
Melissa Leong opens up about 'dark' memoir after sparking concern on social media: 'It was a difficult process'
The former MasterChef Australia judge, 43, is set to release her book, Guts, on September 30.
Speaking to the Herald Sun ahead of the anticipated release, Melissa admitted that she visits some 'dark' places in the book.
'There are unexpected twists and turns and there are definitely some revelations I've never shared publicly before that are printed,' she told the publication.
'Some of it is dark and pretty relevant for what's going on in the world today, especially for women.'
Melissa added that while the process of writing the memoir had been 'difficult', she hoped it would also prove to be a healing one.
'That was a really difficult process for me. And it's going to be very difficult to talk about it in a public sense as the book is promoted,' she said.
'But I am committed to healing through it... I'm committed to healing through it because I think it will help the public. And I really hope it will help me.'
It comes after Melissa sparked concern among fans this week, after she shared a teary-eyed image of herself crying in her car to social media.
She posted the concerning photo on social media on Thursday, which captured her looking downbeat as she rested in her vehicle.
She told fans she was feeling a bit downcast after taking on the mentally challenging task of narrating the audio version of her upcoming memoir.
'Today was a hard day. I started recording the audio version of my memoir, and I knew sharing some of what I wrote might be the most difficult thing I have ever had to say out loud to strangers,' Melissa began.
'I know it's not yet time to talk about it, but I really need to send love to anyone out there who has been forced through the dark moments. You are not alone, and I need to know I am not, either.'
She ended on a more hopeful note and revealed she was excited to be telling her story.
'I am not one for posting these kinds of raw moments, but I want to mark today as one where I reclaimed myself and my story once and for all,' she added.
Many of Melissa's celebrity friends took to the comments section to offer words of support.
'Sharing something like this is never easy, and it matters that you did. Sending lots of love,' wrote publicist Adriana Glass.
'Deep breath... and say it proudly,' added makeup artist Shella Martin.
Melissa's upcoming memoir is currently available for pre-order and promises readers 'previously unshared tea' about her life.
The food critic famously served as a judge on the Channel Ten cooking competition for three years but left last year amid a huge hosting shake-up.
She has since joined spin-off show Dessert Masters as a judge – but has been repeatedly hit by rumours that she could be lining up a return to MasterChef.
Taking to her Instagram, Melissa asked fans what they would like to read about in the book, prompting a whole range of responses.
One eager fan asked her if she would be including any 'behind the scenes MasterChef stories', to which Melissa replied she would be.
'Oh there are a bunch, don't you worry,' she teased in a cryptic reply.
She also revealed she would be discussing other aspects of her life and career, including her little-known passion for UFC. Each chapter will also feature a recipe.
However, Melissa urged fans to stop asking her about aspects of her life she has 'publicly drawn a line' under as she hinted some things would be off limits in the book.
Hashtags

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


The Guardian
29 minutes ago
- The Guardian
Andy Griffiths: ‘I think it's a pity that reading is being lost through neglect'
It's the kind of day you wouldn't believe is winter when Andy Griffiths and I meet – crisp blue sky, barely a tussle of wind and a temperature warm enough to breathe and think. We both arrive 10 minutes early to his childhood home on a steep street in Vermont, a suburb that was very much the fringe of Melbourne when Griffiths grew up, but now is comfortably in the eastern suburbs. Built in the 60s, the brown brick house hasn't changed much. 'It's really comforting,' says Griffiths. 'This was a really great place to grow up,' he says, 'because there were kids everywhere.' He points to the houses on the corner, reflecting on his neighbours. 'There was always someone out on the street to play with or talk to, or little kids to tell silly stories to, and there were dogs everywhere.' At the bottom of the intersecting street is a pine forest that leads to Dandenong Creek. We walk down slowly, stopping to ponder the trees. 'It feels a little bit lighter than it did. Or maybe it's just me who's changed, but it did feel a lot darker and more mysterious. It's like you're in another little world.' The trees stand tall, with very few low-lying branches, not at all good for climbing. Every other kind of mischief, however, was within this open circle of trees: dragsters with banana seats, making up outrageous stories, hiding beers for teenage parties, and firecrackers. 'It was one of those childhoods where you'd go out in the morning and didn't really have to come home until it got dark.' Griffiths' father was an industrial chemist, with a knack for building things and gardening. His mother was a midwife who ran the secondhand book stall at the school fete, filling the house with all sorts of books donated from the neighbourhood. Griffiths often had first dibs, and still has some of those books spanning from fiction to philosophy. 'They're really precious reading experiences, because they're not necessarily what you would have given to a kid, but they just opened up the world to me. I often muse back on that and think, something was looking after me there.' Children's books did still appeal to him, however, and he loved Enid Blyton from an early age. 'I loved her because she'd just get the kids away from the parents in the first chapter, plunge them into danger or an adventure.' The tattooed punk children's author is rather dapper in a tweed jacket over a cardigan vest and wearing a trilby hat, but still at home in the forest, leading us the 'traditional way' that the kids would go down to the creek. He compares the creek to Winnie-the-Pooh's Hundred Acre Wood, a place of freedom. Freedom comes up a lot in conversation – not necessarily in a large political sense but rather the freedom to imagine, to play and to explore the world without adults present. He didn't know the years of unobserved childhood wandering around the creek would become the bones of his career, spanning four decades, although his résumé also includes bottle shop worker, punk vocalist and English teacher. Griffiths has made an impressive career spanning four decades of writing for six-to-10-year-olds, an age at which he says, 'Anything is possible. They're still in that phase where the world is large. You don't know what's quite true or what's not true,' he says, slowing down for a moment. Despite reports that children, especially boys, are reading less and struggling more with literacy, Griffiths is mostly optimistic, meeting thousands of kids a year. 'Parents do have a role to play in ensuring a balance in their kids' lives, a balance between outside play, gaming, reading. Because [in] reading, while you're getting that intense experience, you're gaining literacy skills, which make such a difference to every aspect of your life, which I think is a pity that that's being lost through neglect. 'At the same time, there's more books for kids than there ever was for more varied readerships. So much more.' His own childhood took place during the golden age of reading, as Griffiths calls it. 'We weren't spending all our time reading books, because we had our dragsters and we had the keys to the kingdom.' But he had the best of both worlds: playing for hours, all children together, and also getting lost in books, simply because, 'we had many spare hours growing up that couldn't be filled with anything else'. We leave the forest by a sharp ascent over muddy grass and rocks, returning to the block around Griffiths childhood home, heading towards the old milk bar. 'I want to keep writing the type of thing that a particular reader really craves. It's the most positive way I can think to make a difference. What I'm doing is translating what I loved in my childhood reading, finding that essence and the spirit of it and modernising it and passing it on.' His newest series, working with Bill Hope, is a change of direction after 30 years of collaboration with Terry Denton on the Treehouse series. The series with Denton ended after 13 books, published from 2011 to 2023, which sold more than 10m copies and were published in more than 35 languages. The series was a slightly unexpected hit internationally – Griffiths' previous series had only received local success. 'I just thought our particular flavour of humour was like Vegemite. 'There was an outpouring of grief by dedicated readers and their parents [when the Treehouse series ended]. And they were like, you can't stop. And I was like, well, I have,' he says, 'But it doesn't mean I'm going to stop writing.' He knew where he was going next. Over the years, many children had written to him, asking if they could appear in a book, because obviously that wouldn't be too much trouble, which led to the idea of the ubiquitous main characters in his latest book, You and Me, illustrated only as a pair of adventure costumes to leave their appearance to the imagination. You & Me is an adventure series, in which the main characters are called You and Me, which serves to encourage reading aloud. The second book, You & Me and the Peanut Butter Beast, firmly establishes the characters: Me, who wants to follow the rules, and You, who is more impulsive. Then there is Johnny Knucklehead, a reappearing swindler who started out as just a name in Griffiths' head, until Bill Hope sent over some drawings, the final sketch now tattooed on Griffiths' palm. Keeping in touch with a childlike sense of imagination, play and humour is something that Griffiths considers greatly. 'I allow myself to do things that appear to have no ostensible value or purpose,' he says, permitting himself to spend hours in a record shop and rereading childhood favourite books. 'You come away restored and buzzing with the excitement. It adds richness.' Griffiths says he always knows when he is working too much – everything is a chore and not much fun. Humour, he says, has great value, not just because it is pleasurable to laugh, but because it can shift frames of thinking. 'Laughter throws the switch back to openness where you've got the potential to make a more creative decision than just grimly doing whatever needs to be done.' For now, what excites him – like he is 13 years old again – is the fact the Alice Cooper Band is releasing their first album in 50 years. 'It's really good to allow ourselves to be excited by whatever it is.' Andy Griffiths' latest book, You & Me and the Peanut Butter Beast, is out on 19 August


The Guardian
29 minutes ago
- The Guardian
Beast of War review – a gung-ho second world war movie, with a great white twist
This year Australian shark movies have been particularly ravenous, swimming into different waters and taking a bite into other genres. Sean Byrne's Dangerous Animals arrived in local cinemas in June, blending the creature feature and serial killer movies into one foul fishy stew, with Jai Courtney playing a psycho who feeds his victims to the sharks. And now we have Kiah Roache-Turner's Beast of War, a second world war movie with a great white twist, which cheekily begins with a text insert declaring that it was 'inspired by actual events'. That's cheeky because this film doesn't exactly aspire for social realism, which will come as no surprise to anyone familiar with Roache-Turner's splatterific oeuvre (he cut his teeth helming monster movies about spiders, vampires and demons). Then again, one could argue – as many have – that all art is inspired by life. So perhaps it's not too outrageous to connect this film to the sinking of HMAS Armidale, the aforementioned historical event in which an Australian corvette was attacked by Japanese bombers in 1942, resulting in the deaths of 100 of its 149 crew members. Just don't go into Beast of War expecting a stock-standard war movie, or a stock-standard shark movie. Roache-Turner borrows from various genre playbooks but conjures a distinctive, gung-ho, atmosphere-oozing work that's all his own. This blast of oceanic mayhem has a curious tone: not quite realistic, not exactly taking the piss. It's led by a very entertaining lead performance from Mark Coles Smith (star of Mystery Road: Origin), who builds dramatic heft but also channels the spirit of midnight movies as Leo, a character who's smart and principled but at any given moment may just punch a shark in the kisser. Leo is the only Indigenous soldier in a squadron of Australian troops that includes Will (Joel Nankervis), with whom he strikes up a friendship during military training. The training involves participating in drills and listening to a one-armed commander (Steve Le Marquand, having a good time) monologising about how he lost his arm 'at the elbow' on the battlefield, while his mate 'lost his head at the neck'. The plot really swings into gear when the ship carrying the troops across the Timor Sea is sunk by the Japanese. Leo and Will are among a small group of survivors, who huddle on drifting wreckage with limited resources and limited options. There's a motor boat only metres away – but there's also, in the words of one character, 'a pissed-off 20-foot fish' swimming nearby. Like so many before him, Roache-Turner takes some inspiration from Jaws, doing a lot of cutting around the shark – though he's not afraid to deploy vision of the gnarly chomper. The film is drawn to water from the start, including in an early flashback scene presented in milky reds and blues, which establishes a personal relationship between Leo and ravenous beasts of the sea. Another key part of Leo's character is his sheer bloody Australianess. The shark disturbs him, but not as much as another man's preference for Foster's. 'You dirty bastard!' he spits out. 'VB all the way!' Cinematographer Mark Wareham (whose work includes Boy Swallows Universe, The Survivors and Cleverman) conjures an exciting visual flavour: a beautifully damp look with swirling milky colour schemes and stylishly askew angles. The presence of thick fog has a narrative purpose, but it also adds atmospheric richness, adding an extra air of unreality. The fog also helps to psychologically close in the environment and distract from the fact that much of Beast of War was obviously shot on sound stages. Sign up to Saved for Later Catch up on the fun stuff with Guardian Australia's culture and lifestyle rundown of pop culture, trends and tips after newsletter promotion This smashingly well-paced and gung-ho film feels like it exists on the edge of consciousness – not quite reality, not entirely a nightmare, and certainly not a history lesson. Beast of War is showing at Melbourne international film festival now. A general release in Australia and internationally has yet to be announced


Daily Mail
an hour ago
- Daily Mail
Reality TV star Matt Wright's 'abusive' tirade revealed as he faces three counts of attempting to pervert the course of justice
Reality TV star Matt Wright was 'hostile and abusive' to his helicopter pilots when they stopped crocodile-egg collecting because of a bad storm and went to the pub, a jury has heard. Wright has pleaded not guilty to three counts of attempting to pervert the course of justice after a February 28 chopper crash that killed Outback Wrangler co-star Chris 'Willow' Wilson. Pilot Sebastian Robinson was left a paraplegic after the crash and has been giving evidence in the Supreme Court in Darwin by video link from his wheelchair. Prosecutors allege Wright was worried crash investigators would discover flight-time meters were disconnected regularly to extend flying hours beyond official thresholds and paperwork was falsified. Crown prosecutor Jason Gullaci SC on Friday asked Mr Robinson about a storm on January 26, 2022 that prompted him and fellow pilot Michael Burbidge to call off crocodile-egg collecting at the Daly River mouth. 'It was huge ... across the whole horizon, going fast,' the 32-year-old said. To sling egg collectors below a helicopter onto croc nests in such a storm was 'very dangerous' for pilots and egg collectors, he said. The crews flew their choppers out and went to the Noonamah Tavern for a beer but when Wright heard his reaction was 'very hostile and abusive', Mr Robinson said. He said Wright phoned him saying; 'What the f*** are youse doing back? Egg collecting is not meant to be easy, you wait the weather out ... and get on with the job.' 'I told him to get f***ed, get vaccinated and fly his own helicopter,' Mr Robinson told the court, referring to Wright being an anti-vaxxer who was unable to fly into Arnhem Land because of COVID-19 restrictions. Wright's tirade contributed to Mr Robinson's desire to leave Wright's Helibrook company and run his own helicopter operation, he said. In phone messages the next day Wright apologised to his pilots and egg collectors for 'blowing up' at them but he had been under pressure with other missions, the court heard. Mr Robinson previously admitted cocaine use and supply but has told the court he never flew helicopters while high. In a pre-crash text message exchange played to the court on Thursday, Mr Robinson said he was 'crook as a dog', with a friend texting back, 'snorting too much coke out of Matty's arse', in a reference to Wright. In a line of questioning stemming from that on Friday, Mr Gullaci asked Mr Robinson: 'Have you ever sniffed cocaine off Mr Wright's arse crack?' 'Absolutely not,' Mr Robinson replied. 'Have you ever given anyone a blow job to get cocaine,' Mr Gullaci then asked, again getting a negative response. 'That's woken the jury up,' Acting Justice Allan Blow said, as Wright chuckled in the dock. Senior defence counsel David Edwardson KC on Friday accused Mr Robinson of concocting a story Wright had asked him to manipulate helicopter flying hours. Mr Robinson has said Wright asked him at his hospital bedside in Brisbane 11 days after the crash to transfer flying hours from the crashed chopper IDW onto Mr Robinson's ZXZ machine, which he declined to do. Mr Edwardson put it to Mr Robinson the conversation about manipulating flying hours never happened. But Mr Robinson said he remembered Wright saying something along the lines, 'we might have to put some hours across onto ZXZ'. Mr Robinson has also told the court he remembered at the hospital his phone was in Wright's hand and he was deleting items from it, which he believed to be helicopter flight times. But Mr Edwardson put it to Mr Robinson that was an 'absolute falsehood' because Wright never touched his phone and did not delete any messages. Mr Robinson said he disagreed. The charges against Wright do not relate to the cause of the accident and the prosecution does not allege he is responsible for either the crash, Mr Wilson's death or Mr Robinson's injuries. The trial continues.