Nicola Peltz insists she's 'grateful to have beautiful people around her' as Brooklyn Beckham's family feud intensifies
The actress, 30, appeared in high-spirits in the snap as she was surrounded by her 'team' amid the ongoing drama with husband Brooklyn Beckham's family.
She wrote: 'I love my team so much. I'm so grateful to have such beautiful people around me'.
David Beckham, 50, and wife Victoria, 51, have become estranged from eldest child Brooklyn, 26, whose heiress wife has been blamed for the rift in the once tight-knit family.
The Beckhams have largely remained silent in public about the rift, but they are said to fear that Brooklyn is falling increasingly under the control of Nicola.
From A-list scandals and red carpet mishaps to exclusive pictures and viral moments, subscribe to the
Brooklyn recently said he is excited to build his own family with wife Nicola, as tensions continue to simmer between him and his parents.
During a PDA-packed video shared released by Glamour Magazine, the eldest son of Victoria and David gushes multiple times that he can see kids in his future, and that Nicola will be an 'amazing' mother.
Taking on the magazine's Friend Test, the pair are tasked with looking into each other's eyes for two minutes and revealing what they see.
Romantic Brooklyn immediately gushes: 'I see us when we have our kids,' as Nicola adds: 'I see the future father of my kids.'
'The most important thing someone can do in their life is find that person for life because they'll really change everything and they'll make everything better,' Brooklyn later adds.
And revealing what he has learned from his four year relationship with Nicola, Brooklyn honed in on his wife's nurturing nature.
'We have four dogs and the way she treats them, I feel like you're gonna be the most amazing mum with our kids,' he told her.
As for Nicola she was keen to highlight her husband's 'pure, good intentions.'
'I like when you say be happy and follow your heart or go with your gut because sometimes I feel like your head is overthinking and your heart is super emotional but I feel like your gut is just that intuition that you just go with,' the US actress mused.
In the magazine interview with Glamour Germany, conducted in April, the couple opened up about outside interference in their marriage and hinted at worsening relations with the Beckham clan, as they instead focused on the advice they'd received from Nicola's billionaire parents, Nelson and Claudia Peltz.
While Brooklyn appeared to be deliberately omitting mention of his family, as he shared a different meaning behind the name of his hot sauce, Cloud 23.
The aspiring chef's representative told last week how the number 23 was a 'warm nod' to David, who wore number 23 while playing for Real Madrid and LA Galaxy, inspired by NBA legend Michael Jordan, in a touching move that appeared to be an olive branch to his father.
However, in the new interview, Brooklyn failed to mention his father, simply stating: 'The 23 stands for our engagement date and my age back then.'
Elsewhere in the interview, he and Nicola also seemed to hint at interference in their relationship and the ongoing reports of the family feud.
When asked how they 'protect' their relationship in the spotlight, Brooklyn stated: 'Ignore the noise. Keep your head down, work hard, be kind. People are always going to talk. What matters is that we're happy together.'
While Brooklyn was present at the Victoria's 50th, both he and his wife failed to make an appearance at her 51st.
And while his younger brothers Romeo and Cruz took to social media to pay their birthday tributes to their parents, on both occasions Brooklyn stayed silent.
Brooklyn appeared to nail his loyalties to the mast when he posted an image on Instagram of himself and Nicola riding a motorbike, writing: 'My whole world x I will love you forever x I always choose you baby x you're the most amazing person I know xx me and you forever baby.'
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Top Gear
33 minutes ago
- Top Gear
Behold: a new Project Motor Racing trailer, featuring gratuitous glowing brake discs
Behold: a new Project Motor Racing trailer, featuring gratuitous glowing brake discs Material this hot should come with an age rating… Skip 1 photos in the image carousel and continue reading Turn on Javascript to see all the available pictures. We've had our eye on Project Motor Racing for quite some time now, so when a new trailer lands for one of our most anticipated racing games, we drop everything and pay attention. The subsequent array of broken glass on our kitchen floor can be tended to later - for now, let's enjoy some glowing brake discs… The Gamescom 2025 trailer shows numerous racing classics from Porsche, Ford and others haring around some impressively detailed tracks. Advertisement - Page continues below There's news of some new categories joining the roster, too: 'Two of sports car racing's most storied eras - GT1 and Group C - are now also confirmed for Project Motor Racing, joining the already announced signature classes,' reads the announcement. 'Expect the raw, high-stakes theatre of '90s supercar exotica in GT1 alongside the golden age of prototype endurance racing in Group C. In total, nine racing classes, spanning half a century of motorsport, have now been revealed, with more still to come.' Also to be filed under 'intriguing' until the game arrives on 25 November for PC, PS5 and Xbox Series X/S is the mention of a 'survival' based career mode. We're letting ourselves get carried away, but if that means we finally get to enjoy a career mode in which there are consequences for poor results, we're in. Project Motor Racing is the brainchild of several Slightly Mad Studios and SimBin alumni who have a long list of brilliant racing sims to their name. It's running on a bespoke game engine to ensure maximum realism, and promises full modding support. We can't wait. Advertisement - Page continues below Top Gear Newsletter Thank you for subscribing to our newsletter. Look out for your regular round-up of news, reviews and offers in your inbox. Get all the latest news, reviews and exclusives, direct to your inbox. Success Your Email*
The Guardian
an hour ago
- The Guardian
The Twisted Tale of Amanda Knox review – shockingly tense TV from Knox and Monica Lewinsky
Two things need to be borne in mind about The Twisted Tale of Amanda Knox, a new true crime drama. The first is that Knox and Monica Lewinsky – both members of 'The Sisterhood of Ill Repute', as Knox has described them in the past – are executive producers of the show. The second is that the family of Meredith Kercher, the 21-year-old British exchange student with whose murder Knox and others were charged in 2007, were not involved in the series. Her sister Stephanie said last year to the Guardian: 'Our family has been through so much and it is difficult to understand how this serves any purpose.' To the first point: it is undoubtedly true that the subject of The Twisted Tale is Knox and her survival of an extraordinary and extraordinarily awful experience, and while not hagiographic, it is not a warts-and-all profile either. Then again, how much warts-and-all can there be for an ordinary 20-year-old excited to be studying abroad – in Perugia, Italy – for the first time? If you set aside the salacious narrative built up around her by a rabid press and fuelled by the preconceived prosecutorial notions around the crime, that is what she was. To the second: the grief of the Kercher family, and their enduring loss, is a terrible thing. But the purpose of the series is clear – to show how this particular miscarriage of justice took place and, by implication, how different forces, prejudices and appetites can combine to bring them about in general. It is designed to give the lie to the appealing notion that justice is always blind and its administrators are always beacons of rectitude, shining light into the darkness of depraved people's souls. Over the course of eight dense and often extremely tense episodes, writer KJ Steinberg (best known for This Is Us) maps out Knox's long journey from first arrest for her flatmate's murder to eventual exoneration, via wrongful conviction, four years in prison and multiple trials. The outlines of the case are probably remembered by many of us of an age to have followed the headlines and articles that proliferated at the time, and the series does a good job of illustrating each pivotal point as it arises (the initial misstep in establishing the time of death, for example. Similarly, the misinterpretation of the English phrase 'See you later' as meaning definite plans to meet had been established between Knox and her initially co-accused, Patrick Lumumba, reminiscent of the very British 'I popped him on the bed' expression misconstrued by a US audience in the Louise Woodward trial), while a propulsive energy keeps the whole narrative going. Strenuous efforts are made to humanise public prosecutor Giuliano Mignini (Francesco Acquaroli), who led the murder investigation as a man led astray by his passionate sense of duty and frustration over his experience of pursuing the infamous Monster of Florence serial killer. His subordinates are given shorter shrift, and remain ciphers who are portrayed as having taken against Knox on a whim then found more and more things to be disgusted by, such as her public displays of affection with her boyfriend and later co-accused Raffaele Sollecito, and the vibrator in her washbag. Perhaps the most shocking part of the story is the fact that Knox's ordeal continued even after the trial and conviction of Rudy Guede, the man whose fingerprints and DNA (unlike that of Knox, Lumumba and Sollecito) were all over the crime scene. Or perhaps the most shocking part is that his name hardly resonates in the public consciousness, while 'Foxy Knoxy' still has such potency. The Twisted Tale of Amanda Knox has its flaws. The mannered, Wes Anderson-lite openings to each episode sit uneasily with the harrowing hours to which they give way and the script – particularly in those openings – can be dreadful. 'We were just getting to know our young selves in this charmed and ancient city,' says Knox in a voiceover early on. And later: 'Does truth actually exist if no one believes it?' At one point, investigator Monica (Roberta Mattei) describes Knox providing 'unsolicited information in crude American spasms'. Fortunately, the main parts are held together by an unreservedly brilliant performance by Grace Van Patten as Knox, in English and Italian (halting at first, fluent by the end of Knox's incarceration), the ebullient, naive, overconfident, shattered young woman caught in so many currents and cross-currents it seems a miracle that she ever made it back to shore. The Twisted Tale of Amanda Knox is on Disney+ now
The Guardian
an hour ago
- The Guardian
‘Liam Gallagher is funnier than most standups!': Is comedy the new rock'n'roll – or vice versa?
'Comedy is the new rock'n'roll!' This line, variously attributed to a defunct listings mag, a member of the Comedy Store Players and Janet Street-Porter, became common currency in the 1990s, when comedy gatecrashed arenas with Newman and Baddiel's maiden Wembley gig in 1993. Had the art of making people laugh eclipsed – in size, public enthusiasm, cultural cachet – the art of making people groove? It feels like a quaint conversation in light of the arrival of Oasis's mega-tour in Edinburgh this month, which triggered panic among standups at the gazumping of their fringe audience. But has comedy returned to playing second fiddle to its sexier, better-loved big brother? Or are such distinctions meaningless in a cultural landscape unrecognisable from the 1990s? There's certainly no shortage of comedy/rock'n'roll crossovers on the fringe, including Friday Night Dinner star Tom Rosenthal's show Whatever People Say I Am, That's What I Am. As the title implies, the show compares and contrasts Rosenthal with the Arctic Monkeys – specifically, how both have felt trapped by public perception and expectations of their work. Comedian Marc Burrows, meanwhile, is performing The Britpop Hour, celebrating the cultural moment that Oasis (and indeed Newman and Baddiel) bestrode. Burrows, a music critic and musician as well as a comic, doubts that the 'new rock'n'roll' claim holds water any more. 'I don't think there's a Mighty Boosh around at the moment,' says Burrows. 'They were the last comedians with a music-style fandom. Apart from in niche ways, you don't find people wearing comedians' merch these days. Except for Taskmaster, nothing's developed that cult fandom the Boosh had.' Not that comedy's cool era was confined to the 90s. 'If it was the new rock'n'roll in 1994,' says Burrows, 'what was it in 1984 with The Young Ones? Or in 1970 with Monty Python? The Young Ones had bands on their show. There had always been obsessive fanbases in comedy.' Burrows has a point: what made the Newman and Baddiel era different had less to do with dissident, dissolute values than with big money, swagger, and mass appeal, since the 80s alternative comics were more punk than their 90s successors. If by that logic you wanted to prove comedy was rock'n'roll today, you could point to enormo-dome acts such as Dave Chappelle, Chris Rock or even our own Ricky Gervais – the Rolling Stones of their art form, making money by the stadium-load off the back of what was once their shock-of-the-new appeal. I turn to Ollie Catchpole at Live Nation, 'the world's leading live entertainment company', which now – to a degree unimaginable in the 1990s – pays as much heed to comedy as music. Catchpole used to programme theatres, and found that 'comedy is for most regional venues the backbone of revenue. The economics just became a lot more reliable [than music]. So more promoters like us moved into the comedy space.' Nowadays, he says, 'it's overwhelming how much demand there can be. The Ricky Gervaises, the Micky Flanagans – it's big, big business. And it's growing into Europe now.' Between the UK, America and Australia, and now Europe, arena touring for comedians can effectively be endless. 'Someone like Jimmy Carr, he could just keep going.' So you've got a live performance industry rallying to comedy, as a low-cost way to make big bucks. But this doesn't translate into the Boosh-style fandom of yesteryear. (Which at least – let us be thankful – means Jimmy Carr T-shirts are few and far between …) What's going on? To Catchpole, it's about how audiences consume their culture nowadays. 'Audiences cross over. Tastes vary these days. There's no financial risk to anybody to learn something new any more. You don't have to buy a CD or spend £15 on a gig. The young consumer has such a wide range of profiles at the touch of their fingers, so their interests develop. They no longer pigeonhole themselves into one avenue.' That's a phenomenon promoters exploit, proactively encouraging fans of Band A to explore the work of Comedian B. 'We use the word fluid a lot,' says Catchpole. 'If we feel that fans like a particular band, a Fontaines DC, say, we know they might also like [comedian] Vittorio Angelone. It's a lot healthier now in terms of growing comedy and getting names out there.' The comedians I speak to agree: it's easy now to cultivate your own fanbase – but harder to find a mass audience. Says Burrows: 'Punk came out of fanzine culture, that very DIY point of contact, which comedy didn't do in the past. But it does now – because of TikTok, Instagram reels, social media.' Catchpole says: 'You get a more personal interaction with a comedian now. And we're getting digital influencers and Instagrammers who can go straight on stage.' But the culture of comedy versus music online is imbalanced, says Burrows. 'On YouTube, Spotify and Apple Music, the algorithm gives you the same bands, and fandoms can build across those platforms. Whereas for visual stuff, streaming platforms are ghettoised. A sketch show isn't finding an audience on Netflix and Amazon and YouTube. For comedians, there aren't these huge mass communication points you need to kickstart a rock'n'roll-level appeal.' Culture and the media have fragmented, and the ubiquity of 'milky, milky' and the Mighty Boosh – and indeed Oasis – is harder to attain. (The success of the current Oasis revival, argues Burrows, is partly down to a yearning to be united by a monoculture.) But that phenomenon has changed music just as much as comedy. When I pose the 'new rock'n'roll' question to comedians now, one common response is: is rock'n'roll even 'rock'n'roll' any more? Do we still live in a world where social tribes identify themselves by the music they like, and where bad-ass bands can straddle the world, and seem, even, to propose alternative values to the status quo? In 2019, I wrote an article for this newspaper on the anniversary of the death of ur-rock'n'roll comedian Bill Hicks, asking younger comics what they thought of his work. Their distaste for his swaggering, shoot-from-the-hip comedy was striking. So it's a surprise to hear from the musical comedy act Jazz Emu, AKA Archie Henderson, that the say-the-unsayable brand of standup Hicks once represented is alive and well. 'It still has a big pull, that naughty-boy standup energy, where they're pushing things they shouldn't really be saying, especially on podcasts. Maybe now it's hidden behind more layers of irony. There are lots of 'cancel me if you want' games being played. But there's an appetite for it.' While distancing himself from the phenomenon, Burrows cites the anti-woke acts trading under the Comedy Unleashed banner as an example of what some might consider rock'n'roll comedy. (Worth noting that, at the other end of the political spectrum, the most trenchant recent opposition to President Trump has been expressed in comedy, by South Park and Stephen Colbert.) Like all my interviewees, Henderson thinks the comedy and music worlds are so changed as to make the 'new rock'n'roll' claim now meaningless. If you want rock'n'roll-alike comedy, you can find it, he says, citing as an example the 'deliberately disruptive' late-night collective Stamptown, led by American import Zach Zucker. 'The underground energy of being crammed in a room with people late at night is the same whether you're seeing a band in a sweaty music venue or a comedy show at 1am when someone's throwing stuff all around the room.' On the other hand, 'going to see a rock legend who is completely committed to the theatre of being cool, and the audience buys into it – I don't think comedy can do that'. A sense of humour necessarily bursts the bubble. 'Comedy is always being undermined by itself.' But that's fine – because far from comedy aspiring to be rock'n'roll, these days it's often the other way around. 'Musicians who previously might have been cool and aloof,' says Henderson, 'now have to debase themselves a bit and do sketches online. It's a very effective way of getting their music out there: comedy is a good way of gaming the algorithm. So the bands that survive in this anti-band economy are the ones willing to be a bit internetty and a bit cringe, and do sketches about their songs.' Finally, says Catchpole, 'all of these things exist quite happily together in today's marketplace. Comedy is stronger and healthier than ever. The fact that at the Edinburgh fringe it is' (widely expressed panic notwithstanding) 'still selling tickets next to Oasis shows comedy can not only compete with rock'n'roll but can match it. But I don't see it as a competition, I see them as complementary.' So, too, does Burrows, staging his show about Britpop while its most bullish proponents perform to 70,000 fans in a stadium just down the road. There's only one thing niggling Burrows about comedy's current relationship with rock'n'roll, and that's that 'Liam Gallagher is funnier than almost any comic', he says. 'There's a bit in my set where I read out his tweets. And one of the existential crises I have about what I'm doing is that it gets bigger laughs than anything else in my show.' The Britpop Hour With Marc Burrows is at Underbelly, Bristo Square until 25 August; Jazz Emu: The Pleasure Is All Yours is at Pleasance Dome until 24 August; Tom Rosenthal: Whatever People Say I Am, That's What I Am is at Assembly Roxy until 24 August
