Entertainment News

The Bafta Film Awards have unveiled a highly diverse nominations list, with 16 of the 24 acting nominees this year coming from Ethnic groups.

Nomadland and Rocks lead the nominations for this year’s ceremony, with seven nominations apiece. The Father, Mank, Minari and Promising Young Woman all score six nods each.

Four women are nominated in the best director category, including Chloe Zhao for Nomadland. She won the same award at the Golden Globes last week. But the biggest surprise is in the acting categories. Not one actor of colour was nominated last year, so the British Academy had faced pressure to diversify this year's nominees.

That has resulted in a significant swing, with Daniel Kaluuya, Riz Ahmed, Dominique Fishback, Tahar Rahim and Bukky Bakray among the 16 nominees from ethnic minority backgrounds in the acting categories. But many of the predicted nominees missed out, including Viola Davis, Carey Mulligan, Amanda Seyfried, Sacha Baron Cohen, Olivia Colman, Glenn Close and Gary Oldman. The winners will be announced at a ceremony without a live audience on April 11.

Last year's nominations sparked criticism over the all-white acting nominees and lack of female directors. This year, four of the six nominees in each of the acting categories are from ethnic minority backgrounds.

Meanwhile, four of the nominated directors are women, while three are also nominated for best film not in the English language.

Film critic Rhianna Dhillon tweeted: "I am so pumped to go on the news tonight and NOT have the same old chat about diversity! Look at that director shortlist! Look at those acting categories!" Bafta's nominations list is out of step with those of other ceremonies this awards season, but that was welcomed by some.

"The Brits went their own path this year," tweeted film critic Doug Jamieson. "They clearly couldn't care less about the Oscar race. That's fabulous. Every awards show should have this mentality. You do you, Bafta."

Matt Neglia, host of the Next Best Picture podcast, agreed: "Happy to see Bafta recognise some of their own films for a change instead of predicting the Oscars." Big changes were made this year including the introduction of a long lost system in a bid to increase viewership of all the submitted films.

A statement from Frances McDormand, Chloe Zhao and the team behind Nomadland, said: "We are thrilled Nomadland has been recognised by Bafta and its members.

"In a year when we have all been separated and movies felt like one of the few things that held us all together, we are proud to be recognised for a film about resilience, community and what connects us."

Following a seven-month review into the lack of diversity last year, Bafta introduced more than 120 changes to its voting, membership and campaigning processes. They include the introduction of a new long-list round of voting, the expansion of the outstanding British film field to 10 nominations, and increasing all four acting categories and best director to six nominees in an attempt to ensure greater diversity.

Bafta chair Krishnendu Majumdar said: "After last year's nominations, we started the Bafta Review process with the intention of levelling the playing field and introduced a range of measures to ensure that all entered films were seen by our members and judged on merit.

"We hope today you can see some of those changes reflected in the breadth and depth of those nominated and we congratulate all our nominees."

Film committee chair Marc Samuelson added: "One of the key issues raised time and time again... was that too much deserving work was not being seen. The changes we are implementing are designed to ensure these films are seen and judged on merit alone."

The new first-round long-list voting system was introduced to encourage the 6,500 Bafta members to watch a wider range of films. Members vote to decide the nominations from hundreds of films up for consideration.

Birmingham Repertory Theatre has become the first major venue in Birmingham to announce the return of live performances this May.  

The venue will see two productions which were postponed due to local restrictions and lockdowns finally take to the stage. Both productions are created and performed by Birmingham artists; Rosie Kay’s Absolute Solo II on Wednesday 19 May 2021 and Lightpost Theatre’s Constructed from Thursday 27 – Saturday 29 May 2021. Tickets are on sale now at birmingham-rep.co.uk. Customers with tickets for previously scheduled dates for both productions will be contacted direct by the box office 

Sean Foley, Artistic Director of The REP said; “It’s been almost twelve months since we closed our doors and ceased almost all live performance. It’s been an extremely challenging period for all theatres across the country, but I’m delighted we can now look forward to welcoming back audiences and artists, and am thrilled to announce that now, quite rightly, some of Birmingham’s brightest talent will reopen the venue in May. 

“After being able to reopen briefly in October with the World Premiere of Birmingham Royal Ballet’s Lazuli Sky, and then moving the special Christmas production of The Nutcracker at The REP online - the first livestream ever from the REP - we will continue our presenting of the best that the City can offer. Acclaimed choreographer and dancer Rosie Kay premieres Absolute Solo II on 19 May. Lightpost Theatre Company, a company of young black men between the ages of 16-26 from across Birmingham and the West Midlands, and supported by The REP, will premiere their brand-new production, Constructed a week later from 27-29 May. 

“Both will showcase the very best our city has to offer as we all gather together again, the theatre returns to live performance, and The REP looks forward to celebrating the 50th anniversary of our home in Centenary Square.” 21 years on from her first ever solo show, Absolute Solo, which she performed in the 1999 Edinburgh Festival, and six years since last appearing on stage herself, Kay returns with Absolute Solo II - works that look backwards and forwards at her personal experience as a female in dance.

The triple bill includes a new work created on her-self during lockdown which explores the notion that now, as an older dancing female, she has something to say about the female body and the experience of being female and being on stage. Constructed explores the culture of working-class black men in Britain. Set on a failing construction site, a group of labourers seek to better themselves but hierarchy and social circumstance forces them to stick to the job at hand.

When a rare opportunity for promotion arises, fragmented relationships born out of frustration threaten to break apart the brotherhood of co-workers. This new play seeks to dig deeper behind the workplace banter of a construction site, exploring the challenges that face working class manual workers both on site and at home. Constructed is directed by CJ Lloyd Webley and Mathias André. 

Lightpost Theatre Company originated as part of Shifting the Dial – a programme that aims to improve the mental well-being of young men of African, Caribbean, or mixed African or Caribbean heritage. The Shifting the Dial Partnership is a unique collaboration comprised of The REP, First Class Legacy, Centre for Mental Health and Birmingham and Solihull Mental Health NHS Foundation Trust and is funded by the National Lottery Community Fund.  

In line with current Government regulations, The REP has taken a number of carefully managed steps and precautions to help audiences feel safe and enjoy their chosen performance. The theatre has introduced a series of new safety measures such as socially distanced seating, hand sanitising stations, temperature checks and additional cleaning.

The REP will be monitoring the situation closely regarding government advice around performances in outdoor and indoor venues, with a number of contingencies in place. The priority, as always, will be the safety of audiences, performers and staff. 

Love Actually, the seasonal romcom that has become a revelation and synonymous for so many with the festive period, will tour the UK  in winter 2021 with a full orchestra performing its soundtrack live to picture, in what is becoming an annual highlight of the holiday calendar.

The tour will begin at the Bath Forum on 2nd December, before calling at Poole, Glasgow, Edinburgh, Sheffield, York, Hull, London’s Eventim Apollo, Nottingham, Manchester, and Liverpool before finishing in Birmingham.

Love Actually In Concert has garnered sold out audiences in previous years, with the Shropshire Star describing it as ‘… a wonderfully-magical night that really got everyone into the Christmas spirit’; whilst the Nottingham Post commented the performance was ‘Funny, heart-wrenching and downright cheeky on occasion the musicians do not just provide the background noise but all have their moments to shine.’

Directed by Richard Curtis and originally released in cinemas in 2003, Love Actually tells ten separate yet interweaving stories of love around Christmas time.

The film features an all-star ensemble cast, including Hugh Grant, Liam Neeson, Colin Firth, Laura Linney, Bill Nighy, Martine McCutcheon, Alan Rickman, Emma Thompson, Keira Knightley Rowan Atkinson, Martin Freeman, and many more.

A full, live orchestra will perform Craig Armstrong’s evocative score at these shows, with the film being projected onto a huge screen. Armstrong is one of the UK’s most recognised film composers, with his work being awarded a BAFTA for his Achievement in Film Music.

Due to the ongoing coronavirus pandemic, a new date has now been announced for Wolverhampton’s first ever Creation Day Festival. Organisers are planning to include the majority of the artists from the original line-up and there will be a few new surprises too. The full line-up will be announced in the coming months.

Tickets already purchased for this year’s festival will automatically be transferred to the new date or will be fully refunded. The council, along with partners Toura Toura Festivals and Alan McGee, founder of the iconic Creation Records label, decided to postpone Creation Day to ensure it can be enjoyed safely and to the full.

Councillor Steve Evans, Cabinet Member for City Environment, said: “In view of the recent announcements by the Prime Minister and taking into account his proposed roadmap of easing lockdown, we have taken the difficult decision to postpone this year’s Creation Day Festival to the same weekend next year.

“We know this will be disappointing news in what has been a very challenging 12 months. But due to the uncertainty caused by the pandemic, we feel it is the responsible decision to take. However, I’m pleased to say that we have a new date confirmed and we are committed to making Creation Day Festival an amazing event to look forward to in 2022.

“We all need a light at the end of the tunnel and we all deserve a chance to enjoy ourselves. For fans of great music, Creation Day Festival is that chance. It’s also one of the ways we can boost our city and show our visitors the fantastic events we have to offer. Creation Day will come just before we host the 2022 Commonwealth Games cycling trial and on the back of the refurbishment of the Civic and Wulfrun Halls.”

The Creation Day festival forms part of City of Wolverhampton Council’s ongoing commitment to re-light the city, help boost the local economy and offer high-profile events to attract visitors. The two-day event will be organised by the council in partnership with Toura Toura Festivals and Alan McGee.

Alan formed Creation Records in 1983 and it went on to become one of the key labels in 80s and 90s indie music. Over the years, he has worked with such major acts as Primal Scream, The Jesus and Mary Chain and Oasis. The festival, which had been due to take place this May, will now be entertaining music lovers over the weekend of 28 and 29 May 2022 in the city’s beautiful West Park.

At a time when the public has little or no access to theatres and live entertainment, West Midlands arts organisations have continued to work together in partnership presenting a high-quality online programme of arts that reflect the language and excellent diverse work of the region’s dynamic arts sector.

Via Facebook, Instagram, Twitter, YouTube, Zoom and company websites, over 1,500 artists and over 100 venues and companies have programmed 2,516 digital events and workshops including 141 world premieres.  Events included special commissions, community and school engagement, workshops, dance, music, fitness, crafts, conferences, discussions, drama, Q&A’s and virtual festivals.

Now, as the UK heads towards the first-year anniversary of COVID-19 lockdown (20 March), it seems fitting that West Midlands Culture Response Unit, led by Culture Central, recognises and celebrates the phenomenal online programme already enjoyed by over 31 million people regionally, nationally and globally.

The West Midlands region is home to some of the country’s most acclaimed arts companies and venues including the Royal Shakespeare Company, Rosie Kay Dance, Black Country Touring, City of Birmingham Symphony Orchestra, Birmingham Royal Ballet, Sampad South Asian Arts and Heritage, Black Country Living Museum,  Arena Theatre Wolverhampton, Birmingham Opera Company, Coventry’s Belgrade Theatre and Herbert Art Gallery, Town Hall Symphony Hall, Birmingham Hippodrome, Ex-cathedra and Warwick Arts Centre, making it one of the largest culture sectors in the country.

Erica Love, Culture Central Director said “The last 12 months has been challenging for the industry, but we are proud to have come together online to engage with diverse audiences bringing arts directly into millions of homes. It has also provided opportunities for creatives to continue to develop, and much needed work for freelancers who have been particularly affected.  As a result of this enormous success, many of the region’s arts organisations will continue their online programme on a permanent basis to run hand in hand alongside live performances in indoor and outdoor spaces.”

Fans of ballet, classical music and performing arts were given a wide choice of world-class online programming including the first live and on demand streaming of Sir Peter Wright’s acclaimed The Nutcracker at Birmingham Repertory Theatre, performed by the UK’s premiere ballet company Birmingham Royal Ballet; Leamington Spa’s Motionhouse who streamed WILD, the daring dance-circus production which explores our relationship with the natural environment; City of Birmingham Symphony Orchestra’s (CBSO) spectacular 100th birthday concert presented by Birmingham born actor Adrian Lester, featuring sitar player Roopa Panesar and CBSO’s conductors past and present, including Sir Simon Rattle; as well as online exhibitions, tours and lectures, Birmingham Museums have provided access to thousands of images from the city’s collection freely available to view, download, and use creatively.

Birmingham Royal Ballet Director Carlos Acosta, CBE said “One of the things which really stood out to me in this past year was the spirit of collaboration amongst the many West Midlands creatives and organisations. It was so inspiring to see people pulling together, and we ourselves established a brand-new partnership with The REP.

“We’ve been working constantly this past year to ensure we keep Birmingham Royal Ballet and the arts in everyone’s minds: from online dance classes, live streams, new collaborations, to my first ever digital commission with Empty Stage just last month. We are working on our plans for the year ahead and can’t wait to welcome audiences back!”

Joanna Patton, Player Chair and Principal Second Clarinet, CBSO added “The musicians and staff of the CBSO have been incredible in adapting to new ways of working during the pandemic.  We are about to get the orchestra back into the amazing Symphony Hall (as we did in the Autumn) to record some more digital concerts which we look forward to sharing with everyone. The future is already looking brighter, and we can’t wait to welcome audiences back in person again as soon as we can.”

Further highlights included the first Midsummer Festival, a free one-day festival over 12 hours to mark the Summer Solstice, part of a series of festivals presented by West Midlands Culture Response Unit featuring 100’s of the regions arts organisations; Worcester’s Severn Arts who provided online music lessons for individuals, as well as commissioning  Worcestershire artists to create 8 60 second films streamed online as part of the West Midlands campaign #ItGetsLightFrom here; Shropshire-based Pentabus Theatre who presented a series of Rural Recordings including Here I Belong by Matt Hartley and Crossings by Deirdre Kinahan and, as part of #RSCHomeworkHelp, the Royal Shakespeare Company, based in Stratford-Upon-Avon filmed RSC actors answering questions received from students from all over the world. Subjects included comedy plays, acting and directing. Those taking part included David Tennant, Paapa Essiedu, Niamh Cusack, David Bradley, David Threlfall.

Geraldine Collinge, RSC Director of Creative Placemaking and Public Programmes added “In these extraordinary times, with the RSC’s theatres closed for the entire year, working with Culture Central and partners across the West Midlands has enabled us to collaborate with new artists and reach existing and new audiences.  Whilst we can’t wait to have live theatre back on our stages in Stratford-upon-Avon, we know that the collaborations we have developed over the last year will continue to enrich our work in the future.”

Laura Worsfold, CEO Severn Arts commented “Covid-19 restrictions have forced us to think on our feet and react quickly, changing how we use technology and ensuring our offer is accessible and relevant. Thanks to our amazing team we have proved that we can adapt - re-purposing our teaching online, changing our arts strategy to provide support for the sector and flexing our Festivals offer to engage our providers, suppliers and artists in development and debate. We’re excited about physically working together again soon but will make sure all we’ve learned over the last 12 months comes with us.”

Music festival goers enjoyed DJ sets, wellbeing workshops, live reggae performances and comedy streamed into their living rooms from Almost Jazz Funk & Soul, Sofasonic Festival (UK’s best small festival, The Guardian) and Simmer Lock-down Festival.  Music continued with The Symphony Orchestra of India’s performance of Beethoven and Sonia Sabri Company who presented a series of specially created short performances by musicians of different ages specially created for Our Firsts under the guidance of world renowned Tabla Maestro and composer Sarvar Sabri.

Sonia Sabri, Artistic Director, Sonia Sabri Company commented “As well as streaming live and recorded performances, we have been running regular music and dance workshops online. The workshops have helped us to continue to support professional artists, not only here in the Midlands, but across the UK and worldwide. In fact, our online work has been so successful that we will continue to include this alongside our future live programme of events.”

The arts have reached out online to vulnerable communities: Coventry and Birmingham based Open Theatre Company  have run weekly workshops engaging with young people with learning difficulties at a time when they are feeling most isolated; Walsall’s Black Country Touring’s Dial A Story reached people at risk of loneliness when three artists, who had one to one telephone conversations with participants, delivered a bespoke performance in response to their conversation with the caller; Ikon Gallery has stayed connected with families with an introduction to their current exhibition Faster Than Ever followed by an invitation to a workshop in which they created their own artworks, Geese Theatre who have been able to deliver Reach In Out, a project working with people with multiple and complex needs and those in prison; Worcester-based Vamos Theatre who won a BBC Culture in Quarantine commission to screen 20 short films online and on BBC platforms reflecting on loneliness during lockdown and Friction Arts who are one of only ten organisations to be shortlisted for the first national Calouste Gulbenkian Foundation (UK Branch)’s Award for Civic Arts Organisations for its community outreach work in response to the pandemic.

With Coventry City of Culture opening in May and Birmingham hosting the Commonwealth Games in 2022, which includes a 6-month cultural festival, arts and culture in the West Midlands can look forward to taking centre stage.

Andy Street, the Mayor of the West Midlands said: “The way the region’s cultural sector has adapted in the face of the pandemic to move their events online has been incredible, and shows just what a creative and resilient sector we have here in the West Midlands.

The amount of people who have been tuning into these digital events underlines just how important the sector is to residents across the region, and so it is absolutely vital that as we move through the road-map we get the sector the support it needs to reopen safely.”

West Midlands arts organisation will continue to present online programming with the launch of Spring’s Calling on 20 March 2021 a festival marking one year since direct access to audiences was disrupted.

Celebrating Spring Equinox and hope, Spring’s Calling will feature 3-5 minute-long audio based artworks of spoken word, podcasts, music and singing from artists across the region.  With the recent roadmap out of lockdown, announced by the governme, the cultural and creative arts community in the West Midlands is now able to start planning for a safe return to live events, re-opening venues, and welcoming back audiences.

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Comedians Sunil Pal and Ehsan Qureshi appeared together a few years back in the film Bombay to Goa’ which proved to be the blockbuster film of that year. After a long hiatus, young film director Amol Bhagat has again planned a successful Hindi comedy film ‘Pune to Goa’ with the two comedians, whose shooting is going to start soon. The film will be produced by AdityaRaje Marathe Productions and Maurya Producing the same co-production Nava Nisarg is producing.

The film is produced by AdityaRaje Marathe, Prahlad Taware and co-producer Kishore Kharat. In the film, singers Javed Ali, Shahid Mallya, P Shankaram, Soumee Sailesh have lit up their voices. The screenplay and dialogues of the film have been written by well-known writer Rajan Aggarwal, who has previously won his writing in films like Welcome Back, Ready, No Entry.

At the same time, P. Shankaram ,Sanmeet Waghmare And Nikhil Bisht have taken over the responsibility of the Music Direction in this film. According to director Amol Bhagat, this film will be a complete package full of comedy, romance, suspense action, which the audience will be able to enjoy. It is being made keeping in mind the audience of OTT along with the movie theatre. The story of the film is completely different from the comedy film till date, it is a privilege for him as a director that he is getting along with the experienced actors.

If the comedian of the film, Sunil Pal, believes that this film is going to set a different criterion in the history of comedy film. The story of the film is the USP of the film, the audience will definitely be thrilled to see the film. As an actor, I am getting a chance to do something different in this film and the audience will definitely enjoy seeing this form of ours.

Ehsan Qureshi will play the role of the driver and Sunil Pal Khalasi in the film, Ehsan Qureshi told the media that the story of the film was so good that he could not speak to the director Amol Bhagat, definitely the film will prove to be a milestone And this film will set a different record. The team of the film is very obsessive and hardworking which will give the film a different height.

Director Amol Bhagat told that apart from Sunil Pal and Ehsan Qureshi, they have decorated the film with veteran actors from TV and theater. They are going to shoot for the film from next month and very soon this film will be in front of you all.

Tim Minchin, award-winning comedian, actor and composer, has confirmed new UK dates of his BACK tour opens at Birmingham Hippodrome on 23 and 24 October. BACK is billed as “Old Songs, New Songs, F*** You Songs”, with a set list of material from all corners of Minchin’s eclectic – and often iconoclastic – repertoire.

First performed in the UK in 2019, BACK was Tim’s first UK tour in 8 years and the 80,000 tickets sold out over a year in advance. The long-awaited return to the stage received rave reviews and saw Tim pick up a prestigious Helpmann Award for Best Australian Contemporary Concert.

Minchin has been celebrated globally for writing the music and lyrics for Matilda the Musical, which has gone on to become one of the most acclaimed musicals of the last 20 years, winning a record 7 Olivier Awards, 13 Helpmann Awards and 5 Tony Awards. He also wrote music and lyrics for the musical adaption of Groundhog Day, which after an acclaimed limited run at The Old Vic in London in 2016, debuted on Broadway in April 2017 and won the Olivier Award for Best Musical in 2017.

Since his return to stage Tim starred in the ABC comedy series Squinters and appeared as Friar Tuck in the Hollywood release of Robin Hood. He also starred in UPRIGHT, the award winning eight-part drama series which he co-wrote with The Chaser’s Chris Taylor, actor-writers Leon Ford and Kate Mulvaney, and co-produced with Lingo Pictures for Foxtel and Sky UK.

In November 2020, Tim released his first studio solo album Apart Together. Described as “crisply observed and tenderly considered” in The Independent, the album reached #3 in the ARIA charts. On the eve of the release Tim and his band streamed a live performance of the full album to a worldwide audience and critical acclaim.

Following the furore of him saying on national television that he didn't believe a word the Duchess of Sussex told US chat show doyen, Oprah Winfrey, British television presenter Piers Morgan left his post on ITV's Good Morning Britain following a row over the comments.

ITV announced the decision after Ofcom said it was investigating his comments after receiving 41,000 complaints. The channel confirmed his departure, which took place with   immediate effect.

An ITV spokesperson said: "Following discussions with ITV, Piers Morgan has decided now is the time to leave Good Morning Britain. ITV has accepted this decision and has nothing further to add."

His departure followed an on-air clash with weather presenter Alex Beresford, who criticised him for continuing to trash the Duchess, which prompted the controversial presenter to walk off set - before returning shortly after.

Explaining his problem with Piers' comments about the Duchess, Alex said: "I understand that you don't like Meghan Markle.

"You've made it clear a number of times on this programme, a number of times, and I understand that you've got a personal relationship with Meghan Markle, or that you had one and she cut you off.

"She's entitled to cut you off if she wants to. Has she said anything about you since she cut you off? I don't think she has, but yet you continue to trash her." Following his exit, Alex then said: "You know what, that's pathetic. This is absolutely diabolical behaviour. I'm sorry, but Piers spouts off on a regular basis and we all have to sit there and listen.”

ITV chief executive Dame Carolyn McCall said she completely believed what the Duchess said and added that the channel is totally committed to mental health.

Mental health charity Mind, which is a partner with ITV on its Britain Get Talking campaign, also criticised Morgan, saying that it was disappointed by the presenter's comments.

Referring to Meghan as the "Pinocchio Princess" in a tweet, he bombarded the Duchesses mental wellbeing, overwhelmingly criticising her with; "Who did you go to?" "What did they say to you? I'm sorry, I don't believe a word she said, Meghan Markle. I wouldn't believe it if she read me a weather report.

"The fact that she's fired up this onslaught against our Royal Family I think is contemptible."

He added: "My real concern was a disbelief frankly... that she went to a senior member of the Royal household and told them she was suicidal and was told she could not have any help because it would be a bad look for the family."

A total of 41,015 complaints were made to media watchdog Ofcom - the second highest number of complaints in Ofcom's 17-year history.

Following Morgan’s outburst, Mind tweeted: "We were disappointed and concerned to see Piers Morgan's comments on not believing Meghan's experiences about suicidal thoughts.

"It's vital that when people reach out for support or share their experiences of ill mental health that they are treated with dignity, respect and empathy.

“We are in conversations with ITV about this at the moment."

In their much heralded interview, The Duke and Duchess of Sussex pulled no punches in their exclusive, tell-all, interview with ‘the queen of chat’ Oprah Winfrey.

As Harry and Meghan shared their heartfelt concerns over a range of deeply personal topics - from racism, to their relationships with the UK’s tabloid press – no punches were pulled as the couple shed their long-sheltered light on what they described as "bigoted and toxic environment of control and fear." He also said that his father, the Prince of Wales had to make peace with the relationship with the media.

In the two-hour interview broadcasted in the US before it was screened in the UK, the Harpo/CBS production covered their lives as progressive, all-encompassing Royals – as was – as they told their own personal story as they spoke about struggles with mental health, their relationship with the media and Royal Family dynamics.

“Social media made the relationship with the press like the Wild West,” Megan said, “and the Royal Family's press operation failed to defend Harry and I from untrue stories.” Meghan said there had been an "obsession about anything in her world, including the media offering money to track down her parents.

Megan also opened up about her suicidal thoughts during her time there and said there were concerns raised by a member of Harry's family before the birth of son. In the deeply personal and explosive interview, she said she got to the stage where she didn’t want to be alive anymore.

Asked if she was thinking of self-harm and having suicidal thoughts at some stage, Meghan replied: “Yes. This was very, very clear. “Very clear and very scary. I didn’t know who to turn to in that.” She added: "And that was a very clear and real and frightening constant thought.

“I remember, I remember how he just cradled me and I was… I went to the institution, and I said that I needed to go somewhere to get help. I said that I’ve never felt this way before and I need to go somewhere. And I was told that I couldn’t, that it wouldn’t be good for the institution.”

"The UK is not bigoted,” Harry said, “the UK press is bigoted, specifically the tabloids." The Duchess of Sussex said her treatment in the press had been worse than other royals. But she did drop the ‘bombshell’ when she said that her husband had been asked by an unnamed family member "how dark" their son Archie's skin might be. The Duchess described the remarks as a low point.

Oprah said: "He did not share the identity with me but he wanted to make sure I knew, and if I had an opportunity to share it, that it was not his grandmother or grandfather that were part of those conversations." She went on to say that she tried to get the answer on and off camera, but Harry did not elaborate.

“If the source of information is inherently corrupt or racist or biased then that filters out to the rest of society," Harry said. He also said racism from the tabloid press that filtered into the rest of society was a large part of why he and his wife left the UK.

Asked if any family members had apologised to him for the reasons he felt he had to leave asked Prince Harry if any family members had apologised to him for the reasons he felt he had to leave, he replied with a “sadly not.

"It was felt that if this was our decision then the consequences are on us."

Pre-empting that she always had the highest admiration for the Queen and Prince Philip, Meghan also said that she found life within the Royal Family so difficult that at times didn't want to be alive any more. Harry said his brother and father were trapped within the system of the Royal Family and that his family cut him off financially at the beginning of last year, plus his father stopped taking calls from him.

During the interview, the Duchess also recalled a speculated row between herself and Kate Middleton, Duchess of Cambridge with Meghan disputing the initial claims that it was her who had upset Kate at the wedding during the interview. She insisted it was the other way around and Kate was having a bad day and ended up upsetting her.

Asked if his brother William wanted to leave the system, he said: "I don't know, I can't speak for him. Harry went on to say he loved his brother to bits and wanted to heal his relationship with both him and his father. He then went on to say of their relationship: “I will always be there for him (William) and the rest of the family.

For her part, Meghan said that there had been an obsession about anything in her world, including the media offering money to track down her parents.

"I did everything I could to protect both of them in that media frenzy for over a year," she said.

Comfortable in their new, more relaxed surroundings in California, the Prince said: "My biggest concern was history repeating itself. For me, I'm just really relieved and happy to be sitting here, talking to you with my wife by my side."

The couple took the opportunity to announce that their second child - due in the summer - is a girl.

Some light on what was, in the main, dark…but fulfilling and open.

Following the Interview, the Palace has issued a statement:
"The whole family is saddened to learn the full extent of how challenging the last few years have been for Harry and Meghan.

The issues raised, particularly that of race, are concerning. While some recollections may vary, they are taken very seriously and will be addressed by the family privately.

Harry, Meghan and Archie will always be much loved famly members."

Disney's first South East Asian ‘sheroe’ has premiered as Raya and the Last Dragon sees Raya travel around the region to reunite its people and attempt to save the world in the process. But aside from bearing the weight of humanity on her shoulders - she's got another burden to bear.

South East Asia is a region that is home to 11 countries and 673 million people. The movie is set in Kumandra - a fantasy land that's home to five tribes - each of which has its own distinct culture, inspired by different places in South East Asia.

The film doesn't take place in today's timeline, but rather imagines what the region might have looked like thousands of years ago. It's clear that bits of South East Asia are peppered through the film.

Raya wears a hat that looks like the Salakot - a traditional headgear in the Philippines. Her loyal sidekick and also her form of transportation is named Tuk Tuk - a cheeky reference to a rickshaw that is a popular mode of transportation there. And her fighting technique is inspired by Silat - a traditional martial arts form practiced commonly in Malaysia and Indonesia.

Producer Osnat Shurer said: “We tried to look at what are the underlying ideas that are shared... the most important one for us was this sense of community and working together." Some online complain that the movie is essentially picking and choosing bits and pieces from different cultures in the region and throwing it together into one film. But Malaysian-born Adele Lim, who is the co-scriptwriter for the movie, says it goes deeper.

She said: "When you talk about cultural inspiration, it wasn't just like 'Oh, we like how this looks, so we put it in'. It was much deeper than that.

"For example the scene where Raya's father is making her soup - you know, as South East Asians, so much of our love is shown to us through food.so that was something that really touched me."

The filmmakers say the film is simply inspired by the region - and was never meant to focus in on just one culture or country.

"I equate it to how the Arthurian legends were built on dramatic European tales, the filmmaker said. “You can point to something French, something English," said Vietnamese-American co-scriptwriter Qui Nguyen. So I this is our opportunity to create a wholly original story, but have its DNA be from somewhere that's real. We don't want to tell a story where the bad guys are from Thailand and the good guys are from Malaysia. So this felt like the way to do it.

"The question of what constitutes South East Asian identity is still being deliberated by South East Asians themselves," David Lim, an associate professor at the Open University Malaysia. He pointed out that the colonisation of the region also added to the different cultural lenses each country is shaped by. Vietnam, for example, was colonised by the French, and Indonesia by the Dutch.

"I think the history of colonialism has to a certain extent shaped the way we look at ourselves and what cultures we aspire to be more like, and who we identify as," he said. "I suspect some in South East Asia will know less about their regional counterparts than their colonisers. Those in Vietnam for example, might know more about France than Thailand."

He added: “Many in South East Asia do not view themselves as being South East Asian in the same way one might view themselves as being European".

Prof Lim also points out that it is unfair to put the burden of accurately representing an entire region on one film. "Who can carry the burden of representing the whole of South East Asia? I think if you start to impregnate the film with too many ideas that you project onto it, then it's rather unfair," he said.

"Look at the film as a way in to talk about South East Asia, to trigger conversation about the region."

That is definitely the way many others are choosing to look at it - pointing out that the film, while perhaps not perfect, is a step in the right direction.

Selfridges Birmingham is hosting a range of Mother’s Day events over the next 10 days, including beauty and fragrance masterclasses. There will also be an ‘On Motherhood Talk’ with six inspiring speakers, including Candice Braithwaite. Join her for a Mother’s Day card workshop.

The Scribble & Daub founder and illustrator will introduce people to her own style of work made with a traditional dip pen and inks, while looking at some other great artists who have drawn on flowers for inspiration before being taken through a simple design you can recreate at home – and gift to Mum.

For the digital workshop make sure to bring:

-       Good quality paper or card stock and some paper to practice on

-       A pencil and a waterproof black ink pen

-       Something to add colour such as a brush and inks, watercolours, gouache, crayons, coloured pens or pencils or even a lipstick if you have nothing else at the time!

-       Optional - some flowers to draw from in a little vase, or a photo on your phone but we will also provide images on screen to work from

This is a live virtual event. Information on how to join will be emailed to you 24 hours before the event. Keep a look out.

For the fragrance fans take Mum along and join in to celebrate the latest fragrance launch: L’Artisan Parfumeur. David Napier, the brand’s Communication Manager, will be joined by i-D France magazine’s Editorial Director, Claire Thomson-Jonville, to discuss all things fragrance and introduce a live olfactive profiling to guide Mum (and you) to her perfect perfume before answering all your burning questions.

Ticket is purchased for the specified event date and is not transferable to other events.

The Antiques Roadshow team are preparing to film at Birmingham’s Aston Hall for the first time this year as part of the 44th series of the much-loved family favourite. Fiona Bruce and the Roadshow team will be appraising everything from car boot bargains to treasured family possessions at the historic property.

Aston Hall is a magnificent 400-year-old Jacobean redbrick mansion situated in a picturesque public park on the north side of Birmingham. It is one of the last great Jacobean houses to be built and is home to Britain’s finest long gallery. Built between 1618 and 1635 for Sir Thomas Holte and home to James Watt Junior from 1817-1848, Aston Hall is steeped in history. The hall received royalty and was besieged during the English Civil War.

Alex Nicholson-Evans, Commercial Director at Birmingham Museums Trust said: “We’re absolutely delighted that the BBC have chosen Aston Hall as one of their locations for Antiques Roadshow. The Grade I listed building is one of Britain’s finest treasures, steeped in history and set in a beautiful Green Flag park.

“This is a fantastic opportunity to showcase one of Birmingham’s most important historic properties to an audience of millions and we hope that it will also uncover local people’s own art and treasures that they might have tucked away in their garages and attics. I can’t wait to see what undiscovered masterpieces Birmingham might have!”

Due to the ongoing Covid-19 pandemic the Antiques Roadshow team are once again asking members of the public who’d like to participate to share their stories online.

The series will be filmed on a closed set with an invited audience only to ensure the safety of guests, production and the wider public. Successful applicants will be invited to attend a recording session where they will share their items with a Roadshow expert who will be able to reveal more about the craftsmanship, history and provenance of each piece – as well as the all-important value.

Returning for her 14th year at the helm, Fiona Bruce acknowledges the team’s success at recording the show under challenging circumstances in 2020 and goes on to encourage people to apply to be a part of the programme in 2021: “We were thrilled that we managed to make a series of the Antiques Roadshow last summer despite all the difficulties of filming during the pandemic. Hopefully things will be easier this summer though life may not yet be back to normal by the time we start filming. So if you have an item that you’d like to bring along to the Roadshow, do please get in touch with us beforehand. Here’s hoping for a summer of great finds!”

Series Editor Robert Murphy said: “We can’t wait to see what long lost treasures and family heirlooms might be lurking in the attic or gathering dust on a shelf. Sometimes it’s the most unexpected items that catch our interest – a silk escape map that belonged to a Caribbean airman in the Second World War, a 19th century guitar, a vintage movie poster, even old Star Wars toys! What mystery objects have you found during that lockdown clear-out? Get in touch and you’ll have a chance of being invited to the Roadshow this summer to find out more without even having to queue! We look forward to hearing from you.”

Birmingham Hippodrome have partnered with dance powerhouse Company, Rambert to host the streaming of an innovative new production, Rooms.
A premiere from Norwegian choreographer and theatre and film director Jo Strømgren, the production will be created specifically for the camera and will be performed and broadcast live, with a cinematographer and camera crew relaying the productions in real-time to audiences across the world from 8-10 April 2021.
Like catching miniature scenes through a train window, or cycling through the streets and peering into apartments, we all love to glimpse into other lives and the homes they’re lived out in. Rooms will involve 17 dancers, 36 scenes and100 characters. Rambert’s brilliant dancers invite audiences into wildly different worlds and surprising set-ups. People trying to live their lives, navigate dilemmas, swerve mishaps and survive their mini-dramas. Rooms is an ambitious dance-theatre-film that is performed live.
Rooms follows on from the success of Birmingham Hippodrome’s acclaimed stream of their co-production with Curve, The Color Purple - At Home and Rambert’s inaugural livestream commission of Draw From Within (Wim Vandekeybus).
Birmingham Hippodrome’s Artistic Director and Chief Executive, Fiona Allan said; “It was very easy to agree to partner with the innovative team at Rambert to bring this performance into the homes of our audiences. Personally, I’ve long been a fan of both Rambert and Jo Strømgren, plus Birmingham Hippodrome has a history of supporting and presenting the very best of international contemporary dance. I am quite sure that Rooms will be quite unlike any other streaming experience audiences have had this year- in a good way!

“This new announcement continues the Hippodrome’s strand of streamed performances, which have included so far The Color Purple- At Home in partnership with Curve, and forthcoming live broadcasts of UniSlam and TEDxYouth@Brum in partnership with DRPG Studios.”
Jo Strømgren combines the skills of a choreographer with those of a cinematographer and has won prestigious awards for his work as film director. Also an established playwright, his work spans over 150 productions performed in 64 countries.
Talking about Rooms, Jo Strømgren said; “Diversity is a bouquet of different colours and I love it, but I think the discussion has been limited to certain issues whereas diversity is so vast – diversity of age, diversity of social status, diversity of ethnicity, religion, politics. Rooms offers glimpses through the windows of different people’s lives, to create a kind of mosaic of the cityscape environment. It’s like the unfinished narrative you create in your head as you pass by windows on a bike ride; you get to peek into people’s lives and you realise there is so much going on but you have no idea what is happening or why… I’d like to think that Rooms is funny as well as dark. I often set out with quite pessimistic ideas but somehow there’s always humour within the darkest of material”
Rambert have pledged its long-term commitment to the commissioning of new work for the small-screen with a series of other real-time livestream premieres planned for Spring, Summer and Autumn 2021. With its new Rambert Home Studio web platform, the Company is keen to use this moment to bring their work to a wider audience and offer a variety of ways for viewers to connect with the Company and its work.
Rooms will stream online on 8 Apr at 12pm, 9 Apr at 8pm and 10 Apr at 8pm.

Following the release of Tulliah’s single 'Just My Type (A Little Bit Lonely)', the 19 year old singer songwriter from Victoria’s Mornington Peninsula, recently revealed the new single ‘Distant Dreams’ alongside news her debut EP Fre$h Hugs will be out next Friday March 12 (via AWAL). Today, she shares the official video for Distant Dreams.

Filmed in Tulliah’s hometown, Mt Martha Beach, Australia and directed by Cass Wood, Tulliah explains: “30 degrees, snow gear on the beach, fish man = very weird dream! I had this idea for a while that the video clip for “Distant Dreams” would be really weird and dream like. When I was in the studio we went on a tangent about being in winter clothes while sunbathing on the beach, flying on planes to Hawaiian beaches and little fishes eating big sharks. I have no idea why haha but I knew it was weird, just like all Dreams are”.

The title origins of ‘Distant Dreams’ came from the back of a painting in her parent’s home. Tulliah describes how the captivating track came together: "We set up my new piano in the backroom of my parent’s. My mum was moving a painting that they have had for years to the top of the piano when she read the back of it - it was called Distant Dreams. This song flowed out of me. I used to never really believe that I could achieve my dreams. This song is about not wanting to break away from my visions and goals. The lyrics ‘don’t go waking me up’ is a really direct demand to myself! It’s about not wanting to go back to doubting my capabilities.”

The new EP Fre$h Hugs simultaneously captures Tulliah’s pure brilliance in pop music, alongside the heartfelt stories and emotions that give them their soothing edge; balancing both intimacy and richness through swirling and incredibly powerful pop music. Dean Tuza (Stella Donnelly, The Rubens) sat in the production hot seat across the entirety of the EP, working closely with Tulliah to finesse each track. In addition, Grammy-winning producer David Kahne (Lana Del Ray, Paul McCartney, Stevie Nicks) produced string arrangements that feature on the EP.

Recorded throughout mid-2020 while her Victorian hometown came out of lockdown (and then back in again), the EP offers relatable glimpses at a teenage musician coming of age, reflecting on mental health and relationships – as well as a friend that was cheated on while they were in a coma, believe it or not – with a warmth and comfort that feels like a hug from a close friend (hence the EP title). With influences nodding towards Whitney and Aldous Harding, Fre$h Hugs is a reflection of a maturing adult and the music that’s helped soundtrack her most pivotal moments; the end result being music with that certain something special that makes you feel like it's going to be a soundtrack for other people in itself.

There’s a lot to take in on Fre$h Hugs - honest stories, vocals years in the making, fluttering samples and crashing waves - but for Tulliah, this is just the start. “I’m just really excited to meet people that love these little parts of me.”

Black Coffee is an extraordinary individual. He started DJing aged 13 – his grandmother didn’t mind too much as long so he was home to milk the cows at 0500 and 1600.

At 14 he had a terrible accident. He was celebrating the release of Nelson Mandela when a car veered into the crowd he was in. His left arm was permanently damaged and he only has the use of one hand. It didn’t stop him.

Through sheer determination he has become one of the most sought-after DJs in the world, regularly playing at iconic clubs in Berlin, Ibiza, Miami, and more. He’s also an award-winning producer of Afrohouse music and a luminary of the African music industry.

He says: "I find significance in the fact that the name of such a great man is linked to my accident. It’s a constant reminder of what I need to do as a young African guy who understands how much Africa needs guys who want to make Africa great. So every time I think of my injury, I think of this great man and I think of the responsibility that I have."

Black Coffee's latest passion is transforming the relationship between African artists and record labels: I've just bought Gallo, the biggest record company on the continent. Signing artists to labels is the worst way to help artists because the contracts are never fair. We’re starting a new way where we want every artist to have their own record label and own their music. Hopefully that’s something that can grow to the entire continent.”

He’s just dropped his much anticipated new album ‘Subconsciously’ - his first for several years. It includes collaborations with Celeste, Pharrell Williams, Usher, Diplo and many more. “I’ve never had an album this successful. We’ve hit over 100 million streams on it.”

But it hasn’t been met with universal enthusiasm. South African fans are holding back: “The locals are like: 'This album is not for us. This is not the Black Coffee we know.' But I’m like its 15 years later now. I’m definitely not going to sound the same. I need to move on, I need to grow, I need to find other people to collaborate with. I need to do a song with Coldplay now, with Adele, with Beyonce.”

McLaren Automotive scientist and engineer Ella Podmore has been crowned the Young Woman Engineer of the Year by the Institution of Engineering and Technology (IET). The prestigious IET industry award celebrates women working in modern engineering to challenge negative perceptions and encourage greater diversity in the profession.

Involved in all material investigations, from first-drawings through to the final product, Ella has worked on the McLaren 765LT, the Elva roadster and the recently revealed McLaren Artura, the first series-production, high-performance hybrid from the luxury, high-performance supercar company.

Ella joined McLaren Automotive as an intern engineer in 2016, having completed a degree in materials engineering at the University of Manchester before securing a full-time role two years later. Since then she has progressed rapidly, creating her department from the ground-up and balancing her time between experiments and leading technical meetings. As one of over 100 McLaren STEM ambassadors, Ella is passionate about encouraging more young people of all ages to take up science, technology and maths careers.

She said: “I am absolutely honoured to have been chosen by the IET and the judges to be this year’s winner. Those who know and work with me recognise how passionate I am about my science and, being able to talk about that and the amazing supercars I get to work on at McLaren, I want to encourage the next generation of engineers and scientists to push the boundaries of what’s possible.”

As well as talking to young people around the world about her role, last year Ella was one of McLaren’s expert judges on the BBC Blue Peter ‘Supercar of the Future’ children’s design competition. Since then, Ella has participated in the global reveal of the Artura and featured in a film to mark the launch of the LEGO Technic McLaren Senna GTR model, the real version of which she worked on.

The IET Young Woman Engineer of the Year judges praised Ella for her passion and dynamism, noting that she represents the very best of the engineering profession and has the charisma and personality to inspire others to follow in her footsteps. As well as highlighting female engineering talent, the Young Woman Engineer of the Year Awards identifies role models who can help address the UK science and engineering skills crisis by promoting engineering careers to more women.

Executive Director of HR at McLaren Automotive, Mandeep Dhatt, said: “Huge congratulations to Ella from myself and everyone at McLaren. Ella’s passion for her work clearly shone through to the IET and the judges and it makes her such an inspiring ambassador for others who want to follow in her footsteps.

“For a company like ours, diversity is vital to maintain and boost the innovation culture which helps us to challenge ourselves and come up with new solutions and technologies to enable and deliver the exciting products that our customers want.”