Prince Harry left out of King Charles' powerful tribute to Prince William: ‘My son'
The king, 76, made a formal address to the Prince and Princess of Wales as he and Queen Camilla welcomed French President Emmanuel Macron and his wife, Brigitte Macron.
During the dinner, which was attended by more than 150 guests, King Charles stood up from his seat and read aloud a poignant speech that featured candor, laughs and a warm reference to William and Catherine's family.
Charles praised his elder son's decision to establish his family home at Windsor — saying the move is doubly special given the castle's Norman origins.
'The castle in which we meet this evening was begun by my ancestor — and your sometime countryman — William, Duke of Normandy, in the year 1070,' Charles said. 'It remains the oldest and largest occupied castle in the world.'
'So it is perhaps rather appropriate that my son, the Prince of Wales, who shares that earlier William's name, has made Windsor his home with his family, like so many of our predecessors,' the king added.
During his touching speech, Charles also celebrated the deep friendship between Great Britain and France.
However, the speech notably didn't mention his younger son, Prince Harry, who quit royal life with his wife, Meghan Markle, in 2020 and moved to Montecito, California.
It may come as no surprise that Charles chose to forgo mentioning the Duke of Sussex, given that their two camps have been locked in a bitter feud for years.
The 'Spare' author, 40, recently told the BBC that he would 'love a reconciliation' with his cancer-stricken father, though he claimed the king 'won't speak' to him.
'There's no point continuing to fight anymore, life is precious,' the Invictus Games founder said, adding that he has since 'forgiven' them for their many 'disagreements.'
William, for his part, made Adelaide Cottage in Windsor Great Park his family's main royal residence in 2022.
He and Princess Catherine, as well as their three children, Prince George, Princess Charlotte and Prince Louis, primarily reside at the sprawling property, though they do still frequently visit their London home.
The family previously resided at Apartment 1A in Kensington Palace, where Princess Margaret had lived with Antony Armstrong-Jones following their wedding in 1960.
Adelaide Cottage, which is located on the grounds of Windsor Castle, sits close to Lambrook School in Berkshire, England, where the three Wales children currently study.
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Who is Andi Oliver, the frontrunner to save MasterChef?
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Los Angeles Times
an hour ago
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Where artists tippled, an ode to Cole's French dip: L.A. arts and culture this weekend
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Time Business News
2 hours ago
- Time Business News
The Birth of Albanian Cinema: From Its Origins to the Present Day
From early silent film screenings in the late 19th century to a state-controlled film industry under communism, and, finally, to its modern revival with an Albanian TV app in every ethnic household, Albanian cinema has undergone dramatic transformations. This article explores the birth and development of Albanian cinema, examining its origins, the influence of communism, post-communist struggles, and its current direction. Film screenings in Albania date back to 1897, with the first public exhibitions taking place in Shkodër and Tirana. Early Albanian cinema was largely influenced by foreign traveling film companies, particularly Italian and French producers. The first known Albanian film exhibitor was Kolë Idromeno, a photographer and painter, who showed films to aristocrats and the public in 1908 or 1909. By the 1920s and 1930s, Albania had several movie theaters, particularly in major cities like Shkodër, Tirana, and Durrës. However, the country lacked its own film production facilities. Instead, foreign film companies, such as the British Charles Urban Trading Company and the French Albert Kahn Archive, produced ethnographic films documenting Albania's landscapes and traditions. During the Italian occupation of Albania (1939-1943), Mussolini established the Tomorri Society in 1942 to produce films in Albania. One of the earliest Albanian films shot with a local cast was Takim në liqen (Encounter at the Lake) in 1943. However, Albania's true cinematic expansion came after World War II. Viewers can now easily revisit classic films or catch new releases through digital platforms that allow them to s hiko kanale shqip—bringing Albanian cinema directly into homes around the globe. Following the communist takeover in 1944, Albania's film industry was fully nationalized. The country leader Enver Hoxha followed Soviet and later Chinese models of socialist realism, using film to promote communist ideals and suppress dissent. The National Filmmaking Enterprise was established in 1947, producing newsreels and documentaries that glorified the regime. In 1952, the New Albania Kinostudio was founded in Tirana, becoming the only film studio in Albania during the communist period. The first Albanian feature film, Tana (1958), directed by Kristaq Dhamo, was a romantic drama that subtly promoted socialist themes. Other notable early films include Skanderbeg (1953), a Soviet-Albanian co-production about Albania's national hero. Throughout the 1960s, 1970s, and 1980s, Kinostudio produced over 200 feature films and hundreds of documentaries and newsreels, many of which had strict ideological narratives. Popular genres included partisan war films, historical dramas, and working-class hero stories. Despite the rigid control, certain directors, such as Dhimitër Anagnosti and Viktor Gjika, pushed creative boundaries within the limits of socialist realism. By the late 1980s, Albanian cinema had peaked in output, with around 13 films produced yearly. However, with Hoxha's regime becoming increasingly repressive and Albania isolated from the rest of the world, cinema remained largely cut off from international trends and innovation. With the fall of communism in 1991, Albania's film industry suffered a massive decline. Kinostudio Shqipëria e Re was dismantled and split into different entities, including the Albanian National Film Archive and Albafilm Studios. Many filmmakers lost state funding, and cinema attendance plummeted as TV and foreign films flooded the market. In the 1990s and early 2000s, Albanian cinema saw sporadic productions, often tackling themes of transition, crime, and migration. Directors like Gjergj Xhuvani (Slogans, 2001) and Fatmir Koçi (Tirana Year Zero, 2001) emerged as important voices in a struggling industry. However, financial instability and lack of institutional support made it difficult for filmmakers to thrive. Since the 2010s, Albanian cinema has experienced a revival, thanks to international co-productions, film festivals, and digital technology. The Tirana International Film Festival (TIFF), launched in 2003, has played a crucial role in promoting new Albanian films and connecting them with global audiences. One of the biggest breakthroughs came in 2011, when The Forgiveness of Blood, directed by Joshua Marston, won the Silver Bear at the Berlin Film Festival. More recently, Erenik Beqiri's The Van (2019) was nominated for the Short Film Palme d'Or at Cannes, marking the first Albanian presence at Cannes since 1954. Amnesty (2011) – A drama about the impact of Albania's post-communist prison amnesty. The Van (2019) – A powerful short film nominated at Cannes. A Shelter Among the Clouds (2018) – A poetic exploration of faith and identity. Open Door (2019) – A film tackling family and migration issues. Alexander (2023) – A recent documentary exploring Albanian history. From its humble beginnings in traveling film screenings to its state-controlled socialist realism era, and finally, to its modern resurgence, Albanian cinema has reflected the country's historical struggles and cultural identity. While the communist era left behind a wealth of propaganda films, it also provided a foundation for technical filmmaking skills. Today, with new filmmakers, digital platforms, and international collaborations, Albania's film industry is stepping into a new era of storytelling. As more Albanian films gain global recognition, the country's cinematic identity continues to evolve, ensuring that its stories reach audiences far beyond its borders. TIME BUSINESS NEWS
