Florence Pugh plays health worker on the brink in Yungblud's new music video
Singer Yungblud said: 'The song was written initially about my grandmother going through serious injury and trauma, leading her to become a different person to who she was before.
'It's about the feeling of deterioration and ugliness; shutting out the world and the people we love out of the fear of becoming a burden or an embarrassment.'
He added, 'We all want someone or something to comfort us no matter how we are right now or who we become in the future. But it's f****** scary.'
The music star, 27, whose real name is Dominic Harrison, treated fans to a preview of his track at a surprise gig in London in March.
Zombie is the third single he has released from his forthcoming fourth studio album, Idols, out on June 20.
The singer, known for songs including I Think I'm Okay, featuring Machine Gun Kelly, and Fleabag, is also known for creating BludFest, which offers cheaper tickets compared to many other UK music festivals.
The singer has had two number one albums in the UK chart with Weird!, in 2020, and his self-titled album in 2022.
Earlier in the year, he received the disruptor of the year award at the Nordoff and Robbins Northern Music Awards, held in Liverpool.
Pugh, 29, who is known for her roles in Little Women (2019), Don't Worry Darling (2022), and Dune: Part Two (2024), previously appeared in Rachel Chinouriri's music video for Never Need Me.
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Metro
3 hours ago
- Metro
A year on from Baby Reindeer the Edinburgh Fringe gives Netflix middle finger
Last June, the Edinburgh Fringe was put under the microscope in a way it hasn't been for years when Baby Reindeer exploded onto Netflix. In the Emmy award-winning show, comedian Richard Gadd takes audiences through his real-life struggle of finding his big break while being stalked by a woman called Martha. He also detailed his harrowing experience of sexually assault by a nameless comedy industry predator. Through it, Richard – renamed Donny in the series – produced one of the bravest and most successful autobiographical TV shows perhaps ever made. But Baby Reindeer started life as Gadd's Edinburgh Comedy Award-winning Fringe show Monkey See, Monkey Do in 2016. Fleabag producer Francesca Moody then introduced Baby Reindeer to the world via a stage show in 2019. It was only then Netflix picked up Richard's shows and created an amalgamation of the two. Flight of the Concords and The Mighty Boosh originated at the Edinburgh Fringe many moons ago, and Phoebe Waller-Bridge's Fringe hit Fleabag is one of the festival's biggest modern successes, released on TV nine years ago and sparking a flurry of one-woman shows. I was curious, therefore, to see whether Baby Reindeer's global success has impacted the Fringe a year on. So I asked performers on the ground what they thought, with a little help from the visionary herself, Francesca Moody. On the Royal Mile, I get blank stares from performers flyering their work. Of course, everyone knows the show and Gadd's name. But many performers at the Fringe don't seem to have thought about Netflix or the BBC skulking the streets. Those who don't have the backing of PRs or an agent are simply trying to survive the month and get more than five people into their shows. Netflix feels 1,000 steps ahead. On a few occasions, the vacant expressions are followed by an explanation that they are performing theatre for theatre's sake. Each is spending roughly £5,000 (booking their venue and accommodation, etc) for the sheer love of it. Sean Wareing from immersive theatre show It's Gonna Blow! tells Metro the Fringe has 'always' been a place to get noticed, so that's naturally in the back of minds. 'People might write shows that could be adapted to Netflix but the main aim is not to get it adapted, it's to get in the room and have a conversation,' he says. Emma Jones, director of one-woman climate change show Single Use, tells me: 'The longevity and success of this play for us doesn't eventuate on screen. Success for us looks like getting our play in print, going on tour and keeping it alive. 'I do understand the want to be on screen because of the exposure and the money. But theatre for theatre's sake is still so crucial. That's why we're here at the Fringe, to keep this show alive.' Francesca Moody took Baby Reindeer, Fleabag and now Weather Girl – which is being adapted for Netflix – to the Edinburgh Fringe and landed them onto our TV screens. What on this good earth is her secret? 'I think the secret is following your gut instincts on things, which doesn't feel like much of a secret, if I'm honest,' she laughs in a chat with Metro, ahead of Francesca Moody Productions' sold-out show Ohio's Edinburgh Fringe run. While she can't predict what exactly will be the next 'big thing', Francesca has some ideas. 'It sort of feels like everything we were talking about in Fleabag times we're talking about again, we're constantly regressing,' she says. 'I think there's a conversation somewhere around that and the commodification of feminism. Also the presentation of ourselves publicly versus privately.' Francesca would also like to see an exploration of reality TV, and within this the capitalisation of real people and their real emotions. 'I think about Love Island or even Traitors… They say something about where we're at as a human race that I think could be quite interesting in theatre,' she says. Contrary to sparking trauma-led, personal comedy shows, Baby Reindeer seemed to simply catch and ride the highest wave of this trend, which started around 2015. Now there's a sense of trauma-porn fatigue in the theatre world, even if Netflix only caught up – or had time to produce the show – years later. Character comedian Laurie Stevens – behind David's One-Man Band (F*ck You, Steven) – tells Metro that the comedy world is finding a different way in to talk about serious, important topics. 'I think the shows that delved into personal issues peaked a couple of years ago and people are rebelling against that by going more abstract, still to explore the same issues,' she says. 'Trauma porn became a kind of buzzword and we've gone sillier, but still to get to the root of things.' Certainly, there's a buzz in the Edinburgh air around character-led comedians as opposed to traditional stand-up. These shows tend to be sillier, while still making salient societal observations. But even traditional stand-ups are rebelling against the Baby Reindeer trauma-led format Netflix seems to be after. With her 2025 show Behold!, Amy Mason intentionally moved away from to-the-bone autobiographical shows she's historically leant towards. 'There's been a shift. We're trauma-ed out. People have realised it's not necessarily great for our mental health unless you've got lots of stuff in place, to relive trauma on stage every day,' she tells Metro at Pleasance Courtyard. 'But also I think there's only so much we can do. There are only so many times people can make a show about certain topics. Especially because there's so much stuff going on in the world, audiences are responding well to silliness.' For Amy, performing a light show every night is a 'joy' – and it's being received well. 'I think the [trauma trend] was about breaking taboos and that was great a few years ago. Then it flipped slightly, it became an expectation on people – especially marginalised people – to always share their trauma in their work,' she says. 'But actually, the permission to just be stupid and talk about silly, light stuff and not necessarily give away loads of yourself is great.' Last year Alex Kitson took his show Must I Paint You A Picture to the Edinburgh Fringe, which told the story of his sexual assault and the suicidal ideation it triggered. 'The show was a success, but some reviews were very dismissive, some seemed shockingly cold in ways I can only assume was caused by 'trauma show' fatigue. One critic said that the bar for sexual assault was low that year, another wrote my story seemed made up,' Alex tells Metro. 'I'm not seeing many people trying to mimic this formula this year. If anything, the opposite. It makes me suspect that, post Baby Reindeer, trauma-based 'comedy' is showing all the signs of going the way of the knock-knock joke.' If anything, the Fringe and Baby Reindeer have changed TV – not the other way around. By the time it launched on Netflix the festival had already moved on. But that's why it's worth keeping an eye out: the Edinburgh Fringe is the eyes, ears and beating heart of our arts and cultural landscape. But with huge costs attached to taking a show to the Edinburgh Fringe – and with working-class artists being priced out – how is it going to stay this way? Can TV start saving theatre, rather than eating it? Francesca Moody, with her acclaimed self-titled production company, says: 'I think historically, there has been a little bit of a 'yoink' mentality of TV coming in, grabbing and taking an artist away from theatre and then making loads of money, but like not really remunerating at that end.' She explains: 'I think we need each other in order to survive. Ultimately, there has to be a bit more cohesion between the different mediums, because the interesting, unusual, knotty, thorny, risky stories and artists are always making work in small scale theatre. That's a place where you can take risks. More Trending 'TV and film need those artists, because that's how interesting murk gets made.' So has the Netflix lure derailed or detoured the Edinburgh Fringe? Not really. If anything Baby Reindeer simply confirmed something we already know, but sometimes need reminded: that the Edinburgh Fringe is packed full of stories worth telling. Got a story? If you've got a celebrity story, video or pictures get in touch with the entertainment team by emailing us celebtips@ calling 020 3615 2145 or by visiting our Submit Stuff page – we'd love to hear from you. View More » MORE: 'The Edinburgh Fringe left me bankrupt and homeless – here is my big idea to save it' MORE: 'We are getting married on stage at the Edinburgh Fringe – please come to our wedding' MORE: Brian Cox, 79, cancels national tour after being 'very busy and tired'
South Wales Guardian
4 hours ago
- South Wales Guardian
The Cranberries admit listening to Dolores O'Riordan outtakes was ‘hard'
O'Riordan drowned in a hotel bath due to alcohol intoxication in January 2018 and now her former band mates have delved into the archives for an extended 40-track reissue of their 1994 album No Need To Argue. Lawler admits revisiting old outtakes was a 'bittersweet' experience. He told the i newspaper: 'Dolores is speaking in-between takes. And it was hard. 'There's a lot of fond memories from that time. But I maybe didn't expect that to be as difficult as it was.' Guitarist Noel Hogan described the revisited album as a 'lovely legacy' and 'a celebration of someone's life'. 'All the other stuff that happened through all the years, it fades into the background,' he said. 'It's the songs people will remember Dolores for.' The band from Limerick, completed by Noel's brother Hogan on bass, sold more than 40 million albums with O'Riordan's distinctive vocals on hits including Linger and Zombie. Hogan said her death at the age of 46 was the 'biggest shock of my life' at a time when she felt she was happy and settled after a marriage break-up and revealing she had been sexually abused as a child by a family friend. 'That was one of the harder things to deal with, because I felt that the old Dolores had come back,' he said. 'There was a few years in there where even her and I fell out for a while. But we patched that up. And she'd met a guy who was really good for her, really nice.' The remaining members of the band completed their final album In The End, but Lawler said: 'I don't think it's something I'll ever actually get over.'
Leader Live
4 hours ago
- Leader Live
The Cranberries admit listening to Dolores O'Riordan outtakes was ‘hard'
O'Riordan drowned in a hotel bath due to alcohol intoxication in January 2018 and now her former band mates have delved into the archives for an extended 40-track reissue of their 1994 album No Need To Argue. Lawler admits revisiting old outtakes was a 'bittersweet' experience. He told the i newspaper: 'Dolores is speaking in-between takes. And it was hard. 'There's a lot of fond memories from that time. But I maybe didn't expect that to be as difficult as it was.' Guitarist Noel Hogan described the revisited album as a 'lovely legacy' and 'a celebration of someone's life'. 'All the other stuff that happened through all the years, it fades into the background,' he said. 'It's the songs people will remember Dolores for.' The band from Limerick, completed by Noel's brother Hogan on bass, sold more than 40 million albums with O'Riordan's distinctive vocals on hits including Linger and Zombie. Hogan said her death at the age of 46 was the 'biggest shock of my life' at a time when she felt she was happy and settled after a marriage break-up and revealing she had been sexually abused as a child by a family friend. 'That was one of the harder things to deal with, because I felt that the old Dolores had come back,' he said. 'There was a few years in there where even her and I fell out for a while. But we patched that up. And she'd met a guy who was really good for her, really nice.' The remaining members of the band completed their final album In The End, but Lawler said: 'I don't think it's something I'll ever actually get over.'
