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Prince William's ‘Deliberate Snub' Speaks Volumes About His Relationship With Kate After He Hired Divorce Lawyers

Prince William's ‘Deliberate Snub' Speaks Volumes About His Relationship With Kate After He Hired Divorce Lawyers

Yahoo21-04-2025

Prince William and Kate Middleton are keeping their lives low-key recently. The family spent the Easter holiday away from Royal tradition, and it's making people wonder if they're going to veer away from even more traidtions.
The Prince and Princess of Wales and their family— Prince George, 11, Princess Charlotte, 9, and Prince Louis, 6 celebrated with Pippa and Carole Middleton on Easter Sunday. The family was spotted at a Sunday morning church service in Sandringham, which is near their country home Anmer Hall.
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William & Kate's Latest Decision Just 'Raised A Lot of Eyebrows' at the Palace After He Hired a Divorce Lawyer
William Just Hinted He Also Has Issues With Meghan After Reports He'll Have Harry 'Harshly Dealt With' Once He's KingMeanwhile, King Charles and his siblings attended the Easter Mattins church service at St. George's Chapel, located in Windsor Castle, on April 20. The Royal family in attendance were Princess Anne with her husband Sir Timothy Laurence, Prince Andrew with his ex-wife Sarah Ferguson and Prince Edward with his wife Sophie, the Duchess of Edinburgh.
It was reported that William and Kate would not be doing the Royal Easter Tradition on Thursday, April 17. The family reportedly wanted to spend time with their children before they went back to school. 'Everyone understood the family not attending last year when Kate was sick, but there's been a lot of raised eyebrows at the palace about William's decision to skip again this year,' the insider added. 'It feels like a deliberate move and even a snub.'
Everything still looks like it's in paradise for the Wales with the couple's bond stronger than ever after Kate's remission from cancer in January 2025.
However, Buckingham Palace also raised its eyebrows when Prince William recently hired Princess Diana's divorce lawyers. William was regularly using his father's lawyers Harbottle & Lewis and its partner, Gerrard Tyrrell — and made the move to Mishcon de Reya, which represented Princess Diana in her divorce from Charles a year before her accidental death. 'William wanted to strike out on his own,' a source tells the Daily Mail, who broke this news. 'He did not want to continue using his father's lawyers. It's as simple as that. He wants to be his own man.'
The unexpected move has been 'the talk of legal circles' and Buckingham Palace thinks it's 'the latest example of his desire to follow a different path from that of his father.' William's friend told the Daily Mail, saying 'William wants to do things differently from his father, and wants to be seen to do them differently.'
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A New Role & a Rare 2-Word Comment: Prince William's Subtle References to Prince Harry This Week
A New Role & a Rare 2-Word Comment: Prince William's Subtle References to Prince Harry This Week

Yahoo

time16 hours ago

  • Yahoo

A New Role & a Rare 2-Word Comment: Prince William's Subtle References to Prince Harry This Week

Another week, another set of appearances from the royals—and this one was a big one: Prince William made his first appearance in Wattisham, Suffolk as Colonel-in-Chief of the Army Air Corps, a position bestowed on him by King Charles in 2024, but more notably, one that likely would have gone to Prince Harry had he not exited the royal family in 2020. (The Army Air Corps is Harry's former regiment with the Duke of Sussex serving as a pilot with the Corps during his second tour of Afghanistan up through 2014, something he opens up about quite a bit in Spare.) When Charles made the announcement of William's appointment back in 2023 around the time of his coronation, it was a bit controversial, but also speaks to a larger issue that looms over his reign: Harry. (More on that in a minute.)As part of William's appearance this week, he also had the chance to chat with soldiers who were on a water break from combat training. It was there that the Prince of Wales brought up the topic of family, according to the Daily Mail. 'Is the pace of life good at the moment?' he asked. One of the soldiers replied that it was a 'mixed bag,' which is when William took that two-word phrase and ran with it: 'Families OK? See you enough? Some of them might not want to see you that much. It's a mixed bag sometimes.' Oof. Whether or not William was directly referencing the situation with his brother is up for interpretation, but it resurfaces the mounting pressure for the Prince of Wales and the king to extend an olive branch and make a public move toward reconciliation with the Sussexes—or put themselves at risk of this being the line that is forever drawn when it comes to their royal reputations. (My guess is that this is the opposite of what they want.)That's not to say that William and Charles aren't justified in their actions—two things can be true. As many reputable publications have reported, trust issues are certainly at play. Harry's perspective is the public perspective, for better or worse, but in the case of the monarchy, the family is intertwined so deeply with the business, it feels logical for an effort to be made to smooth things over if only to achieve some sort of closure that removes this asterisk on their legacy. Based on Harry's recent chat with the BBC, he's ready and willing, not to mention openly asking for it. The ball is in their court. The problem is that until they make a move, no matter how good Charles's (and William's) public performance is, the private family drama will overshadow and minimize those efforts. Like I said, there are bigger issues at play: A lack of trust, battles over security, so much. This royal rift runs deep. But the 'never complain, never explain' motto beloved by the late Queen Elizabeth II doesn't seem to be working here and the noise around this issue is getting louder. The choice is theirs. Kensington Palace Just Posted a Striking Photo of Kate Middleton with George (Plus a Surprising Prince William Vid)

Prince William sounds alarm on oceans: 'Diminishing before our eyes'
Prince William sounds alarm on oceans: 'Diminishing before our eyes'

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time17 hours ago

  • USA Today

Prince William sounds alarm on oceans: 'Diminishing before our eyes'

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‘Good Night, and Good Luck' CNN live broadcast brings George Clooney's play to the masses
‘Good Night, and Good Luck' CNN live broadcast brings George Clooney's play to the masses

Los Angeles Times

timea day ago

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‘Good Night, and Good Luck' CNN live broadcast brings George Clooney's play to the masses

Saturday afternoon out west and evening back east, as citizens faced off against ICE agents in the streets of Los Angeles, 'Good Night, and Good Luck,' George Clooney's 2005 dramatic film tribute to CBS newsman Edward R. Murrow, became a Major Television Event, broadcast live from Manhattan's Winter Garden Theater, by CNN and Max. That it was made available free to anyone with an internet connection, via the CNN website, was a nice gesture to theater fans, Clooney stans and anyone interested to see how a movie about television translates into a play about television. The broadcast is being ballyhooed as historic, the first time a play has been aired live from Broadway. And while there is no arguing with that fact, performances of plays have been recorded onstage before, and are being so now. It's a great practice; I wish it were done more often. At the moment, is streaming recent productions of Cole Porter's 'Kiss Me, Kate!,' the Bob Dylan-scored 'Girl From the North Country,' David Henry Hwang's 'Yellow Face' and the Pulitzer Prize-winning mental health rock musical 'Next to Normal.' Britain's National Theater at Home subscription service offers a wealth of classical and modern plays, including Andrew Scott's one-man 'Vanya,' as hot a ticket in New York this spring as Clooney's play. And the archives run deep; that a trip to YouTube can deliver you Richard Burton's 'Hamlet' or 'Sunday in the Park With George' with Mandy Patinkin and Bernadette Peters is a gift not to be overlooked. Clooney, with co-star Anthony Edwards, had earlier been behind a live broadcast of 'Ambush,' the fourth season opener of 'ER' as a throwback to the particular seat-of-your-pants, walking-on-a-wire energy of 1950s television. (It was performed twice, once for the east and once for the west coast.) That it earned an audience of 42.71 million, breaking a couple of records in the bargain, suggests that, from a commercial perspective, it was not at all a bad idea. (Reviews were mixed, but critics don't know everything.) Like that episode, the 'live' element of Saturday's broadcast, was essentially a stunt, though one that ensured, at least, that no post-production editing has been applied, and that if anyone blew a line, or the house was invaded by heckling MAGA hats, or simply disrupted by audience members who regarded the enormous price they paid for a ticket as a license to chatter through the show, it would presumably have been part of the broadcast. None of that happened — but, it could have! (Clooney did stumble over 'simple,' but that's all I caught.) 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Joseph McCarthy,' helped bring about his end.) As in the film, McCarthy is represented entirely through projected film clips, echoing the way that Murrow impeached the senator with his own words. It's a combination of political and backstage drama — with a soupcon of office romance, represented by the secretly married Wershbas (Ilana Glazer and Carter Hudson) — even more hermetically set within the confines of CBS News than was the film. It felt relevant in 2005, before the influence of network news was dissolved in the acid of the internet and an administration began assaulting the legitimate press with threats and lawsuits; but the play's discussions of habeas corpus, due process, self-censoring media and the both-sides-ism that seems increasingly to afflict modern media feel queasily contemporary. 'I simply cannot accept that there are, on every story two equal and logical sides to an argument,' says Clooney's Murrow to his boss, William F. Paley (an excellent Paul Gross, from the great 'Slings & Arrows'). As was shown here, Murrow offered McCarthy equal time on 'See It Now' — which he hosted alongside the celebrity-focused 'Person to Person,' represented by an interview with Liberace — but it proved largely a rope for the senator to hang himself. Though modern stage productions, with their computer-controlled modular parts, can replicate the rhythms and scene changes of a film, there are obvious differences between a movie, where camera angles and editing drive the story. It's an illusion of life, stitched together from bits and pieces. A stage play proceeds in real time and offers a single view (differing, of course, depending on where one sits), within which you direct your attention as you will. What illusions it offers are, as it were, stage magic. It's choreographed, like a dance, which actors must repeat night after night, putting feeling into lines they may speak to one another, but send out to the farthest corners of the theater. Clooney, whose furrowed brow is a good match for Murrow's, did not attempt to imitate him, or perhaps did within the limits of theatrical delivery; he was serious and effective in the role if not achieving the quiet perfection of Strathairn's performance. Scott Pask's set was an ingenious moving modular arrangement of office spaces, backed by a control room, highlighted or darkened as needs be; a raised platform stage left supported the jazz group and vocalist, which, as in the movie, performed songs whose lyrics at times commented slyly on the action. Though television squashed the production into two dimensions, the broadcast nevertheless felt real and exciting; director David Comer let the camera play on the players, rather than trying for a cinematic effect through an excess of close-ups and cutaways. While the play generally followed the lines of the film, there was some rearrangement of scenes, reassignment of dialogue — it was a streamlined cast — and interpolations to make a point, or more directly pitch to 2025. New York news anchor Don Hollenbeck (Clark Gregg, very moving in the only role with an emotional arc) described feeling 'hijacked … as if all the reasonable people went to Europe and left us behind,' getting a big reaction. One character wondered about opening 'the door to news with a dash of commentary — what happens when it isn't Edward R. Murrow minding the store?' A rapid montage of clips tracking the decay of TV news and politics — including Obama's tan suit kerfuffle and the barring of AP for not bowing to Trump's Gulf of America edit and ending with Elon Musk's notorious straight-arm gesture, looking like nothing so much as a Nazi salute — was flown into Clooney's final speech. Last but not least, there is the audience, your stand-ins at the Winter Garden Theatre, which laughed at the jokes and applauded the big speeches, transcribed from Murrow's own. And then, the curtain call, to remind you that whatever came before, the actors are fine, drinking in your appreciation and sending you out happy and exhilarated and perhaps full of hope. A CNN roundtable followed to bring you back to Earth.

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