Brad Pitt sues ex-wife Angelina Jolie for selling stake in French winery

Pitt says Jolie broke their agreement not to sell their interests in Château Miraval without the other’s consent

Brad Pitt has sued his ex-wife Angelina Jolie for selling her stake in a French winery they had bought together – and where they got married – to a Russian businessman.

In a lawsuit filed in Los Angeles on Thursday, Pitt said Jolie had broken their agreement not to sell their interests in Château Miraval without the other’s consent by selling her stake to a unit of Stoli Group, a spirits maker controlled by oligarch Yuri Shefler.

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The Cuphead Show! review – this fast, funny spin-off has perfected the original video game

Netflix’s giddy, knowing adaptation sees the indie game reach its ideal form: a cartoon that has great fun splashing around in the tropes of 1930s animation

Few video games in recent years have managed to equal the sledgehammer disappointment of Cuphead. For those of you not in the know, Cuphead was an independent 2017 game that captured gamers’ imagination like little else before.

This was almost entirely down to how it looked. An out-and-out love letter to 1930s cartoonists such as Max Fleischer and Grim Natwick – with a main character inspired by a 1936 Japanese propaganda cartoon about an invasion of an evil Mickey Mouse army – Cuphead thrummed with a gloriously authentic Betty Boop feel. The animations were hand-drawn and imperfect. The big-band jazz soundtrack was recorded on analogue. The voices crackled and hissed as if recorded from worn vinyl. No detail was spared, to the extent that the creators had to remortgage their home to pay for it. And people fell for Cuphead hard. After some initial footage was shown as proof of concept, anticipation hit fever pitch and stayed there for three years.

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Benedict Cumberbatch swans about on the baffling cover of Vanity Fair’s Hollywood issue

Scowling, sodden and surrounded by waterfowl, the actor adorns the new Hollywood issue as an icon of … what exactly?

The customary brouhaha erupted yesterday after the release of Vanity Fair’s annual Hollywood Issue cover photos, the most striking of which depicts an angry Benedict Cumberbatch emerging fully clothed from a hot bubblebath sesh with a bevy of swans.

The Hollywood Issue increasingly feels like it belongs to a different era, when fashion magazines and actors’ star power were at their respective heights. These days, the printed press is clinging on for dear life (Entertainment Weekly announced just last week that it will be ceasing its print edition), and in Hollywood no one performer is bigger than a franchise. So the Hollywood Issue, which trades in the nose-to-the-window glamour of movie stars, has a more forlorn quality than it used to.

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‘Childbirth as it really is’: This Is Going to Hurt actor defends series accused of misogyny

Ambika Mod, who plays stressed junior doctor, reacts to criticism that BBC drama disrespects women

It is the TV drama that has divided its viewers. Hailed by some as a brutally accurate depiction of the realities of working in an NHS maternity unit, This Is Going to Hurt has been denounced by others as misogynistic and insulting to women giving birth.

Now the actor who plays an exhausted and stressed female junior doctor in the show has rejected criticism of the BBC series set on an NHS obstetrics and gynaecology ward.

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The Tinder Swindler fallout shows the dark side of Netflix fame | Adrian Horton

The subject of the hit documentary, who conned women out of hundreds of thousands, is trying to launch a celebrity career, a depressing but inevitable next step

When I first watched The Tinder Swindler last month, in anticipation for an interview with director Felicity Morris, I was, like many viewers, completely absorbed by the story.

Several women meet a man on Tinder who claims to be the billionaire heir to an Israeli diamond fortune, lavishes them with attention, flies to them on actual private jets, then swindles them for hundreds of thousands of dollars? I’m a single woman in my late 20s in New York: of course I ate it up. The documentary was also much, much better than it could have been; I appreciated that Morris didn’t have much interest in probing the psychology of its swindler, Simon Leviev. Instead, she foregrounded three women’s first-person accounts of getting conned – why they believed him, why they cared for him, what such manipulation and confusion does to someone – as well as the journalists at the Norwegian paper VG who unspooled his lies for an initial exposé in 2019.

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The Marvelous Mrs Maisel season four review – the zip and bounce are back!

After a meandering third season, Rachel Brosnahan is back on ferocious form as a ‘girl comic’ fighting to regain her career

After a treacly, uneven third season, The Marvelous Mrs Maisel (Amazon Prime) appears to have found its fangs again. “Revenge … I crave it. I am completely consumed by the need for it,” purrs Midge/Miriam (nobody seems to call her Midge any more), rediscovering her sharp edges, now back on a small stage in a dingy nightclub, with an act that is heavy on the F-word. This show is never better than when Miriam is having to fight tooth and nail for her spot in the limelight, and it is a welcome relief to see her having to do it again. “That’s life. Shit happens,” she declares, ending the routine on a surprisingly acerbic note.

I say surprising because, while the first two seasons were a lot of fun, Mrs Maisel found herself in a rut during the third, which paired huge set pieces with a meandering plot and episodes that felt far longer than they were. Season three all-but guaranteed that Miriam was going to make it big, until her seemingly certain path to stardom and home ownership hit not so much a road block as a solid brick wall, when she accidentally(ish) outed the biggest star in the world to his adoring audience. It appears that few picked up on the Judy Garland references that felt a little ahead of their time, but it was enough to get her fired from her fame-making tour, and bring her back to where it all started.

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Robert Pattinson was told to change his ‘absolutely atrocious’ Batman voice

The star of Matt Reeves’ upcoming film says he spent two weeks experimenting with vocal delivery. It did not go well

Robert Pattinson says he originally tried doing a different voice when playing Batman, but was told to stop because it was “absolutely atrocious”.

Speaking to American talkshow host Jimmy Kimmel, Pattinson – who stars in the new Batman film directed by Matt Reeves – said there was something about putting the suit on that meant “you have to speak in a certain way”.

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Audrey Hepburn’s 20 greatest films – ranked!

On the 65th anniversary of Funny Face, we run down the Givenchy girl’s best moments – from upstaging her (usually much older) leading men to literally representing heaven in a dazzling white cable-knit

This exotic MGM romance directed by Hepburn’s then husband, Mel Ferrer, was in fact her first big flop. Anthony Perkins plays a Venezuelan refugee whose life is saved by Rima the jungle girl: Hepburn in a suede pixie tunic, accessorised with a pet fawn and backed by a supporting cast in brownface.

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‘The sprites clearly do not look like actual lemmings’: the inside story of an iconic video game

Dodgy graphics, mysteriously sourced computers and a bemused artist: a new Youtube documentary celebrates 30 years since the release of computing classic Lemmings

When you try to describe the much-loved video game Lemmings, it sounds like a wind-up. Your mission: herding a collection of tiny, green-haired, blue-jumpered, bipedal sprites from a trapdoor entrance to a safe exit without them dying horribly. It looked, if not bad, then wilfully basic even for 1991. But, released years before mobile phone games were a thing, it was nonetheless a fiendishly addictive game that feels like the spiritual precursor to the likes of Angry Birds. And it was manna to many, many kids like me, whose sole household computing device was a rubbish PC with a horrible four-colour CGA screen that basically couldn’t play any video game of the time … except Lemmings!

To mark 30 years since its release, Exient – current holders of the franchise – has made a YouTube documentary about it. Made remotely, Lemmings: Can You Dig It? largely consists of interviews with the people involved in the creation of the original game, plus spirited nostalgic interjections from various nerdy talking heads.

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‘At 6pm every evening the screen went blank’: the outlandish tale of the UK’s TV blackout

It’s 65 years today since television sets had to stop broadcasting to allow parents to put children to bed. How did it ever seem like a good idea?

In 1953, when Norma Young was seven, her family became the first in their Glasgow tenement to get a TV set. It was a big deal – the Youngs had had to choose between a car or a TV. They opted for a 14in Ekco TV as deep as it was wide – and Norma was opened up to the world of The Woodentops and Andy Pandy, two shows that rapidly became her favourites. But at 6pm every evening the screen went blank, and Norma’s viewing was at an end.

This wasn’t her parents regulating her TV time – it was the state. Abolished 65 years ago on Wednesday, the break in programming between 6pm and 7pm every night was a government policy, known colloquially as the toddlers’ truce.

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Lovers overlooking Sarajevo 20 years after the war: Chris Leslie’s best photograph

‘The couple were just strangers blocking my view. But as they reached out and embraced each other, it seemed an optimistic image representing the young people of a city that had suffered’

I first visited and photographed Sarajevo in 1996. I had been volunteering in neighbouring Croatia and managed to hitch a ride in to Bosnia in a UN vehicle. The war and siege had ended a few months before and the city was enjoying its long-awaited peace. Sarajevans took to its scarred streets in huge numbers, meeting with friends and drinking coffee safe in the knowledge that they wouldn’t be struck down by a sniper or shell.

The destruction of the city at that time was jaw-dropping, surreal and seemingly total: rows upon rows of broken, bombed-out high-rise flats; shell craters and explosion indents everywhere; hospitals, offices and factories all in ruins. This was urbicide, a late-20th-century Dresden or Stalingrad. Everyone who lived through the nearly four-year siege had a nightmare to share.

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Women behind the lens: raising awareness of albinism in west Africa

People with albinism across Africa face the harsh sun as well as social exclusion and suspicion. Photographer Maroussia Mbaye hopes to bring greater understanding through her work

An estimated 10,000 people are living with albinism in Senegal. Albinism is genetically inherited and, while prevalence varies from region to region, some of the highest rates are found in sub-Saharan Africa. The deficit in melanin is characterised by the absence of pigment in the skin, hair and eyes. Albinism can lead to skin cancer, visual impairment and sun sensitivity. About 90% of people with the condition across Africa die of skin cancer before they are 40.

Myths surrounding people affected by albinism have led to extreme practices involving the use of body parts. Hundreds of attacks including horrific mutilations, ritual killings, sexual violence, kidnappings and trafficking of people and body parts have happened in many countries across the continent. Many people with the condition are at risk every day because of superstition and witchcraft practices.

Franco-Senegalese photographer Maroussia Mbaye is a graduate from the London School of Economics and the London College of Communication. She was raised in a politically active family and her experiences fuelled an interest in social division and justice, leading her to pursue documentary photography, through which she aims to capture human life in new, perspective-shifting ways

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‘The sober fairy gave me one more chance!’ Glee’s Jane Lynch on alcoholism, ambition and the return of Mrs Maisel

The 61-year-old scene-stealer and gay icon is back! She talks about her triumph over sexism, shame and self-doubt

Not so long ago, Jane Lynch was walking her dog, happy as could be, and she paused and said out loud to herself: “God, I love being Jane Lynch.” She laughs at herself. “As if ‘she’ were something outside of me.” But things do seem pretty good: she recently finished her run of cabaret dates with her friend, the actor Kate Flannery. There’s a reboot of the underrated sitcom Party Down coming, and a fourth series of the Amazon show The Marvelous Mrs Maisel is about to start. Lynch won an Emmy for her role as Sophie Lennon, a bawdy superstar comic housewife from Queens (in reality, an upper-class Manhattanite, slumming it for financial gain and self-expression). This year, Lynch takes to Broadway, to be in Funny Girl, the fulfilment, at the age of 61, of a childhood dream. Last year, she got married for the second time. “I live in this really cute house in a little beach town,” she says. “I’ve got a beautiful dog, a fantastic wife.” She seems to marvel at it – she doesn’t sound remotely boastful, just grateful.

Things haven’t always been so good. Lynch has been through divorce and alcoholism – giving up alcohol for the second time only fairly recently, after slipping back into addiction. As a teenager, she carried deep shame about her sexuality. Well into her 30s, she felt lonely and alienated, and it wasn’t until her 40s that her career took off. Lynch might be the perfect embodiment of the idea that It Will Get Better.

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The Chaperone review – dishing dirt in well-turned hats and hair

Semi-true story from Julian Fellowes sets churchgoing Kansas lady the challenge of keeping the girl about to become Louise Brooks in line in 1920s New York

Written by Julian Fellowes, who brought us Downton Abbey and recent series The Gilded Age, and directed by Michael Engler, who worked on both the aforementioned, this based-extremely-loosely-on-fact costume drama adapted from a novel by Laura Moriarty should hit the sweet spot for fans of Fellowes’ particular variety of saucy-soapy period pieces. Like so much of Fellowes’ work, it effectively flatters the viewer by assuming he or she must be familiar with certain historical figures (in this case, early cinema star Louise Brooks) and then appears to dish the dirt on them through the eyes of a character from another class or at least different social sphere.

Here, that parallax view is from the perspective of Norma – played by Lady Grantham herself, Elizabeth McGovern, taking a lead role for a change. When first met in 1922 in Wichita, Kansas, Norma seems like a nice, churchgoing lady of a certain age, respectably married to a lawyer (Campbell Scott) and mother of two practically grownup sons. When she hears that local pianist Myra Brooks (Victoria Hill) is in search of a chaperone to accompany her precocious but exceedingly talented teenage daughter Louise (Haley Lu Richardson) to New York to attend a prestigious dance school, Norma mysteriously jumps at the chance. Turns out she has a good reason: she was actually raised in an orphanage there for a short while before being adopted by kindly midwestern farmers, and now wants to find her birth parents.

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Exploiting the exploited: the problem with Pam & Tommy

The much-hyped show about the theft of Pamela Anderson and Tommy Lee’s sex tape offers a screwball meditation on consent – without the consent of one of its subjects

Pam & Tommy, the Hulu series on the story behind the most infamous sex tape of the 1990s, is disconcertingly fun. The eight-part series created by Robert Siegel, half of which has aired, is front-loaded with 90s iconography and zany gags designed to provoke online discussion. There’s the brain-scrambling transformations of actors Lily James and Sebastian Stan into mid-90s rock it-couple Pamela Anderson and Tommy Lee, and a mulleted Seth Rogen as Rand Gauthier, the stiffed carpenter who pulls off an impressive heist of the couple’s safe, played for suspense. There’s nostalgic needle drops from Nine Inch Nails to Fatboy Slim, a conversation between a high Tommy and his animatronic penis, and plenty of sex, drugs, videotapes and characters asking, with winking naivety, what the world wide web is.

It’s a confusing, often entertaining watch, one that wants to have its fun and interrogate it, too, at best a heady blend of screwball comedy, madcap romance, expensive nostalgia and serious retrospective of a public scandal in which a woman’s privacy was invaded, her intimate moments exploited and judged without her consent. But there’s one detail that, for me, turns this whole palate sour: the real Pamela Anderson did not want this story retold. While Stan has confirmed that he spoke with Lee, who has praised his portrayal, Anderson did not respond to producers’ overtures. She has not spoken publicly about the series, but sources have expressed her discontent and disappointment in multiple outlets.

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‘Every year it astounds us’: the Orkney dig uncovering Britain’s stone age culture

Archaeologists excavating the windswept Ness of Brodgar are unearthing a treasure trove of neolithic villages, tombs, weapons and mysterious religious artefacts, some to be displayed in a blockbuster exhibition

If you happen to imagine that there’s not much left to discover of Britain’s stone age, or that its relics consist of hard-to-love postholes and scraps of bones, then you need to find your way to Orkney, that scatter of islands off Scotland’s north-east coast. On the archipelago’s Mainland, out towards the windswept west coast with its wave-battered cliffs, you will come to the Ness of Brodgar, an isthmus separating a pair of sparkling lochs, one of saltwater and one of freshwater. Just before the way narrows you’ll see the Stones of Stenness rising up before you. This ancient stone circle’s monoliths were once more numerous, but they remain elegant and imposing. Like a gateway into a liminal world of theatricality and magic, they lead the eye to another, even larger neolithic monument beyond the isthmus, elevated in the landscape as if on a stage. This is the Ring of Brodgar, its sharply individuated stones like giant dancers arrested mid-step – as local legend, indeed, has it.

It’s between these two stone circles that archaeologist Nick Card and his team are excavating a huge settlement of neolithic stone buildings. The earliest date from about 3300BC, their walls and hearths crisply intact, their pots and stone tools in remarkable profusion, the whole bounded by six-metre-wide monumental walls. “You could continue for several lifetimes and not get to the bottom of it,” says the neatly white-bearded, laconic Card as we gaze out over the site, presently covered with tarpaulin to protect it from the winter storms. “Every year it never fails to produce something that astounds us.” After nearly two decades of digging, they have excavated only about 10% of its area, and about 5% of its volume. It goes deep: buildings are stacked on the ruins of older ones; the place was in use for 1,000 years. When summer comes, they’ll dig again. When the coverings come off each July, says Card’s colleague, Anne Mitchell, “down you go and you’re among the ghosts of the past”.

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Amy Schumer, Regina Hall and Wanda Sykes to host the Oscars

The comedic trio are expected to be formally announced as hosts, the show’s first since 2018, on Good Morning America on Tuesday

Amy Schumer, Regina Hall and Wanda Sykes will host the 94th Academy Awards this year, Variety reported on Monday. The trio of female comedic actors, who are expected to be formally announced on Good Morning America on Tuesday, will be the struggling show’s first hosts since 2018.

Schumer, Hall and Sykes are tasked with providing some zest for a program whose ratings have flagged in recent years. Viewership for last year’s scaled-backed ceremony, held in Los Angeles’s Union Station, fell by more than half from the previous year, which itself was a record-breaking low.

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‘A certain pleasant darkness’: what makes a good fictional sex scene?

The novelist Niamh Campbell on why describing intimacy is so difficult and how creative writing about sexuality is changing. Plus, she picks 10 of her favourite examples

One of my favourite literary sex scenes is a swift and quiet one. In Colm Tóibín’s The Pearl Fishers, a gay man having dinner with a former lover and this lover’s – fanatically Catholic – wife thinks, with a flash of candidness, of anilingus past. It doesn’t read like a calculated shock, just pleasure; the story moves on and the image melts out. No point is made, nobody humiliated, no corny gotcha! occurs. There are only three people: one deceiving (husband), one pious (wife) and one emboldened but alone. The point is nuanced humanity. It’s hot.

It has been remarked upon that recent writing about sex by, in the main, young women tends towards the squalid, abject and confrontational. I can tell you that this partly down to the fact that app-based erotic culture in the metropolises of late capitalism really can be squalid, abject and confrontational. If people’s lives become miserable mills of boredom and humiliation they will tend to take it out on one another. I know this because I am Irish. People think this country was deranged for most of the 20th century by the church, but it was also deranged by poverty and, relatedly, shame. #NotallIrish of course; some people belonged to a more sex-positive cosmopolitan elite class, some were able to smuggle in condoms. And yet, the fact that it still feels impossible to discuss sex and Ireland without mentioning penitentiary laundries says a lot.

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