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Daily Mirror
17-07-2025
- Politics
- Daily Mirror
Loose Women's Charlene White interrupts Kelly Brook as TV debate gets awkward
During a debate on the news that the voting age has been lowered, Loose Women anchor Charlene White was called out by viewers for interrupting Kelly Brook. Charlene White was seen interrupting Kelly Brook during a fiery political debate on today's episode of ITV's Loose Women. The newsreader was in her usual slot as the programme's anchor on Thursday's edition of the ITV lunchtime chat show when she and her co-stars discussed the news that 16 and 17-year-olds will now be able to vote. When Kelly's turn came to speak, she tried to argue that there is "more information" now than the days when perhaps children would have simply copied their parents, even though there is "a lot of misinformation" around as well. The model tried to argue that a person's voting stance can change throughout their life, depending upon their own experiences. She suggested that some people may be more affected by the care system, for example, or may be running a business when they reach adulthood, so the way they vote could be different to how they would have done as a teenager. Charlene continually shouted "Kel, Kel, Kel, so what I'm saying is," over the top of her. Ultimately Charlene also argued that voting needs may change as one gets older, and Kelly concurred, but then quickly added: "So that's why 18-year-olds shouldn't be voting." Kelly then tried to ask if the move was "so important" why it hasn't come about before, but again, Charlene interrupted her again to bring fellow panellist Linda Robson into the conversation. The Birds of a Feather actress simply noted that she had "never been interested" in politics but would encourage her grandchildren to think differently, whilst Nadia Sawalha claimed that the move may help the country "inch towards a democracy" as time goes on. But Charlene's interruption of Kelly did not go unnoticed, and viewers took to social media to vent their frustration. One wrote: "its all kicking off on #loosewomen i'm sure all its 5 viewers are enjoying kelly brook's rant", and another championed Kelly as they wrote: "Go on kelly brook let her finish Charlene". Another viewer complained that Charlene had been "too loud" in the moment and ordered her to "shut up", but another claimed that Kelly had been "way out of her depth" with the comments. Under existing rules 16 and 17-year-olds are already able to cast a ballot in both local and devolved and local elections in Scotland and Wales - but not in England and Northern Ireland. The age of voting at a general election currently stands at 18 for all four corners of the UK. It is among a string of changes that also includes closing loopholes on foreign donations to political parties through shell companies. There will be more severe fines of up to £500,000 for those who breach the rules. UK-issued bank cards will also become an acceptable form of ID at polling stations. The Ministry of Housing, Communities and Local Government also said "far too many people are being deterred from voting" due to controversial Voter ID rules. Deputy Prime Minister, Angela Rayner said: "For too long public trust in our democracy has been damaged and faith in our institutions has been allowed to decline." She said ministers are "taking action to break down barriers to participation". Minister for Democracy Rushanara Ali described it as a "generational step forward". It is the first time the voting ages since the 1960s. Harry Quilter-Pinner, director of think-tank the IPPR, said: "Our democracy is in crisis, and we risk reaching a tipping point where politics loses its legitimacy. The government has clearly heard these alarm bells. The policies announced today represent the biggest reform to our electoral system since 1969, more than 50 years. " And he continued: "At a time when public trust in politics is at a low ebb, this expansion of our democracy is a vital step toward rebuilding confidence, modernising our institutions, and pushing back against the rise of populism." Green Party MP, Ellie Chowns said: 'On this one, Labour have got it right. Giving 16- and 17-year-olds the vote is a long-overdue step towards a stronger, more inclusive democracy. Young people have powerful voices and a vital stake in decisions about their future — it's only right that they have a say at the ballot box." But she called on the Government to go further by scrapping the House of Lords and bringing in proportional voting - a system that would benefit smaller parties.
Spectator
17-07-2025
- Entertainment
- Spectator
A theatrical one-woman show: Billie Eilish at the OVO Hydro, Glasgow reviewed
Like spider plants and exotic cats, certain artists are best suited to the great indoors. Lana Del Rey, for instance, proves the point that just because you can sell enough tickets to fill a stadium doesn't mean you should necessarily perform in one. Some music blossoms in the sun, some ripens in the shadows. Billie Eilish belongs in the latter camp. Even though her biggest hit, 'Birds of a Feather', was the most streamed song on Spotify last year and is now approaching three billion listens, and her duet with Charli xcx on 'Guess' was another ubiquitous sound of 2024, her appeal remains slightly subversive. Eilish's songs – composed with her older brother Finneas – are twisty, introspective and somewhat tortured things, while the devotion of her (mostly female) fans feels like the fervour of cult appeal played out on a mass scale. The last time I saw Eilish was in Glasgow in 2019, shortly before the release of her debut album. She played a warehouse down a lane near the railroad tracks, a mile and several leagues from tonight's cavernous venue. Still only 17, she wore oversized sports clothing and protective splints on her legs from all the jumping around. Much has changed since then – though not the oversized sports gear. And although it would have been fascinating to see her in a similarly sized room again, Eilish is so famous these days that even the 14,000-capacity Hydro felt like a concession to keeping things relatively intimate, when she could easily have played Hampden Park or Murrayfield instead. Keeping a roof over her head was a wise move, yet the level of her success presents a dilemma to an artist whose songs are written in and for the bedroom, and which contain the kind of sonic subtleties best investigated through a good pair of headphones. She is touring her third album Hit Me Hard And Soft, and the boom-boom-bash of arena acoustics took much of these more interesting fringe sounds out of play; the spectral qualities of the likes of 'Lunch', 'Wildflower' and 'The Greatest' were mostly lost. The natural register of her music is soft and sad and between the ballads and whispers there was a palpable sense of Eilish having to consciously crank up the show to pop speed. The staging, however, was ingenious. Eilish understands that visual overload and voyeurism are the tenor of the times. In her hands, the Hydro became part boxing arena, part goldfish bowl. Rather than the traditional front-facing arrangement, the stage was a small, stark cube in the middle of the floor. The musicians were buried in two pits. There were no dancers, no sleek choreography. This was all about the star, tracked and projected from every angle via 360 Jumbotron screens and numerous cameras. Yet the effect was not one of distance but sometimes uncomfortable proximity. Such staging was a smart comment on the nature of stardom. At times Eilish appeared like a caged animal, surrounded by her pursuers; there was some inventive play with a handheld camera that turned the focus back on to an audience which clung to her every word and gesture. At other points she was a triumphant sports champ, goading the crowd into celebratory cheers, or a crackling ghost figure, split in two by violent strobe lighting. While the songs came and went, some not quite hitting the mark, her voice was never less than compelling. On 'Happier Than Ever' she moved through the gears to illustrate a mastery of shifting dynamics. Playing 'Your Power' on acoustic guitar gave it an intimate quality that was faintly mesmerising in such a vast space. But still, this was more about what could be seen than heard. With every detail maximised on the screens, the performance sometimes became the equivalent of a theatrical one-woman show. During 'The Diner' her eyes rolled into her head as though she was playing a possessed demon. Sitting cross-legged beneath a single spotlight to sing 'When the Party's Over', she brought the entire place to a hushed standstill. The set ended with 'Birds of a Feather'. Singing her most straightforwardly accessible song beneath a shower of ticker tape was one of the few moments when Eilish seemed to conform to the rules of the standard arena show. Mostly, however, this felt like a creditable attempt to keep the smaller, stranger qualities in her music and herself alive in a bigger, brasher space. If she ever succumbs to the lure of the stadia, I wouldn't bet against her finding a way to make it work.
Spectator
16-07-2025
- Entertainment
- Spectator
A theatrical one-woman show: Billy Eilish at the OVO Hydro, Glasgow reviewed
Like spider plants and exotic cats, certain artists are best suited to the great indoors. Lana Del Rey, for instance, proves the point that just because you can sell enough tickets to fill a stadium doesn't mean you should necessarily perform in one. Some music blossoms in the sun, some ripens in the shadows. Billie Eilish belongs in the latter camp. Even though her biggest hit, 'Birds of a Feather', was the most streamed song on Spotify last year and is now approaching three billion listens, and her duet with Charli xcx on 'Guess' was another ubiquitous sound of 2024, her appeal remains slightly subversive. Eilish's songs – composed with her older brother Finneas – are twisty, introspective and somewhat tortured things, while the devotion of her (mostly female) fans feels like the fervour of cult appeal played out on a mass scale. The last time I saw Eilish was in Glasgow in 2019, shortly before the release of her debut album. She played a warehouse down a lane near the railroad tracks, a mile and several leagues from tonight's cavernous venue. Still only 17, she wore oversized sports clothing and protective splints on her legs from all the jumping around. Much has changed since then – though not the oversized sports gear. And although it would have been fascinating to see her in a similarly sized room again, Eilish is so famous these days that even the 14,000-capacity Hydro felt like a concession to keeping things relatively intimate, when she could easily have played Hampden Park or Murrayfield instead. Keeping a roof over her head was a wise move, yet the level of her success presents a dilemma to an artist whose songs are written in and for the bedroom, and which contain the kind of sonic subtleties best investigated through a good pair of headphones. She is touring her third album Hit Me Hard And Soft, and the boom-boom-bash of arena acoustics took much of these more interesting fringe sounds out of play; the spectral qualities of the likes of 'Lunch', 'Wildflower' and 'The Greatest' were mostly lost. The natural register of her music is soft and sad and between the ballads and whispers there was a palpable sense of Eilish having to consciously crank up the show to pop speed. The staging, however, was ingenious. Eilish understands that visual overload and voyeurism are the tenor of the times. In her hands, the Hydro became part boxing arena, part goldfish bowl. Rather than the traditional front-facing arrangement, the stage was a small, stark cube in the middle of the floor. The musicians were buried in two pits. There were no dancers, no sleek choreography. This was all about the star, tracked and projected from every angle via 360 Jumbotron screens and numerous cameras. Yet the effect was not one of distance but sometimes uncomfortable proximity. Such staging was a smart comment on the nature of stardom. At times Eilish appeared like a caged animal, surrounded by her pursuers; there was some inventive play with a handheld camera that turned the focus back on to an audience which clung to her every word and gesture. At other points she was a triumphant sports champ, goading the crowd into celebratory cheers, or a crackling ghost figure, split in two by violent strobe lighting. While the songs came and went, some not quite hitting the mark, her voice was never less than compelling. On 'Happier Than Ever' she moved through the gears to illustrate a mastery of shifting dynamics. Playing 'Your Power' on acoustic guitar gave it an intimate quality that was faintly mesmerising in such a vast space. But still, this was more about what could be seen than heard. With every detail maximised on the screens, the performance sometimes became the equivalent of a theatrical one-woman show. During 'The Diner' her eyes rolled into her head as though she was playing a possessed demon. Sitting cross-legged beneath a single spotlight to sing 'When the Party's Over', she brought the entire place to a hushed standstill. The set ended with 'Birds of a Feather'. Singing her most straightforwardly accessible song beneath a shower of ticker tape was one of the few moments when Eilish seemed to conform to the rules of the standard arena show. Mostly, however, this felt like a creditable attempt to keep the smaller, stranger qualities in her music and herself alive in a bigger, brasher space. If she ever succumbs to the lure of the stadia, I wouldn't bet against her finding a way to make it work.
Metropolis Japan
16-07-2025
- Entertainment
- Metropolis Japan
Billie Eilish Returns to Tokyo August 2025
Billie Eilish is bringing her HIT ME HARD AND SOFT THE TOUR to Tokyo this summer with two back-to-back shows at Saitama Super Arena. Fresh off the release of her third studio album, Eilish continues to expand her global tour, performing across four continents with an intimate yet high-production live experience. Fans can expect a setlist that blends new tracks like 'Lunch' and 'Birds of a Feather' with earlier favorites. Each concert is designed to feel both immersive and personal, balancing quiet acoustic moments with cinematic visuals and lighting that fill the arena without overwhelming it. The Tokyo shows will also reflect Eilish's commitment to sustainability. Partnering with REVERB, the tour features eco-friendly initiatives, from water refill stations and plant-based food options to climate action donations from ticket sales. Fans are encouraged to bring reusable bottles and use public transport. Tokyo Dates: Saturday, August 16, 2025 Sunday, August 17, 2025 How to Get Tickets: Presale began in late May, with many tickets already sold out. The international pre-sale runs from July 10 to August 1 on PIA. Find out more information on the official website. Whether you've followed Billie Eilish from the start or just want to experience one of the most talked-about tours of the year, these Tokyo dates offer a rare chance to see her live in a more intimate setting than larger dome venues.
Daily Mirror
14-07-2025
- Entertainment
- Daily Mirror
Huge pop star's mum makes surprise appearance in Friends in unearthed clip
The actress - and now mum to one of the biggest popstars of her generation - appeared in an old episode of Friends, performing alongside Matt LeBlanc as Joey Tribbiani Long before her daughter was selling out arenas around the world, Maggie Baird was an in-demand actress with roles on shows including The X Files, Curb Your Enthusiasm, Charmed and Friends. Now 66, Maggie is also known as mum to What Was I Made For? singer Billie Eilish, 23, and her singer-songwriter brother Finneas, 27. Colorado-born Maggie made her TV debut in 1981 in American soap opera Another World, before stepping onto the Broadway stage and becoming a member and teacher of an improv comedy troupe in Los Angeles, working alongside stars such as Will Ferrell and Melissa McCarthy. In 1999 she appeared in Friends, playing casting director number two in an episode called The One Where Joey Loses His Insurance. The season six episode features Joey auditioning for a dog food advert while trying to hide his pain caused by an untreated hernia. When a clip featuring Maggie and Matt LeBlanc resurfaced on social media recently, some people accused Billie of being a 'nepo baby' - and it didn't go down well with Billie's brother Finneas. Following comments such as "Another celebrity helped by Hollywood's roots lol" and "She's been part of Hollywood since her youth", Finneas addressed the topic from his own official Instagram account. He wrote: "Ah yes, the classic, 1 day of work on 1 episode of friends to make someone rich and famous- the whole gag of this video is none of you had any idea at all who she was." As well as releasing her own country music album and having larger roles in Bones and Six Feet Under, Maggie has also worked as a voice actress in computer games such as the EverQuest II series, Final Fantasy XIII, and the Saints Row series. Billie and Finneas' dad Patrick O'Connell, 67, was also an actor, with credits on Broadway as well as on TV series The West Wing and NYPD Blue. Addressing what it was like witnessing her parents try to succeed in such a fiercely competitive industry, Birds of a Feather singer Billie once said : "For years, I saw my parents beat up over the fact that they didn't have it better." She continued: "My dad is the best actor I've ever seen. And my mom can do all these voices and characters – she's incredible. So I wish they'd had more recognition." As well as working, Maggie and Patrick also homeschooled Billie and Finneas, and Billie has since said how beneficial it was to her growing up. "I learned how to do math by cooking with my mom,' she said. 'I learned, like, how to build sh*t from my dad."
