
Queen welcomes stars to palace for young writers' competition
The Queen welcomed a star-studded line-up to Buckingham Palace for the final of a national writing competition, including Oscar-winning actress Olivia Colman, comedian Matt Lucas, and two Gladiators dressed in Lycra.
The BBC 500 Words competition, which received almost 44,000 entries, encourages children of all abilities from across the UK to write.
Before the final on Wednesday, Camilla met BBC executives, hosts Alex Jones and Roman Kemp, and judges comedian Sir Lenny Henry, screenwriter Frank Cottrell-Boyce, Noughts And Crosses writer Malorie Blackman, Horrid Henry author Francesca Simon and actor Charlie Higson.
The Queen presented the medals and the winners will be announced during a special episode of the BBC's The One Show on March 6, World Book Day.
The young finalists had their entries read in the palace's ballroom by a group of celebrities who included Colman, Lucas, McFly's Danny Jones and Tom Fletcher, and actress Rose Ayling-Ellis.
Camilla gave a speech at the final, during which she said: 'Some decades ago, a famous author said this: 'You can make anything by writing'. He was quite right.
'By his writing, this man made many things: a wintry land that could only be entered through a wardrobe, mysterious creatures that could talk and play the flute, boxes of enchanted Turkish Delight and a lion whose roar could break spells.
'He was, of course, CS Lewis, whose The Lion, The Witch And The Wardrobe was published exactly 75 years ago.
'Just like CS Lewis, you have proved through this competition that 'you can make anything by writing'.'
The stars met Camilla after the final and she chatted about Strictly Come Dancing with Fletcher, who told her he had competed in the same year as Ayling-Ellis, but 'didn't do quite as well'.
Speaking to Lucas, the Queen praised the 'fantastic' stories the children had written, and he replied: 'I need to up my game as a writer, I'm very fearful,' adding 'they're all going to overtake me'.
Camilla said she hoped the children will keep on writing.
The One Show's Alex Jones introduced the Gladiators to the Queen, saying 'then we have Harry, but you might know him as Nitro', which was met with laughter.
Nitro told the Queen that the Gladiators 'seem to have such a pull with these young children, which is amazing'.
After the recording of the final in the ballroom, Camilla hosted a reception in the picture gallery.
After the final, Sir Lenny told reporters that for the children it was 'sort of the most extraordinary day ever'.
He said: 'What a great day, is my big thought, to stand here with the Queen and watching all these kids from all over Britain arrive to the ballroom is a wonderful thing, and you can see their eyes, they're like, 'what, I was in my living room this morning, and now here I am'.
'It's sort of the most extraordinary day ever.'
He added that the Queen promoting literacy was 'good', saying: 'We need public figures to promote literacy in this country, because we want kids to read more.'
Asked what his thoughts on audio books were, he said: 'As somebody who listened to all of Treasure Island from London to Cornwall once, with my daughter, I think that anything that draws a child into listening to a story and wanting to know what happens next is brilliant. We should support that.'
Sir Lenny said: 'I've always loved reading, so I think it's one of the reasons why I am who I am, because I read all the time.'
Higson, the author of the first novels in the Young Bond series, said he often wonders 'how I would have turned out if we had smartphones and computers and tablets when I was a kid, because I spent my whole time writing'.
He added: 'It's so encouraging and exciting that kids still write stories, still enjoy stories and, you know, every year we get the package of the final 50 stories and you think, what are we going to get this year?'
Higson said it was 'fantastic' that the Queen was promoting literacy, adding: 'She genuinely is passionate about it.
'She does a lot of work in that area. She used to read to her grandchildren.'
He said the day must be 'very surreal' for the children.
Asked for his thoughts on Amazon MGM Studios taking creative control of the 007 character, he said: 'Well, I think it's going to be really exciting to see what happens. I've got no inside information.
'Obviously, it would be lovely if they did consider doing something with my books.
'It's the start of a whole new chapter.'
Asked if he was positive about it, he said: 'I think so, you know, as a Bond fan, you think, well, you know, let's get some more Bond stuff like that.'
He said he thought there has been a 'slight problem' over the last 20 years where 'there hasn't quite been enough Bond coming out'.
The Queen met children including Camilla Birkett, seven, from Reading, who said she spoke to the Queen about their names and how both of their dogs had recently died and they had both got new dogs.
She said: 'She's called Camilla Rosemary and I'm called Camilla Rose.'
Claire Birkett, Camilla's mother, said her daughter's conversation with the Queen was 'really lovely', adding: 'She told us that she totally understood how you would feel, and that her dog died too, and that she'd got a new puppy.'
Nitro, whose real name is Harry Aikines-Aryeetey, said he met the late Queen Elizabeth II 'as Harry' at Buckingham Palace, adding: 'Last time I was dressed well and to be fair I did come dressed correctly, and once they told me that they wanted me in my outfit, I thought 'my oh gosh, I must have set history as surely I must be like the least-dressed man in this room'.'
Since the competition was launched in 2011, by Chris Evans on the BBC Radio 2 Breakfast Show, it has received more than one million stories from children throughout the UK.
The judges, with new judge, singer Olivia Dean, came together previously at Buckingham Palace, chaired by The One Show's Alex Jones, to read the stories and deliberate on the finalists.
The ceremony celebrated the achievements of six winners from two age categories, five to seven and eight to 11, with recognition given to gold, silver, and bronze recipients in each group.
Hashtags

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


BBC News
24 minutes ago
- BBC News
East of England news quiz of the week 7-13 June
From a runaway bull retiring to pastures new to a circus act with a twist, how much East of England news can you remember from the past seven days? Follow East of England news on X, Instagram and Facebook: BBC Beds, Herts & Bucks, BBC Cambridgeshire, BBC Essex, BBC Norfolk, BBC Northamptonshire or BBC Suffolk.


Scotsman
32 minutes ago
- Scotsman
How to watch Trooping the Colour? BBC schedule
Trooping the Colour will be live on TV and this is how you can watch it in 2025 👑 Sign up to our Arts and Culture newsletter Sign up Thank you for signing up! Did you know with a Digital Subscription to The Scotsman, you can get unlimited access to the website including our premium content, as well as benefiting from fewer ads, loyalty rewards and much more. Learn More Sorry, there seem to be some issues. Please try again later. Submitting... The King's birthday will be celebrated this weekend. BBC has confirmed its plans for 2025's Trooping the Colour. But how can you watch it at home? The Trooping of the Colour is set to take place in just a few hours. The annual celebration helps to mark the King's official birthday and will feature a parade in the heart of London. Dating back centuries, the yearly event is set to take place today (June 14). The BBC will be providing coverage once again and it has confirmed its TV plans. Advertisement Hide Ad Advertisement Hide Ad But can you watch the full parade? Here's all you need to know: When is King Charles III's birthday? Trooping the Colours will be live on the BBC | BBC Trooping the Colour is held to mark the sovereign's official birthday - and it falls on June 14 this year. King Charles' actual birthday is on November 14 but the monarch also has an official one - usually in the summer months. What time is Trooping the Colour on TV? BBC's coverage of the parade will be live from 10:30am today. It is due to continue through to 1:10pm and will be live on TV and on iPlayer. Advertisement Hide Ad Advertisement Hide Ad Trooping the Colour will be broadcast on BBC One/ One HD. Highlights of the day's events will also be shown later in the day on BBC Two - starting at 7pm. Audio-described commentary is available on Red Button and BBC iPlayer. There is also commentary-free, uninterrupted coverage of the live events in London on BBC iPlayer. Who are the presenters on BBC? Clare Balding introduces live coverage from the heart of London as the Coldstream Guards troop their colour on Horse Guards Parade. Marking the official birthday of His Majesty the King, this world-renowned spectacle, full of music, majesty, and military precision, culminates with the annual RAF flypast and the royal family's iconic balcony appearance. Radzi Chinyanganya will be on the ground, speaking live to those associated with this remarkable day. Advertisement Hide Ad Advertisement Hide Ad


New Statesman
an hour ago
- New Statesman
The savagery of Alexander McQueen
Alexander McQueen was many things to many people: a genius; a puerile provocateur; a young upstart who became Givenchy's head designer when he was just 27 years old; 'masochistic and insecure and unhappy and [with] very low self-esteem'; a man with a 'wicked sense of humour' who cared deeply for his family; a self-confessed 'big-mouthed east London yob'. Curiously for Adam Curtis, he was also an astute observer of the ways in which Britain had been corrupted by the turn of the 21st century. Shifty, Curtis's latest series for the BBC, is a hallucinatory study of Britain's backwaters over the last 40 years. In his signature style, seemingly disparate archival footage is woven together to narrate with devastating lucidity the story of how one of democracy's tenets – a shared sense of reality – was dismantled by Margaret Thatcher's free-market ideology and neoliberalism's emphasis on individualism. In Curtis's telling, democracy didn't so much collapse as dissolve into paranoia and political distrust – something that, he believes, was understood by McQueen. In one scene, Curtis unexpectedly invokes McQueen's iconic 2001 Spring/Summer show 'Voss', calling it a dramatisation of the 'modern illusion of freedom that [McQueen] had helped to create'. He means this not as condemnation. Rather, McQueen is cast as a kind of cultural diagnostician, a man who knew that beneath the sleek surface of late-Nineties Britain was something feral and broken. 'Voss' – known colloquially as the asylum show – featured a mirrored glass cube that, when lit from within, resembled a psychiatric ward. Before the show started, the audience sat, forced to look at themselves, for an hour. The models then emerged, stumbling around the box, their faces obscured by bandages. The audience could look in, but the models could not look out. 'It's interaction,' McQueen said, 'but also suffocation.' It's tempting, and perhaps not entirely wrong, to see McQueen as fashion's darkest fabulist. But fashion was, for him, a conduit for self-enquiry. 'My work is autobiographical,' he said in 2003. Born Lee Alexander McQueen in Lewisham in 1969, he always knew he wanted to be a designer. As a young boy he would dress his older sisters. After dropping out of school aged 16, he went to work as a tailor on Savile Row. From there he unsuccessfully applied for a lecturing job at Central Saint Martins, but was offered a place on the coveted MA course instead. He graduated in 1992, the same year his eponymous line was founded. By 2001 he was churning out up to ten collections a year for both Givenchy and his own label. It's no wonder the distinction between real and other became blurred. Violence was never hypothetical for McQueen. His sister, Janet, was beaten so horrifically by her first husband that she miscarried twice. McQueen, from the age of nine, was sexually assaulted by the same man. Savagery, then, wasn't metaphor, it was memory. And so his fashion became testimony – not to provoke, but to process. His clothes – metal armour, ripped shirts exposing breasts – were both a means of providing protection from the world and evidence one had already endured its cruelty. He knew that the world can be a harsh place for unprotected women. 'I want people to be afraid of the women I dress,' he said. Janet became his blueprint: vulnerable but strong. And from her, he built an army. But McQueen's vision was not nihilistic. His shows were not about crude violence producing low-grade shock value. It was curious; romantic, even. He drew his inspiration from nature – bestial, gorgeous, grotesque: '[It's] a fabric itself.' It was never mere background; it was language, and one that he could mimic. A keen ornithologist, the kestrels he spotted around the block of flats opposite his family home in east London were not just birds – they were emblematic of flight, vantage, predation, and grace. His models wore exquisite outfits made of razor clams, hats of taxidermied birds and corsets made from 97 aluminium coils. McQueen understood the cruelty of nature. In Shifty, Curtis uses a clip of McQueen building a dramatic blazer, made from calf hair. A striking silhouette, it has emphasised shoulders contrasted against a cinched-in waist made; it became a piece in his 1997 collection, 'It's a Jungle Out There'. Evoking the Thomson's gazelle, McQueen elucidated in his adenoidal voice: 'The gazelle is a poor little critter. But it's the food chain of Africa. As soon as it's born, it's dead. And that's how I see human life.' Subscribe to The New Statesman today from only £8.99 per month Subscribe While fragility made half the story, survival made the other. McQueen said about the same blazer, 'You could class this as costume. But it's costume with a deadly meaning.' That's not to say he didn't find a place for hope. In his 2009 show 'Plato's Atlantis', models walked in the now-legendary Armadillo shoe – towering, ten-inch heels. Their heads were adorned in braids, some a foot high, and their bodies bore garments that had used 3D printing to mimic marine features like scales and gills. They emerged onto the catwalk, some nearly eight feet tall, having transformed into something otherworldly. (It's easy to see how one of his favourite painters, Hieronymus Bosch, informed McQueen's fantastical sets.) Under McQueen's gaze, femininity wasn't merely performative. It was adaptive. Time and again he ensured his women were disquietingly chimeric: part-human, part-beast, mythic. They were not dressing up; they were becoming. Even 'Plato's Atlantis' – the designer's last collection, unveiled a few months before his death by suicide in February 2010 – often read as apocalyptic, ends in rebirth. The theatricality of McQueen's shows was steeped in cinema. He understood voyeurism's duality: the pleasure of watching, and the terror of being seen. As Richard Brett, a PR who dated McQueen, once said: 'He wanted partners he could control, but he was attracted to people who were resistant to that.' One of McQueen's favourite films was Paris, Texas, Wim Wenders' ode to estrangement and the erotic pull of memory; a film concerned with how the ghosts of our pasts haunt our present. In it, Nastassja Kinski's character, Jane, is viewed across the partition of a one-way mirror, by a man who watches silently, and who does not speak until it's safe. For McQueen, this was not just fiction, it was life itself. The woman in the box. The watcher and the watched. The parallels to Voss are difficult to deny. In this way, the brutality on display in McQueen's work was not celebratory – it was diagnostic. It exposed how deeply violence is threaded into the performance of femininity. And through fashion, he rewrote the narrative. His women were not killed, they returned. They were not the romanticised victims seen in Alfred Hitchcock films (another influence on McQueen), but something stranger: survivors, ghosts, predators. In a world where fashion sells fantasy, McQueen sold a disturbing reality. His work was not cold – it was infused with romantic idealism. Granted, this was something of a complicated and messy concept to McQueen. Speaking about relationships, he said, 'You do things like put up your defences just to test how much that other person loves you.' For all the strength and power stitched into his brocade, he left space for vulnerability. He made a cuirass – a breast and back plate fused together, like a medieval knight's armour, or bulletproof vest – out of glass. His bumster trousers, with their waistband 5cm below those of the Seventies low-rise, were provocative, but they left one of the most vulnerable and erotic parts of his models' bodies – the bottom of the spine – exposed. His clothes were beautiful, but they were also fragile, and ultimately self-defeating: they left a sliver of a crack for light to break through. McQueen was, by all accounts, generous, funny, childlike. He loved his dogs. He adored his mum, Joyce. His suicide, which came just nine days after her death, was not just the loss of a great designer – it was the collapse of a unique world-view. It's easy to romanticise such an ending, to fold it neatly into the narrative of a tortured genius. But McQueen wasn't interested in being tragic. He wanted truth, even when it hurt. In the world of fashion, life can be constructed around fantasy, but he made the audience look at – and reckon with – pain. Adam Curtis frames McQueen as a man who understood the sickness in Britain's soul. He certainly understood how beauty could become confinement; how spectacle could be an effective camouflage for pain. By the 2000s, market ideology had reordered the British economy, and New Labour's spin culture had decoupled politics from reality. The grainy archive film coalesces to form one picture: behind the allure of financial freedom came inequality; beneath superficial beauty lies something murkier. Or, as McQueen put it, 'There's blood beneath every layer of skin.' But the designer also knew that transformation was possible. 'It wasn't really about fashion with Lee,' said Sarah Burton, who, having joined the Alexander McQueen label as an intern in 1996, succeeded him as head designer. 'It was so much more than that. It was about everything that was to do with being alive. All the difficult parts, and the beautiful.' Because while Alexander McQueen's signature was theatricality, his subject was truth: feral, biographical, unhealed. [See also: How Britain fell into the K-hole] Related