
Fresh woke madness as Full Monty musical slapped with trigger warning
Click to share on X/Twitter (Opens in new window)
Click to share on Facebook (Opens in new window)
THE Full Monty musical featuring male strippers has been hit with woke warnings — about nudity.
Based on the hit 1997 comedy film, it is advertised as a show 'that bares all'.
2
The Full Monty musical featuring male strippers has been hit with woke warnings — about nudity
Credit: Alamy
But its website warns audiences: 'This production contains adult themes, depiction of suicide and partial nudity.'
It will be performed for a week in September at the Kings Theatre in Portsmouth.
And Toby Young, of the Free Speech Union, blasted: 'It's hard to imagine anyone who's bought a ticket to The Full Monty being triggered by partial nudity.
"What could they possibly think the title refers to other than male nudity?'
Theatre-goer Joe Gratton, 34, said: 'These trigger warnings are patronising to audience members.'
The award-winning film depicted six unemployed steelworkers in Sheffield who turn to stripping to make some cash.
Starring Robert Carlyle, Mark Addy and Tom Wilkinson, they end up doing a 'full monty' to Tom Jones's 'You Can Leave Your Hat On'.
It was one of the highest-grossing films of the 1990s, raking in £52million at the Box Office, and won four Oscar nominations.
The alert comes after British comedy classic Monty Python and the Holy Grail was slapped with warnings alerting fans to 'bad language' ahead of the film's 50th anniversary re-release.
Fans of Doctor Who and even the Three Little Pigs nursery rhyme have also been cautioned about 'discriminatory content'.
Tom Wilkinson dead- Fully Monty star dies aged 75 after starring in Shakespeare in Love and Batman Begins
The Kings Theatre has been approached for comment.
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Metro
4 hours ago
- Metro
Psychological thriller labelled a ‘masterpiece' free to stream on BBC iPlayer
To view this video please enable JavaScript, and consider upgrading to a web browser that supports HTML5 video A 'masterpiece' psychological thriller is making its way to BBC iPlayer. Released in 2021, The Power of the Dog stars Benedict Cumberbatch, Jesse Plemons, and Kirsten Dunst and is based on the 1967 novel of the same name by Thomas Savage. The film follows wealthy ranching brothers Phil (Cumberbatch) and George Burbank (Plemons) who meet widow Rose (Dunst) and her son Peter (Kodi Smit-McPhee) during a cattle drive. The volatile and brash Phil takes a dislike to Rose, but George strikes up a relationship with her – which eventually leads them to marry – and Rose and Peter to move to the Burbank ranch house. As Phil taunts Rose, he appears to take Peter under his wing, but his intentions don't seem as clear-cut to Rose. For those who didn't catch the award-winning hit, or just want to rewatch, it is now free to stream on BBC iPlayer, as well as Netflix. The Power of the Dog proved an instant hit following its premiere at the 2021 Venice Film Festival, garnering a whopping 12 Oscar nominations and seven Golden Globe nods. It is often cited as one of the best films of 2021, and indeed of the decade as a whole, and was named one of the best films of 2021 by the American Film Institute. It currently holds a 94% rating on Rotten Tomatoes, with the critics' consensus reading: 'Brought to life by a stellar ensemble led by Benedict Cumberbatch, The Power of the Dog reaffirms writer-director Jane Campion as one of her generation's finest filmmakers.' Metro critic Tori Brazier dubbed the film a 'taut and emotional epic' in her review, adding: 'A rich and detailed character study for each of its excellent four leads – and especially Cumberbatch and Smit-McPhee, who is an admirable scene partner – The Power of the Dog brings everything you'd expect, and hope for, from the writer and director of The Piano. 'The film is like watching a play, so focused is it on the minutiae of seemingly small human actions and emotions, and so nuanced in its storytelling.' The New York Times wrote: 'The Power of the Dog builds tremendous force, gaining its momentum through the harmonious discord of its performances, the nervous rhythms of Jonny Greenwood's score and the grandeur of its visuals.' More Trending USA Today lauded The Power of the Dog a 'picturesque, enthralling exploration of male ego and toxic masculinity, crafted by an extremely talented woman and offering enough nuanced bite to keep it interesting till the very end.' InSession Film said: 'Much has already been said about Jane Campion's western masterpiece, and for good reason. It is indeed truly great. Benedict Cumberbatch gives a career-best performance.' Heaping praise on Cumberbatch, with Ty Burr writing on his Substack: 'How do we know Benedict Cumberbatch is a serious thespian? Because we have no idea who he is offscreen. He's just entirely the role he's playing at any given moment, and those roles change radically.' The Power of the Dog is streaming on BBC iPlayer and Netflix 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. MORE: Amazon Prime fans rush to binge 'best series ever' that went under the radar MORE: TV fans have days to binge BBC's 'best crime drama' before return MORE: Casualty declares major incident as first look is revealed


New Statesman
6 hours ago
- New Statesman
Bruce Springsteen faces the end of America
Photo montage by Gaetan Mariage / Alamy When I met Patti Smith soon after Donald Trump's first victory, she said she'd ended up next to him at various New York dinners over the years, back in the Seventies, when he was pitching Trump Towers. 'We were born in the same year, and I have to look at this person and think: all our hopes and dreams from childhood, going through the Sixties, everything we went through – and that's what came out of our generation. Him.' Smith's sing-song voice was in my head at Anfield Stadium in Liverpool on one of the final nights of Bruce Springsteen's Land of Hope and Dreams tour. Springsteen was born three years after Trump and will also have sat at many New York dinners with him. Those with half an eye on the news would be forgiven for thinking that Bruce has been lobbing disses at the president from the stage between his hits, but his latest show is heavier than that: a conscious recasting of two decades of his more politicised music, with a four-minute incitement to revolution in the middle. Here is a bit of what he says: 'The America I love and have sung to you about for so long, a beacon of hope for 250 years, is currently in the hands of a corrupt, incompetent and treasonous administration. Tonight we ask all of you who believe in democracy and the best of our American experiment to rise with us, raise your voices, stand with us against authoritarianism and let freedom ring. In America right now we have to organise at home, at work, peacefully in the street. We thank the British people for their support…' Clearly few in the US are speaking out like this on stage, and Trump has responded by calling Springsteen a 'dried-out prune of a rocker (his skin is all atrophied!)' and threatening some kind of mysterious action upon his return. Springsteen, the heartland rocker, was never exactly part of the counter-culture, though he did avoid Vietnam by doing the 'basic Sixties rag', as he put it, and acting crazy in his army induction. Yet he has become a true protest singer in his final act. He wears tweed and a tie these days, partly because he's 75 and partly, you suspect, to convey a moral seriousness. When I last saw him, two years ago, I thought I saw some of Joe Biden's easy energy. Well, Bruce still has his faculties. The feeling is: listen to the old man, he has something to say. Springsteen's late years have been something to behold. At some point in the last decade he stopped dyeing his hair and started to talk in a stylised, reedy, story-book voice. The image of the America he seemed to represent shifted back from Seventies Pittsburgh to Thirties California: the bare-armed steelworker became the Marlboro Man, and in 2019 there was a Cowboy album, Western Skies, with an accompanying film in which he was seen on horseback. His autobiography Born to Run revealed recent battles with depression. And it is depression you see tonight in Liverpool – in the wince, the twisted mouth, the accusing index finger; in his entreaty to Liverpool's fans to 'indulge' his sermon against the American administration, delivered night after night, to scatterings of applause. It is a depression I recognise in older American friends who fear they're going to the grave with everything they knew and loved about their country disappearing. But depression is also the stuff of life, of energy. Springsteen has been particularly angry since the early Noughties, since the second Bush administration, but this is his moment somehow, and his song of greedy bankers – 'Death to My Hometown' – is spat out with new meaning in 2025, an ominous abstraction. The father-to-son speech in 'Long Walk Home' feels different in this politically charged world: 'Your flag flying over the courthouse means certain things are set in stone/Who we are, what we'll do and what we won't'). A furious version of 'Rainmaker' ('Sometimes folks need to believe in something so bad, so bad, they'll hire a rainmaker') is dedicated to 'our dear leader'. As much as I admire Springsteen and seem to have followed him around and written about him for years, the Land of Hope and Dreams tour made me realise I hadn't fully known what he was for. When I saw him in Hyde Park in 2023, the first 200 yards of the crowd were given over to media wankers like me, with the paying fans at the back: every single person I had ever met in London was there, mildly pissed up and whirling about with looks of mutual congratulation. Springsteen had become, to the middle classes and above, a global symbol of right-thinking, summed up by his long stint on Broadway at $800 a ticket. His dull podcast with Barack Obama was the American version of The Rest Is Politics with Rory Stewart and Alastair Campbell: men saying stuff you want them to say, to confirm what you already think about stuff (Obama was in awe of Bruce). Subscribe to The New Statesman today from only £8.99 per month Subscribe Politics was easy for Springsteen when politics consisted of external events happening to innocent people, rather than something taking place on the level of psychology, in a movement of masses towards a demagogue. The job he adopted, back in the Seventies, was to set a particular kind of American life in its political and historical context: to tell people who they were, and why they mattered. His appeal as a rock star always lay less in his words than in how sincerely he embodied them: his extraordinary outward energy, his mirroring of his audience, his apparent concern with others over himself. After 9/11, someone apparently rolled down a window and told him, 'We need you now,' so he wrote his song 'The Rising' from the viewpoint of a doomed New York fireman ascending the tower. A recent BBC documentary revealed he'd donated £20,000 to the Northumberland and Durham Miners Support Group during the strikes of 1984 – rather as he donated ten grand to unemployed steelworkers in Pittsburgh the previous year. His self-made success and songs about freedom were the Republican dream, but when Reagan tapped him up for endorsements it was a right of passage for Springsteen as a Democrat rocker to rebuff them (I'm pretty sure they tried to play 'Born in the USA' at Trump rallies too). He is quoted as saying that the working-class American was facing a spiritual crisis, years ago: 'It's like he has nothing left to tie him into society any more. He's isolated from the government. Isolated from his job. Isolated from his family… to the point where nothing makes sense.' Now, Trump has taken Springsteen's people (the Republicans were doing so long before Trump), and the interior life of the working man that Springsteen made it his job to portray has been exploited by someone else. 'For 50 years, I've been an ambassador for this country and let me tell you that the America I was singing about is real,' he says, possessively, on stage. Springsteen, like Jon Bon Jovi, sees his fans as workers. The distances travelled, the money spent, the babysitters paid for: that's what the three-hour gigs are all about. It is part of the psyche of a certain generation of working-class American musician to consider themselves in a contract with the people who buy their records. It is not a particularly British thing – though time and again I am impressed by the commitment required to see these big shows, especially when so many punters are of an age where they would not longer, say, sleep in a tent: £250 a night for a hotel, no taxis to the stadium, a huge Ticketmaster crash that leaves hundreds of fans outside the venue fiddling with their QR codes while Bruce can be heard inside singing the opening lines of 'My Love Will Not Let You Down'. Yet the relationship between a rock star and his fan is not a co-dependency: the fan is having a night out, but the rock star needs the fan to survive. It is hard to underestimate the psychological shift Springsteen might be undergoing, in seeing the working men and women of America moving to a politics that is repellent to him. He has not played on American soil since Trump's re-election and it is likely that this kind of political commentary there will turn the 'Bruuuuuce' into the boo. A Springsteen tribute act in his native New Jersey was recently cancelled (the band offered to play other songs, and the venue said no). Last week, a young American band told me they won't speak out about the administration on stage because they're not all white and they're afraid of getting deported. It is the job of the powerful to do the protesting, and, like Pope Leo, Springsteen's previous good works will mean nothing if he doesn't call out the big nude emperor now. The Maga crowd will still come to see him, of course, and yell the 'woah' in 'Born to Run' just as loud as everyone else does – perhaps because music is bigger than politics, or perhaps because politics is now bigger than Bruce. Though his political speeches in Liverpool (it's UK 'heartland' only this tour: no London gigs) feel slightly out of step with a city that has its own problems, it seems fair enough for Springsteen to be telling the truth about America to a crowd who's enjoyed their romantic visions of the country via his music for 50 years. But their own personal communion is suspended tonight, and the song 'My City of Ruins' has nothing to do with 9/11 any more: 'Come on… rise up…' In the crowd, a very old man is sitting on someone's shoulders. Bruce Springsteen and the E Street Band play Anfield stadium, Liverpool, on 7 June 2025 [See also: Wes Anderson's sense of an ending] Related


Daily Mirror
8 hours ago
- Daily Mirror
BBC removing 'masterpiece' film from iPlayer in days with fans urged to watch
The hit movie will leave th BBC iPlayer soon The clock is ticking for film buffs to catch a classic, Oscar-winning film on BBC iPlayer before it's taken down, reports Surrey Live. The film has garnered a global fanbase and was met with rave reviews from both audiences and critics upon its release. One fan gushed on Rotten Tomatoes: "Absolutely amazing. With invigorating writing and an amazing story surrounded by an amazing cast and even better music this movie is a modern movie classic!". Another chimed in: "This Movie is amazing. From the way it was written and portrayed by the actors to the way it was received, amazing [sic]." A third declared: "Masterpiece. My favorite musical of all time. My favorite movie of all time [sic]." A fourth praised: "one of the best movies of the century, you dont need to like musicals to like it. many movies have been about actors and musicians but this is the best of all [sic]. ". Another viewer confessed: "Very few movies have affected and haunted me like La La Land. I couldn't sleep the first time I watched it because of how it ended. I think it moved me a little too much. "The emptiness of their relationship not bringing closure was tough to swallow." La La Land, released in 2016, is a musical romantic comedy-drama that shines a light on Hollywood. Hailing from the creative genius of Damien Chazelle, the mastermind behind the Oscar-winning Whiplash, La La Land chronicles the love story of aspiring actress Mia Dolan (Emma Stone) and jazz musician Sebastian Wilder (Ryan Gosling), both striving to make their mark in the city of dreams, Los Angeles. Their relationship is tested as they navigate the harsh realities of a city notorious for shattering aspirations. La La Land, a musical spectacle, bagged numerous Oscars, including Best Actress for Stone and Best Director for Chazelle. The film also marked a reunion for Stone and Gosling, who had previously shared screen space in the romantic comedy Crazy, Stupid, Love. In addition to its Oscar haul, the film scooped up a host of awards, including Golden Globes, BAFTAs, among others. La La Land is often hailed as one of Gosling's most remarkable performances, with the Canadian actor boasting an impressive repertoire of roles spanning from romantic drama The Notebook, Blue Valentine, action-packed Drive, Blade Runner 2049, Barbie to The Big Short.