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Married At First Sight star Carina Mirabile reveals the REAL story behind her TV groom Paul Antoine's shocking door punching incident including his surprising sex confession

Married At First Sight star Carina Mirabile reveals the REAL story behind her TV groom Paul Antoine's shocking door punching incident including his surprising sex confession

Daily Mail​26-05-2025
Married At First Sight star Carina Mirabile has revealed new shock details about her TV husband Paul Antoine's shocking door punching incident which aired on the Channel Nine show earlier this year.
During the emotionally charged episode, Paul sensationally punched a door in the couple's shared apartment after Carina made what she thought was an offhand comment about a dalliance with US rapper Quevo.
The incident set the couple down a rocky relationship road, as well as shocking viewers and sparking a police investigation.
Speaking about the incident on her new podcast with celebrity hairstylist Jacob Mueller, This Is Chaos, Carina recalled the lead up to Paul's violent outburst - a double date with couple Rhi Disljenkovic and Jeff Gobbels.
She explained that what she thought was an innocent comment about her tryst with Quevo triggered something in Paul.
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'We were taking turns putting on a song [in an Uber]. I put on a song and it was one with Quavo in it. I said, "I slept with him" as it was funny and stupid, we all laughed about it. Paul laughed as well,' she said.
'Then when we get back to the apartment and Paul was so furious. He was frustrated, I could see he was upset. He was pacing, he had to go the balcony, I was thinking okay this isn't normal, something is up.'
Carina added that she thought her comment would be inconsequential, given a shock confession Paul made to Carina that was cut from the show's final edit.
'When Paul and I were doing Confessions Week at the start of the experiment, he openly said that he was into swinging with his ex-partner,' Carina revealed.
'I was like, are you for real? Does your family know about this? Then he told me all about his past dating life and I just let it go.'
Given Paul's racy confession, Carina said that she was surprised at Paul's reaction to her own admission.
'He was just so upset and dramatic about the whole Quavo situation. I kept apologising, he kept saying he was embarrassed that I openly said that. I kept saying sorry, sorry, sorry. I didn't feel unsafe, it was just us having a fight,' she said.
'I said, "but you openly said, on camera, for a national television show, that you had slept with swingers and did swinging with your ex so I didn't think [me sharing that story] that was a bad thing."
Carina added that she thought her comment would be inconsequential, given a shock confession Paul made to Carina that was cut from the show's final edit. 'When Paul and I were doing Confessions Week at the start of the experiment, he openly said that he was into swinging with his ex-partner,' she revealed
'Where's the juxtaposition between this? What is okay and not okay? You're allowed to do that and I just have to accept it? But when I say something about my past sex life you have a massive blow up?'
Carina then revealed that a producer, hearing the arguing coming from the couple's room, tried to intervene prior to Paul's outburst.
She said the producer encouraged Paul to take a walk to calm down, but an evening stroll did little to allay the groom's temper.
'He was angry, pacing and breathing heavily. I just said, "let's go to bed, let's go to bed." So we're laying in bed, I could hear him panting and I asked, "what's going on? Are you okay?" He got up and said "no, I'm not okay."
'He got up and bang, bang. I was like holy shit this has now gotten so much serious. I was freaking out, thinking how did it get from that comment to this situation?'
Carina, who stayed with Paul following his outburst, said that she regrets standing by her man, adding that she feels she let domestic violence victims down.
'Watching that back as it aired, with all of the viewers of the show, I know I 100 per cent let down so many women and victims of domestic violence,' she said.
'While it was all happening [during filming], I was processing it all and didn't know what was happening.
Carina, who walked away from a heartbroken Paul during Final Vows, added that she is arming herself with knowledge about domestic violence so as not to make the same mistake again
'I thought he was coming from a place of having to create this drama for a television show. There was so much drama with other couples on the show, and we were boring essentially.'
Carina, who walked away from a heartbroken Paul during Final Vows, added she is arming herself with knowledge so as not to make the same mistake again.
He hadn't shown me any bad behaviour signs or signs of domestic violence at all [prior to that night] and it all happened so out of a blue,' she said.
'I am now trying to educate myself so I can identify things like this and signs for my future relationship. Before this I had never experienced any form of domestic violence.'
Speaking about the incident in April, Paul told Daily Mail Australia that lack of sleep was one catalyst for his outburst.
'I was mentally drained. We were filming 12 to 14 hours a day, and I was running on five hours of sleep. I just snapped,' he said.
Paul added he felt Carina's apologies over her public admission were 'deflective' adding that his reaction was 'unacceptable'.
'I walked out of the room and I lost control. The moment it happened, I instantly felt shame. I felt disgusted,' he said.
Paul also confirmed that this kind of behaviour had never happened before in his life.
'My friends, my family — they know me. That's not who I am. I've never lashed out like that.'
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Prime Minister Anthony Albanese pays touching tribute to beloved film critic David Stratton after his death
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‘We popped the baby in a flowerpot!' Anne Geddes on the beloved photos that made her famous
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They were disseminated initially not just on Hallmark greetings cards, but also on the cover of Vogue Homme, in a Dior advert and even in a 2004 book with Céline Dion (the best image shows the singer holding aloft a baby asleep inside an amniotic sac). The height of that period, for Geddes, was appearing on The Oprah Winfrey Show: 'She came out carrying two babies dressed as bumblebees and we shot up the New York Times bestseller list!' But for many millennials, the peak of her fame was the episode of Friends in which Elle Macpherson's character, Janine, moved in with Joey and attempted to 'girlify' his apartment using Geddes' photograph Tayla as a Waterlily. Geddes is striking, with silver hair, high cheekbones and bright skin, like Meryl Streep if Streep wore her cap backwards. She sits in front of a generic backdrop, warm, if a little reserved, speaking slowly and carefully about bumblebee suits and lily pads. It's almost 30 years since she created Down in the Garden, a series of photographs of babies in and around flora and fauna, some of which will appear in her first ever retrospective, at the New Art Museum in Tübingen, Germany, this month. Among the 150 images are identical triplets sleeping in the hands of Jack, a school groundsman, whose hands also appeared in her 1993 photograph of Maneesha, a baby born prematurely at 28 weeks. For years, people have written to tell Geddes they keep this hopeful image on their fridge. Another photograph is of Tuli and Nyla. Geddes had two days in the studio, lots of babies and a giant Polaroid camera. 'I had no props, but you need a vague plan when you work with babies, as you have to work quickly,' she says. When Nyla began fussing, Tuli rocked her and whispered into her hair. She grabbed the moment. Geddes refers to these prop-less, slightly quieter pictures as her 'classic work' and the babies in flowerbeds as 'what they know' – 'they' being people like me, who grew up with them. 'After Down in the Garden came out, it was all pots, pots, pots,' she says. 'It was like I had a flowerpot tattooed on my forehead. People always want the flowerpots! But I'm like: I do other things. And what I'm looking forward to is that people will see the other work. This exhibition is really the first time anyone has asked me to do this.' Despite selling more than 10m calendars and almost twice as many copies of her seven coffee‑table books (for context, EL James shifted fewer copies of Fifty Shades of Grey in its first decade), Geddes hasn't always been treated with reverence in an industry dominated by single-name stars such as Bailey and Rankin. Is it snobbery? 'It's just a bit of a guy industry,' she says. '[Men] would say: 'I used to shoot babies, but then I moved on to landscapes.' 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As a teenager, she subscribed to Life magazine and became fascinated by the idea of telling a story through an image. Still, she lingered on the periphery of photography, going to work in television, where she met her husband, Kel. It was in those corridors that she came across the 'magic' of the darkroom. Shortly after they met, the couple moved to Hong Kong, where Kel was running a new TV station. 'Then we got married and I thought: I've got a roof over my head, now's the time to pick up a camera.' She began putting up adverts in supermarkets, offering to photograph families and children, traipsing around their gardens and homes with a Pentax K1000 she borrowed from her husband. When she was back in Australia and pregnant with her second daughter, now 40, Geddes began taking her classic baby pictures. She realised that, in a studio, she could control everything. She started taking photos for new parents, spending months creating elaborate sets in her garage and trying out different props. A lot of the shots came about by accident. One day, a six-month-old called Chelsea was brought in for a portrait and Geddes spotted an empty flowerpot in the back of the studio: 'We just popped her in there.' To keep her comfortable, she lined the pot with fabric. After a few months, she sent a collection of these images to a small greetings card company. That was that. At the beginning, she would put a call out for babies and take 'whoever came through the door'. But she learned to be discerning. 'Under four weeks is good. If they're full of milk and warm, they'll sleep.' She also liked working with six- and seven‑month-olds, 'because they're not mobile, but suddenly they're sitting and have this whole new perspective. Also, their heads are too big for their bodies, which is funny.' 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She recently put out a call, hoping to reunite with the babies, now in their 30s, many of whom are parents themselves. After we speak, I go to bed and begin scrolling through pictures of my own baby, asleep in the room next door. We love looking at our own babies, but why do we like looking at other people's, too? We don't always, says Geddes. She once came close to winning a big portrait award in New Zealand. 'I remember the head of Kodak in New Zealand coming up to me and saying: 'Thank God you didn't win. How could we have a baby on the boardroom wall?'' Anne Geddes' retrospective exhibition, Until Now, runs from 16 August until 21 September at Art 28, Neues Kunstmuseum Tübingen, Germany

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