disciplined narrative. Jess, after all, is barely hanging on. When praised by Kim for keeping her composure amid such tumultuous life changes, Jess says, 'I'm just trying to do what I can to survive.' Her standard bubbly tone is flattened. Her oft-animated body language comes to a halt. It's a rare moment of blunt, unembellished vulnerability — the only side Jess is reluctant to show others — and it illustrates so much of what makes 'Too Much' work: Without Jess' persistent vigor, the 'com' in this rom-com would disappear. Without her unusual openness, the 'rom' might not foster much feeling. And without Stalter's talent for masking Jess' fears through recklessness — while still lining that recklessness with genuine excitement for the unknown — the series and its central character would be little more than two parts of the same mess. Instead, Jess yearns to live as she is, sans reproach, whether that bucks the status quo or embraces its comforts, and the same can be said for 'Too Much,' an immensely endearing saga that isn't afraid to lead with its big heart. Committing to the conventional and unconventional at once may irk viewers who see the former as a concession made by the latter, just as Jess' titular too-much-ness may put off judgey viewers. The pacing isn't always smooth, and a few character arcs lose their tether to the Earth, but Dunham delivers enough salient insights about self-acceptance and sharp jokes about, well, everything to elevate her third TV series above many of the medium's typical love stories. It's not the 'voice of a generation' work some may have been hoping for, but that's not who Dunham set out to be; that was Hannah Horvath, and while the 'Girls' star may have plenty of harsh words for the traditional side of her creator's new streaming rom-com, I also think she'd end up savoring more of it than she'd ever admit. 'Too Much' premieres Thursday, July 10 on Netflix. All 10 episodes will be released at once. Best of IndieWire The 25 Best Alfred Hitchcock Movies, Ranked Every IndieWire TV Review from 2020, Ranked by Grade from Best to Worst
Extra.ie
10-07-2025
- Entertainment
- Extra.ie
Fergie releases new video for 2006 smash hit ‘London Bridge'
American pop singer Fergie just released a new video for her hit song 'London Bridge' in partnership with the new Netflix series Too Much. Fergie's original video came out in 2006 and created a pop culture mix-up as the video was shot on Tower Bridge, not London Bridge. Creator of Too Much, Lena Dunham, said that ''London Bridge' was the only song to start this show,'' so they asked Fergie to recreate the music video. The video features Fergie and the show's lead actor, Megan Stalter. This time, however, it was filmed on the real London Bridge. '[What] isn't 'too much' about filming a video for a song you already have a video for?' said Fergie. Too Much is a romantic comedy that follows Jessica (played by Megan Stalter), a New Yorker who moves to London after a breakup. While there, she meets Felix and tries to navigate love in London. 'As an American girl who once had her own adventures in London while filming the video for 'London Bridge,' I instantly felt a connection to this project,' said Fergie. 'Being that the series was … about an American girl navigating her own London experience — my creative soul couldn't say no.'
