Latest news with #Vanity
Metro
3 days ago
- Entertainment
- Metro
Charity turns to Vanessa as another devastating ordeal is confirmed in Emmerdale
Yes we see you, Vanity fans (Picture: ITV) Vanessa Woodfield (Michelle Hardwick) is the person Charity Dingle (Emma Atkins) turns to in Emmerdale soon, as she faces a scary ordeal in the middle of her surrogacy journey. Shortly after Charity decided to try and become Sarah Sugden's (Katie Hill) surrogate, she decided not to tell Mackenzie Boyd (Lawrence Robb). Of course, it wasn't long until he found out, and wasted no time in telling Charity that he thought it was a bad idea. With really no one else to talk to, Charity chatted to Vanessa about it. Despite them being exes, Charity and Vanessa are really good friends. Vanessa was able to listen to Charity, while thinking of Mack's feelings too. Mackenzie then told Charity that he's decided to support her on the journey, which left her relieved. When he arrived at Butlers though, it became apparent that Mack had just changed his view because he believes the process wouldn't be successful anyways. Mack didn't think the surrogacy was a good idea (Picture: ITV) Charity's jumped over quite a few hurdles so far – but is disaster set to strike already? In upcoming episodes, the couple go for a walk, but Charity takes a tumble and falls to the ground. At Jacob's (Joe-Warren Plant), Charity convinces herself that everything will be fine, and fails to tell Sarah about the fall. Feeling smothered by Sarah and Jacob, Charity suggests an engagement party, hoping they will focus on something else for a little while. Charity has already made quite a bit of progress in the journey (Picture: ITV) Follow Metro Soaps on WhatsApp and get all the latest spoilers first! Want to be the first to hear shocking EastEnders spoilers? Who's leaving Coronation Street? The latest gossip from Emmerdale? Join 10,000 soaps fans on Metro's WhatsApp Soaps community and get access to spoiler galleries, must-watch videos, and exclusive interviews. Simply click on this link, select 'Join Chat' and you're in! Don't forget to turn on notifications so you can see when we've just dropped the latest spoilers! As the family gets the Woolpack ready for the party, Charity rushes to the toilet. She's caught by Vanessa, who wonders what's going on. Charity reveals that she's been bleeding – but will she tell Sarah? Given the dynamic between Mack and Charity at the moment, will spending more time with Vanessa impact their relationship? Arrow MORE: Mack's heartbreak in Emmerdale as he hides his feelings Arrow MORE: Emmerdale fans 'work out' who newcomer Kev is looking for Arrow MORE: All Emmerdale spoilers for next week as arrest is made
Daily Mirror
3 days ago
- Entertainment
- Daily Mirror
Emmerdale: Robert and Aaron make amends, Steph exit sealed and Charity's heartache
Emmerdale spoilers for next week teased Robron could get closer, Vanity also share scenes as Charity Dingle faces 'disaster' and Steph Miligan's exit is teased on the ITV soap There's big moments ahead on Emmerdale next week, and some spoilers fans will be excited about. Robron fans will see former couple Robert Sugden and Aaron Dingle grow closer again as they clear the air after past turmoil. Vanity fans will see more scenes for Charity Dingle and her ex Vanessa Woodfield, as the former confides in her friend as "disaster" strikes. There's concern amid a surrogacy plot, while a teen is clearly hiding something in a big secret. A villain takes action, another villager harbouring their true feelings is left torn and an exit is teased for one resident who is temporarily departing the ITV soap soon. Let's kick things off with Robron, as Robert is struggling to cope and considers leaving the village for good. It's Robert's sibling John Sugden, who happens to be Aaron's new husband, who persuades Aaron to go easy on his ex. There's an uncomfortable encounter at the shop, as John and Robert seem to clash again - or perhaps this time it's Aaron and Robert. Either way, John leaves and Robert attempts to clear the air with Aaron over a coffee. It's then that Robert hints he may be leaving and Aaron is surprised, while it's also clear he doesn't want that to happen. He does his best to reassure Robert and tries to get him to stick around. Telling him he's valued, he gives Robert hope as he tries to talk him round - but is Robert hoping for a reconciliation once more? Later on in the week it seems there's more trouble ahead, when Moira Dingle confronts him about her land that she recently sold to him. So has Moira uncovered the betrayal about Robert plotting to sell to Kim before he later changed his mind? It's Robert's sister Victoria Sugden who is left suspicious though, when Robert suggests they farm Annie's field together. What will she say, and will Robert stick around? Elsewhere, Charity Dingle fears the worst when she suffers a fall amid her offering to be a surrogate to her granddaughter Sarah Sugden. In upcoming episodes a procedure goes well at the fertility clinic, but next week Charity falls in the woods. She tries to convince herself that everything will be fine, and when Sarah comes home she doesn't tell her about the fall. But later as the family gather for an engagement party for Sarah and her partner Jacob Gallagher, Charity sneaks off and rushes to the toilet. As her ex Vanessa spots her outside, a concerned Charity reveals to her that she's been bleeding. Fearing the worst after the procedure, will Charity tell Sarah what's happened? We could be headed for an exit next week too as Steph's departure storyline may have been teased. Actress Georgia Jay is currently on maternity leave, and so will be having a break from filming. Next week Steph and Ross Barton give their relationship another go, after some encouragement from their loved ones. As they get closer, they officially reunite and Ross denies being with anyone else since they broke up - hiding the fact he slept with Manpreet Sharma. But when Manpreet is probed about her love life by Steph's mother Ruby later in the week, will she find out about the fling? Also next week, Dylan is in a bad way a week on from being stabbed with a pitchfork at Moira's farm. His pal April Windsor finds him in need of urgent medical attention and sneaks him into the vet surgery. Paddy Kirk stumbles across then though who patches Dylan up before offering him a room for the night. Soon villain Ray is catching up with Dylan as more about their connection is revealed onscreen. Dylan reveals a hidden bag of drugs from his backpack, while ignoring Ray's messages. Dylan is soon sneaking off for drug drop-offs, while back in the village some of the residents realise Dylan was the one intruding at the farm. When Ray eventually tracks down Dylan, Dylan turns down a job leading to the villain claiming to be cool with it - but we soon see him watching Dylan and April from a far. So what does he have planned? Finally next week, Vinny Dingle is struggling after recently trying to kiss his pal Kammy amid his wedding plans with fiancée Gabby Thomas. As he continues to question his sexuality and his true self, he does his best to bury his doubts. Aaron mistakes his pal's woes though for wedding doubts, so Vinny admits he tried to kiss someone else. Aaron urges him not to tell Gabby but Vinny is conflicted, and soon looks for answers about his sexuality - but will he find what he is looking for? Get the latest drama from the Dales by joining our Emmerdale WhatsApp group As drama continues to unfold in the Yorkshire Dales, the Mirror has launched its very own Emmerdale WhatsApp community where you'll get all the latest breaking news, secrets, and spoilers delivered straight to your phone. Users must download or already have WhatsApp on their phones to join in. All you have to do to join is click on this link, select 'Join Chat' and you're in! We may also send you stories from other titles across the Reach group. We will also treat our community members to special offers, promotions, and adverts from us and our partners. If you don't like our community, you can check out any time you like. To leave our community click on the name at the top of your screen and choose Exit group. If you're curious, you can read our Privacy Notice.
Los Angeles Times
27-06-2025
- Entertainment
- Los Angeles Times
Vampires, reggaeton, Hollywood glamour: Get to know Isabella Lovestory
The esoteric inspiration for Isabella Lovestory's latest record, 'Vanity,' comes from an unlikely source: the folkloric vampire. 'I feel like I am the vampire,' she said between bites of tajadas, or fried plantains, inside the Rincon Hondureño restaurant in Los Angeles. 'And I'm chasing a beautiful woman, which is me.' Legend has it that vampires can't see themselves in the mirror, so they remain unaware of their own image; as a result of that constraint, they spend their entire lives in pursuit of beauty. This 'fantastical, mythical' creature is something of an obsession for the Honduran experimental pop artist, and this trope is subliminally captured throughout the 13 tracks on 'Vanity,' which drops June 27. 'Vanity' is Isabella's second full-length record in three years, following her grimy, neoperreo debut, 'Amor Hardcore.' But that record operated with textures best found in dark basements and sweaty alleyways; this one is brighter, crafted from a mood board of mid-2000s club hits and John Waters movies. Four-on-the-floor 808 beats give way to booming tresillo rhythms, and at times, on songs like 'Bling,' Isabella poses the question: What if 'The Fame'-era Lady Gaga was Latina? It's equal parts electroclash and reggaeton, a post-genre blend that sounds beamed in from a dystopian future. 'It's like a poisonous lollipop,' she said. 'I'm always interested in contrast and tension, and I never want to be just one thing. I always wanna have that contrast.' It's also deeply descriptive, with a fitting focus on the self's visage. On the title track, Isabella likens herself to 'una botella de perfume / un objeto hecho de espuma,' that is also a 'fantasía que no puedo controlar.' Other songs, like the phonk music-adjacent 'Perfecta' and 'Gorgeous,' speak of being perfect like a mannequin and 'elegante como una esmeralda andante.' The lyrics are ripped out of a dream journal, conjured from evocative memories of love and lust. By all accounts, Isabella Lovestory, born Isabella Rodríguez Rivera, is her own self-sustaining pop star. Born in Tegucigalpa, Honduras, she immigrated to the United States as a teen, attending high school in Virginia before relocating to Montreal at 17. It gives her music a worldly quality, reflected in multilingual tracks like 'Eurotrash,' which Rivera sings in English, Spanish and French. This, along with her practice-based arts education, injects a punk ethos into her artistry and makes her — in her words — 'scrappy as hell.' When I asked Rivera what she is responsible for in her camp, she laughed and said, 'Everything.' That includes all image-related facets of her artistry, from making her album artwork to editing her videos. And in that lies another interesting tension: the idea of self-sustaining pop celebrity, straddling these two worlds of DIY inventiveness and image-heavy exposure. It's something she likens, at multiple points, to performance art, this idea of projecting forward someone you're not. 'Isabella Lovestory is a very complex persona,' Rivera said. 'I think it's more like an expression of my inner world … like I have a little projector and Isabella Lovestory's a hologram of what goes on inside my heart.' This interview has been edited for length and clarity. The storytelling on your albums is immersive. How do you feel like 'Vanity' is expanding the Isabella Lovestory cinematic universe? For this one, I'm showing a more vulnerable side and a softer side that I haven't shown before. The last record, 'Amor Hardcore,' was more reggaeton, and I was experimenting with what I could do with that sound. It had a more old-school vibe, I was like a rebellious-teenager-badass-b—. And this one, I'm still a badass b—. [Laughs] But I think I'm showing more of my sweeter side, my more vulnerable, dreamier side. It's more of a very deep look into the mirror. Is that the thesis statement for the record?I think so. It's kinda like 'Alice in Wonderland' in that way. Where you fall into a rabbit hole, and you enter a mirror, and there's no way out. It's psychedelic. You have different layers and different sounds, but it's all part of one tunnel. Is that what you're trying to say about the concept of vanity? That it's a rabbit hole? Exactly. I think it's a never-ending evil cycle, but it's also very beautiful. Sins are part of our experience as people in this world. I'm ridiculing it in a way, where I let it take over me, but I also take it over. Being a pop star is so new to me, you know? I became a public person, and having my face be my tool and my money maker is crazy to me. It's me dealing with that: the darkness of beauty and the darkness of a saturated world of images that we have to constantly deal with. What's on the mood board for 'Vanity'? What were you listening to and thinking about? I was also watching a lot of Fellini, John Waters and Old Hollywood movies. I love absurd humor and the absurdity in gluttony and beauty, making fun of the stereotypes that we live in. This is what I'm doing with my project. I'm really into fairy tales, but twisted ones, like [in the movie] 'Donkey Skin.' It's absurd, very dark, but it looks so shiny and colorful and so childlike. I felt the fairy tale in 'Fresa Metal.' That song starts with this thunderstorm soundscape, and then you have a 'Dracula'-esque synthesizer come in. It feels like you're setting up a damsel-in-distress narrative. 'Fresa Metal' was inspired by this dream I had, where there was this record label building. And this pop star that was working at the label. But the building was built on an underground basement where vampires lived, and then they capture the pop star, and they kidnap her and make her work underground. I'm not a very logical person, I always failed [at] math, so I just think in images all the time. My ultimate goal is to be a director. When I started making music, it was so exciting to me because I could make my cover art, I could direct my own videos. I could do all my costumes. Ultimately, I want to make a movie, and then do the score, and then star in it. Do you feel like you were treading new sonic ground on 'Vanity' or just expanding upon what you were doing on 'Amor Hardcore'?It's definitely going into new territories. I was scared to show softer sides, because people love aggression; it's what's popping right now. Like Charli [XCX] or Nettspend, it's just really, really loud. So I was scared of doing something that's different. But at the same time, it challenged me to go deeper. I love it to be really colorful in anything I do, and also for it to feel like a roller coaster, which is what I love about K-pop. Something I find interesting about your projects is that they all have intro tracks. What is the importance of an intro track to you? It's an ode to that tradition in old-school reggaeton. The intro track is pure experimentation, because you can have freedom in doing something that stands alone and is not necessarily a track. You can just give the album that cherry on top. When I listen to old-school reggaeton albums, they had so much fun because it was such a new genre back then. Especially in the early 2000s. They had that rawness of doing something for fun, and a lot of curiosity. They didn't have rules on how to make something. I can see that. 'Vanity Intro' has this sonic palette where you're setting up a classic pop record, and then a reggaeton beat comes into the back half, directly smacking things you hear [sound effects like] a perfume bottle. You hear a car screeching. It allows you to have a little mini-movie in your head, which is something super important to me in all the songs: for everybody to create their own little dreamscape of what's happening. In 'Eurotrash,' you use multiple voices and singing styles. How do you approach your vocals? On this song in particular, there's both this seductive whisper and this exaggerated, bimbo breathiness. What I love about old-school reggaeton, again, is they always had these duos: [one with] the raspier, more masculine voice, and [the other with] the high-pitched singing voice. I love to create different characters in a song, and I love contrast in every single way. You've crafted a unique place for yourself in both pop and Latin music. Do you feel like you have contemporaries or imitators?The curse of doing something for the first time, or doing something you don't see happening, is that people will take those very authentic aspects of the underground and curate them with a creative team to make them mainstream years later. Especially as a Honduran immigrant, I feel like there's a lot of erasure. There's not a lot of Honduran people doing stuff, because it's a f— corrupt government in Honduras, and people suffer, the art suffers. There's beautiful talent, there's beautiful music, it's a beautiful country. But I think in moving around so much, I never really had a place where I felt supported by a community in that way. I created my own community myself through the internet, or becoming friends with the outcasts and the underground. It's like a blessing and a curse, you know? But it is my life, and I think I'll always be the underground, quirked-up shawty for sure.
New York Post
17-06-2025
- Entertainment
- New York Post
Kendrick Perkins' wife in cheeky NBA Finals scene with Richard Jefferson: ‘She waved at me first'
Monday's Game 5 recap of the NBA Finals took an interesting pivot on 'SportsCenter.' When discussing the Thunder's 120-109 home win over the Pacers, ESPN's Kendrick Perkins playfully chided fellow analyst Richard Jefferson over an exchange he was having with Perkins' wife, Vanity. 'Were you just waving at my wife?' Perkins asked Jefferson, who was seated beside 'SportsCenter' host Scott Van Pelt. Advertisement 7 Richard Jefferson waved to Kendrick Perkins' wife while covering Game 5 of the NBA Finals in June 2025. Awful Announcing via ESPN/X Jefferson, 44, waved to Vanity, who was off camera, and said, 'She waved at me first.' Advertisement As Jefferson repeated, 'She waved at me first,' Perkins, 40, started laughing and lightly swiped the former NBA forward's cheek. Even as moderator Van Pelt tried to keep the program moving, he quipped to his fellow panelists, 'Stop blowing kisses out here.' 7 Scott Van Pelt was part of the cheeky moment that unfolded on 'SportsCenter.' Awful Announcing via ESPN/X 7 Kendrick Perkins softly swiped Richard Jefferson's cheek in the moment. Awful Announcing via ESPN/X Advertisement Perkins, who played for the Thunder from 2011-15, has been married to Vanity for 15 years. The couple will celebrate their 16th wedding anniversary in July. He penned a heartfelt Mother's Day tribute to Vanity in May, calling her the 'heart and soul' of their family. 7 Kendrick Perkins with his wife, Vanity. Kendrick Perkins/Instagram Advertisement 7 The couple has been married for 15 years. Kendrick Perkins/Instagram 'Thank you for not just being the best Wife that a man can ask for but being the Best Mother to our 4 beautiful Children. Haven't a glorious and outstanding Day today and enjoy it beautiful. I love you sooo much,' Perkins posted on Instagram. The cheeky scene between Perkins and Jefferson unfolded at the Paycom Center, where Oklahoma City took a 3-2 series lead and is now one win away from an NBA title. 7 Kendrick Perkins during ESPN's NBA Finals coverage in June 2025. NBAE via Getty Images 7 Richard Jefferson is part of ESPN's top NBA booth. NBAE via Getty Images League MVP Shai Gilgeous-Alexander scored 31 points while Jalen Williams added a career playoff-high of 40 points. 'It wasn't a perfect game at all and there's a lot of room for growth,' Thunder coach Mark Daigneault said. 'But our improvement from Game 4 to Game 5 was critical.' Advertisement The Thunder defeated the Pacers in Game 4, 111-104, to even the series at two apiece. Game 6 is set for Thursday in Indianapolis. If necessary, Game 7 shifts back to Oklahoma City on Sunday.
The Guardian
16-06-2025
- Entertainment
- The Guardian
My unexpected Pride icon: Jurassic Park's strutting, swaggering T rex is pure camp
'That's camp,' proclaimed my drag queen friend Vanity as we watched the T rex rip a tyre off a Jeep in the first Jurassic Park movie. It's 2012, 2am and we're in her bedroom playing our favourite Jurassic Park drinking game, where you swig every time you see a dinosaur. 'Is it, though?' I said, doubtfully, dipping a Walkers Sensation in some coleslaw. 'Course it is. All the gays love Jurassic Park. Don't be an idiot, Jones.' She pointedly slapped down the lid on the coleslaw as if that were the end of the matter. I thought about it a bit and ultimately agreed with her. I absolutely loved Jurassic Park. And so did just about every queer person I knew. Jurassic Park, in fact, made me feel proud. Prouder than seeing a load of 00s popstrels perform at Pride parades, prouder than drinking in the street in Soho, prouder even than M&S's Pride sandwich. Granted, my judgment was a little clouded from the drinking game. But still. I've since wondered if this was specific to my strange little bubble of pop-culture-obsessed London reprobates. But its surprisingly innuendo-ready quotes ('clever girl', 'hold on to your butts', 'dinosaur eats man, woman inherits the Earth') and unforgettable performances (human and raptor) are an enduring staple everywhere from drag brunches to bleary afterparties. London's historic queer venue the Royal Vauxhall Tavern held a Jurassic Park cabaret night in 2023 called 'Life Finds a Slay'. In San Francisco last year, the Brava theatre hosted 'Jurassic Drag', two Jurassic Park nights celebrating various drag legends ('they've survived a hostile world and trekked the Earth collectively for more than 170 years … which we all know in drag time is roughly 250 million'). Also last year, the Canadian podcaster and academic Hannah McGregor published a feminist-focused queer memoir, Clever Girl, billed as 'a smart and incisive exploration of everyone's favourite dinosaur movie and the female dinosaurs who embody what it means to be angry, monstrous and free'. (An honourable mention goes to the British gay couple and their dog who went viral in 2020 for recreating scenes from the films during lockdown.) It makes sense when you look at the first two movies. Their director, Steven Spielberg, has always had a propensity for the camper, more fun side of mild to moderate peril, flinging damsels into snake pits and children into shark-infested waters at the first chance he gets. He and the screenwriter David Koepp wield this impish inclination with gusto in Jurassic Park and Jurassic Park: The Lost World, whether it's a dilophosaurus wobbling her wattles or Julianne Moore gasping on glass over a gulch. Laura Dern is constantly in peril in the first movie – and for a lot of gay men, women in peril is a favourite genre – there is a stampede of psychosexual and misogynistic issues to dive into with that one. (Other notable women-in-peril franchises beloved of gay men include Scream, Buffy, Tomb Raider and, depending on Tyra Banks's mood, America's Next Top Model.) Also, if you are a millennial gay man, Jeff Goldblum's tanned, heaving bosom inside a liberally unbuttoned shirt was definitely at least part of your sexual awakening. A special mention should go to Bob Peck as park warden Robert Muldoon, who sported short-shorts that would make even Lara Croft raise one of her perfectly plucked eyebrows. (The later Jurassic World films are notably sanitised, safe and sexless in comparison – like smooth, scaly iPhones.) Really, though, if I stand up in the Jeep, take off my sunglasses and really look at it, the main reason I find pride in Jurassic Park is right there, rumbling and stomping in front of me: the dinosaurs. Dinosaurs are deeply camp – their fierce, confident assuredness followed by their fiery, dramatic downfall. Their strutting, swaggering gaits. It's very drag, with their relentless energy and fierce joie de vivre, not to mention their various ruffs and feathers and talons and shiny teeth. They just served. Some may say it's ridiculous to have an emotional affinity with 65m-year-old extinct reptiles, to which I say: why is it any more ridiculous than having an affinity with Strictly Come Dancing or Taylor Swift or raccoons? It's not. It's completely normal. Now, pass those night-vision goggles: we're going to Hampstead Heath.
