Love Island's Harry speaks out on ‘breaking Helena's heart' as he reveals their final words – and Shakira won't be happy
Harry, 30, found himself going between the two women constantly during his time on the ITV2 show.
3
It seemed that he had finally settled with 29-year-old Helena when he asked her to be exclusive but just days later he found himself flirting with Shakira, 22.
He soon confessed that his feelings were lingering for Shakira and when Helena decided to leave him for good, he soon found himself back in the arms of Shakira - whom he was first coupled up with.
Now, the star has discussed the ups and downs in his romance with Helena and recalled the last conversation they had with each other which is likely to rattle Shakira to the core.
Speaking to Amy Hart and Indiyah Polack shortly after coming second on The Morning After podcast, Harry opened up on his Love Island journey.
The semi-pro footballer said: "I obviously hurt [Helena's] feelings and I didn't handle things the right way, but at the end of the day, I went after what I wanted.
"I'm not in the business of hurting people's feelings, that's not what I was trying to do. I was really trying to move things forward.
"I think we were great friends and before she left, she said to me we can still be friends, which is a great thing for me."
Harry then continued: "It wasn't, like, there [with Helena].
"I think you feel it and I really tried to work on it and try to do the right things but this [with Shakira] was just so natural."
In a very telling moment, Shakira then agreed with show host Amy Hart that Harry was likely influenced by his best mate Dejon to date Helena so that he was going out with someone in Meg's friendship group.
Love Islander hits out at 'red flag' finalist
The villa girls were famously divided this year and Shakira agreed with Amy's statement that Dejon didn't want Harry to date outside of their little group.
Amy also pointed out how Dejon encouraged Harrison to get with Lauren as opposed to Toni, again to keep it in the same circle.
In response, Harry said: "Yes, there is some truth to that.
"D would naturally want that. As a four [Dejon, Harry, Meg, Helena], we all got on really well.
"But I would say it was across the villa - everyone kinda saw me and Helena, apart from Toni and Yas.
"Everyone was rooting for us."
3
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Evening Standard
2 minutes ago
- Evening Standard
How to dress like the 1% for summer 2025: style notes from Kate Moss, Dua Lipa (and Elizabeth Taylor)
Do: Opt for IYKYK (if you know, you know) labels that the high-society Ibiza set will compliment you on, rather than double down on gauche luxury ones. The best place to start for that is the Annie's Ibiza Old Town boutique, founded by Annie Doble in 2018. It plays host to the hottest designs beloved by Kate Moss, Margot Robbie, Cara Delevingne, Sienna Miller (name an It girl, they likely love Annie's). Last week she hosted a summer party with Conner Ives, the London-based American designer behind the booming 'Protect The Dolls' T-shirt (£75, and party piano shawl halter mini dresses (£1,595, The pair welcomed Lady Lola Bute, Lila Moss and Liv Banks who proved naked, vintage chainmail dresses (Moss, pictured, wears 1920s Egyptian Black Diamond Mini Dress, £4,500, and tousled blonde locks are still on trend on the party island, despite falling out of favour on the red carpet circuit. Also look for Bute and half-sister Jazzy De Lisser's label Debute, De La Vali and Clio Peppiatt dresses in store if you want to turn heads during sundown at Jondal (followed by a late night at Amnesia).
Daily Mirror
3 minutes ago
- Daily Mirror
Tommy Fury's dad tells him to 'get a grip' as boxer complains about social media
Boxer and reality star Tommy Fury was shut down by his father, John Fury, after he tried to open up about his recent 'horrendous' struggles Tommy Fury's dad, John, rolled his eyes and told him to 'get a grip' after the boxer complained about the last six months of his life before blaming social media for his woes. In a teaser clip for his new programme, Tommy: The Good. The Bad. The Fury, the Love Island star was seen sitting in the living room with his dad discussing how 'tough' life has been for him in recent months. In the programme that was filmed in the months after his shock break-up from Molly-Mae Hague and before they got back together, he said: "My life has been absolute torture for the past six months. Horrible. Going out in public, getting screamed at. Ad when you go out in public and someone says something, what are you meant to do? "Tip your head and f**king walk on? The reason why, you know all of this is here, is because of social media." It comes after Tyson Fury's huge net worth is revealed as Morecambe face going out of business. Tommy continued: "And it's because you have a profile, and it's because people are interested in you. If you didn't, you'd be f**ked. You wouldn't earn a penny. So it's tough. It's just been a constant." John was sitting close to him and was seen rolling his eyes as Tommy tried to open up about his struggles before the dad interrupted to say: "Yeah, it's not tough," with Tommy insisting: "It has, it's been horrible." The reality star's father told Tommy he was 'in his head' and the father-of-one claimed: "It's been horrendous". John had enough of Tommy's self-pitying and asked his son: "Has anybody died? There's no on dead, is there? "Your baby's healthy, you live in a nice house, you got a good car. You're flying high. It's your mind taking over you. Fuck 'em all! And live your life and enjoy what you've got. Or else you'll never be happy." Tommy, who recently reunited with Molly-Mae, said he wasn't bothered by anybody else's opinions, adding: "I wanna know when I'm back in the ring and what the f**k direction my life's taking." "Well, guess what? Every boxer in the world's got this problem," an increasingly fed-up John told his son, who was in denial and said: "No, they haven't." John continued: "Of course they have. You take too much for granted. But I'm an old school kind of man. You're never gonna learn from today's people because they don't know anything." When Tommy tried to argue that the times have changed, John added: "Well, you're going to have a very unhappy life. Come on, man. Give it a break. You're overthinking everything. Get a grip, know your worth, and march on forward. And we're sat here, 'social media don't like me'. Get me out of here." As he gave Tommy his harsh advice, John got up from the couch to put on his coat and beanie before walking out of the room and out of the conversation.
The Guardian
3 minutes ago
- The Guardian
Edinburgh art festival review – regal lusting, sofa-surfing and the perfect painting for our times
Scotland's queer king has a show of his own at Edinburgh and it's as wild as any fringe event. Where else will you get explosions, witches and lacy ruffs all on the same bill? Step right up to the Scottish National Portrait Gallery for The World of James VI and I. James has become more box-office friendly lately, because of his passionate friendships with a series of male favourites, including the Duke of Buckingham, as seen on TV. You'll find portraits of his favourite men here, the lushest by far being Rubens' 1625 painting of Buckingham, his cheeks flushed, moustache neatly upturned, eyes flashing. There's an astrological watch, too, in an egg-shaped silver case that James presented to another favourite, the Earl of Somerset. This exhibition refuses, however, to pin down the exact nature of James's sexuality, seeing it as just part of his times. When his voyage home from Elsinore Castle with his new bride was hit by storms, he blamed witches. His book Daemonologie incited Scottish witch-hunting and inspired Shakespeare to write Macbeth. The world he lived in was full of invisible magical forces. On view are relics of that universe, including a bezoar, to protect from poison, and the Charmstone of the Stewarts of Ardsheal. If James was superstitious and hungry for love, his violent childhood may explain it. A wonderfully weird painting shows him as a child praying by the monument of his father, Lord Darnley, murdered in 1567 by the unusual method of blowing up the house where he was staying in Edinburgh. A print portrays the beheading of his mother in 1587. These are strange events from a time in history that is alien to us, yet the portraits here make us feel close to these people. James's jester, Tom Derry, is utterly alive in a careworn, sensitive portrait by Marcus Gheeraerts the Younger. As for the king himself, he goes through many changes. The virtual twin of Mary, Queen of Scots in a 1583 double portrait, even more 'feminine' in a ruff-heavy painting a few years later, increasingly louche yet roughed up in later portraits. This terrific exhibition brings history to life without battering it into a 21st-century plaything. An even more remote past is magically, jerkily performed by glass marionettes in Wael Shawky's Cabaret Crusades III: The Secrets of Karbala. This ravishing film work at Talbot Rice Gallery is already an acknowledged classic of 21st-century art and comes to Edinburgh at a time when war again rages in the lands where, in the 11th and 12th centuries AD, Christians and Muslims fought for Jerusalem. You won't find glib contemporary parallels in Egyptian artist Shawky's screen epic. He does everything possible to estrange the Crusades, acted by puppets as if this were a slow, contemplative Thunderbirds. Cabaret Crusades takes you not just to another time but another way of telling it, in its own words. He refutes the historical nonsense of jihadis treating the Crusades as a living grievance just as much as he recovers an Arab view of a story often told through western sources. This is, in short, a phenomenally serious and complex achievement that is also hypnotically beautiful. The Middle Eastern past appears again as enigmatic, poetic ruins in Mike Nelson's photographs of a ruinous Turkish city at Fruitmarket Gallery. They are hung at the bottom of the gallery walls, with bare lightbulbs and low benches, to encourage intimacy with how the artist imagines this lost world. Roland Barthes wrote of his fixation on a 19th-century photograph of the Alhambra: 'I want to live there.' Nelson confesses something similar, then undercuts it with an installation in another part of the gallery representing a now-demolished housing estate: a reconstruction that becomes an impossible, ensnaring labyrinth. As you move through one dingy, derelict claustrophobic room and corridor after another, anxiety mounts. Where is this leading? The Edinburgh Dungeon next door has nothing on this. You can never go back to the past, says Nelson. If you did it would be a nightmare. In general, art that is ambivalent and poetic has more to say than art that is simplistic and didactic. Unfortunately, there is some of the latter in Edinburgh, too. Siân Davey's exhibition The Garden at the Stills Gallery takes the opposite of Shawky's thoughtful approach. Davey and her son created a wildflower garden and invited their friends and neighbours to share this healing space. Good for them. But Davey's big intensely coloured photos of her garden community, with herself and other people going nude in nature, are pure bathos. To make me believe this flowery paradise is a shelter and hope for the marginalised and oppressed, I would need more than mawkish oversharing. This is flower-power nonsense, half a century too late. Recovering from that, I turn to Aubrey Levinthal's nuanced, elusive paintings at the Ingleby. The gallery is well worth seeking out, tucked down a side street in the classical New Town, and in Levinthal it has discovered a major contemporary painter. She depicts her quiet, middle-class family life in Philadelphia, but it is the way she paints it that's wondrous. Planes of almost abstract colour turn out to be sofas or laptops. A vase of Hockneyesque flowers seems to emerge from a boy resting on a sofa; the man in her life, in a nice reversal of art's old hierarchies, is portrayed as a classical bearded beauty, sprawled in a chair, her idealised, brainless muse. In the most haunting painting here, she studies her son, in a triple image, as he contemplates a glowing iPad screen. It's a painting for our times. Until 24 August
