J-Lo blocked from entering posh brand's boutique in major city after boss failed to recognise her
The Jenny From The Block singer had been enjoying retail therapy in Istanbul, Turkey, when she was denied entry to a busy Chanel store.
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The boutique's boss told her it was 'at full capacity'.
J-Lo, 56, was jolted but recovered enough to walk off replying: 'OK, no problem.'
It is unclear if the trader recognised the superstar, but she reportedly tried to invite her back.
However J-Lo instead splashed the cash in rival stores Celine and Beymen on the same street.
Earlier in the week she had performed a near sell-out show in the city's Yenikapi Festival Park during the Istanbul Festival.
Her gig was part of her Up All Night Tour, during which she has debuted news songs including Wreckage of You — believed to be about the breakdown of her marriage to actor Ben Affleck.
Last month The Sun revealed she had opened up about her sex life during her show in Pontevedra, Spain.
She told the audience: 'Sometimes I get in different moods at night.
'Sometimes I like it hard. Other days, I am feeling a little romantic. You put on candles and soft music. On those days, I like it real slow.'
Her European tour ends on Tuesday in Sardinia, Italy.
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The Guardian
11 minutes ago
- The Guardian
Prince Charles cinema looks to expand to second venue in east London
The Prince Charles cinema is planning to expand to a second site in the capital despite being locked in a battle over the future of its original location in central London. The independent cinema, which is known for showing a wide-ranging selection of cult films from across the history of cinema, has put in a bid to take over and reopen what was the Stratford Picturehouse in east London. The Prince Charles is in negotiations with Zedwell LSQ Ltd (which is owned by the developers Criterion Capital) over the future of the Leicester Square site, but wants to expand in what could be the first of several new outposts. 'Given what's happened this year, I understand how it could look like we're trying to shift operations but that's not what's happening,' said Paul Vickery, the cinema's head of programming. 'We were looking for a pre-existing venue that needed a bit of love which we could turn into a new site. Ideally, we'd want to go on to add a third or fourth space.' The Prince Charles had looked previously into taking over the Filmhouse in Edinburgh, which was forced to close in 2022 before it reopened in June this year after a refurbishment. Vickery thinks Stratford – an area that has undergone huge regeneration over the past decade, boosted by the Olympic legacy of London 2012 – could be an ideal place to open a new outpost. 'Stratford has always been a hub,' he said. 'There are plenty of students and loads of new-build properties that have sprung up recently. But it also feels like it's still trying to find its feet and figure out what it is.' The Prince Charles Cinema East would join other cultural institutions such as Soho Theatre Walthamstow, Sadler's Wells East and the V&A East Storehouse in that part of London, while the Theatre Royal Stratford East would be a nearby neighbour. The cinema has high-profile international fans, including the directors Paul Thomas Anderson, Quentin Tarantino and John Waters. It was opened as a live theatre in 1962 and taken over as a repertory cinema in 1991 with cut-price seats. When news broke that the cinema could be forced out of its original location in Leicester Square, a petition against the move generated 100,000 signatures in a single day. Vickery said: 'The response was so humbling, I knew we'd have a load of interest in helping us out but the volume of support and speed with which it spread was a surprise. 'You feel the responsibility but in the best possible way. You're not just some pokey cinema in central London, what we do means something to people.'
Telegraph
43 minutes ago
- Telegraph
Sophia Loren, Gina Lollobrigida and the battle to be ‘the world's most beautiful woman'
The great Italian film star Sophia Loren is, of course, famous for the work that she has done on screen over the past seven decades. But she is equally well known for the adoration that she inspired in many of her co-stars. Omar Sharif sighed that he fantasised about her naked after they acted together. Clark Gable confessed that he had had 'the wrong thoughts' about the beauteous Loren when they appeared in the otherwise forgotten 1960 drama It Started In Naples. Cary Grant, meanwhile, was cast opposite her in the 1957 epic The Pride and the Passion and was initially horrified at the idea, declaring 'My God! You want me to play with this Sophie somebody, a cheesecake thing? Well, I can't and I won't.' He was soon converted when he met Loren in the flesh, and the two embarked on a love affair: this was considerably more than Peter Sellers managed, when he starred with Loren in the now-problematic 1960 romantic comedy The Millionairess. Sellers decided that he and the Italian actress were destined to be together, and although Loren did not return his affections, he declared to his wife Ann Howe and his children that he was leaving them for his co-star. When his young daughter Sarah asked her father if he still loved his family, he replied: 'Of course I do, darling, just not as much as Sophia Loren.' Beginnings of a feud Loren, a diva beyond compare and perhaps the last woman standing from the Golden Age of Hollywood, now has a new season of films devoted to her at the BFI. But it's easy to forget that Loren hasn't always been universally loved – at least, not by her fellow doyens of Italian cinema. When Cary Grant first met Loren, he was not above poking some fun at her, and the joke that he chose to express himself with may have touched a nerve. In Loren's 2015 memoir Yesterday, Today, Tomorrow: My Life, she recalled Grant introducing himself: 'He held out his hand, looking at me with a pinch of mischief: 'Miss Lolloloren, I presume? Or is it Miss Lorenigida? You Italians have such strange last names I can't seem to get them straight.'' It was a clear verbal reference to the other leading star of Italian cinema of the day, in the equally beauteous form of Gina Lollobrigida, who was seven years older than Loren and who had begun her career in Italian and international film just a few years beforehand. Both vied for the title of 'the world's most beautiful woman', a description that each of them received, at one time or another, and zealously guarded for as long as they might. A feud had started between the two that would duly become infamous, although both participants alternately claimed that it was simply a PR-confected fantasy or, more amusingly, that it was the other who was continuing it in order to maintain their presence in the headlines. In one of the relatively few pictures that exist of both actresses together in 1954, the body language makes it clear that they are not relishing sitting next to one another, and Lollobrigida, in particular, has an expression that suggests that she would really rather be elsewhere at that moment. The photograph was taken at the Italian Film Festival in London, in the presence of Elizabeth II; Loren attracted most of the media attention due to her ornate outfit, which included a fittingly regal cape and crown. 'The most beloved Italian export since spaghetti' The two women both enjoyed significant success early in their careers, but there were disparities between their levels of recognition and acclaim. Lollobrigida was signed up by the mogul Howard Hughes (who, was, predictably, smitten by her) to a seven-year exclusive contract, but her ventures into English-language cinema were comparatively limited, compared to her standing in Italy. She appeared in such pictures as John Huston's Beat the Devil, and starred opposite a decrepit Errol Flynn in his attempt to revitalise his swashbuckling career, Crossed Swords. More significant roles in films included the circus drama Trapeze and The Hunchback of Notre Dame. However, she won the greatest amount of acclaim and recognition for Italian-language projects, and received a Bafta nomination for her role in 1953's Bread, Love and Dreams. Further awards followed throughout the decade, and Lollobrigida revelled in her standing as the best-known, most beloved Italian export since spaghetti. Picking a fight with the queen herself This did not sit well with the ambitious Loren, who had been born Sofia Scicolone, and had had an early career as a successful model. When she was 15, she met Carlo Ponti, who was judging a beauty pageant that she appeared in. Although the 37-year-old Ponti was no Adonis, he was sufficiently charismatic and intelligent to realise that the young Scicolone had the potential to go far in the film industry, if he could shape her, Svengali-like. He changed her name to the more pronounceable Sophia Loren, encouraged her to learn English and to shed her strong Neapolitan accent. Still, whatever the truth of her lineage, under Ponti's tutelage she established herself as a comely figure with strong sex appeal. She had made over 25 films by the age of 21, which made her a ubiquitous presence in Italian cinema. Perhaps egged on by Ponti, she now decided to pick a fight with the queen herself, Lollobrigida, and told the European press that she was better endowed – 'bustier' – than the older actress Lollobrigida duly snapped back that she was capable of playing a peasant, but that Loren was not able to convincingly embody an aristocrat. 'We are as different as a fine racehorse and a goat!' she complained to one reporter. The barbs must have stung, because, later in her career, Loren suddenly remembered that her father, an unsuccessful railway engineer, had been descended from nobility, which supposedly gave her the right to call herself 'Viscountess of Pozzuoli, Lady of Caserta'. From personal to professional The feud soon stretched from the personal to the professional, when Loren replaced Lollobrigida in a sequel to her hit 1953 romantic comedy Bread, Love and Dreams (the older actress had asked for more money). In recognition of Loren's charms, it was filmed in colour rather than black and white. Matters worsened when Loren had a more significant international breakthrough than Lollobrigida in 1960 by winning both an Oscar and Best Actress award at the Cannes Film Festival for what may well be her greatest performance in Two Women. The film, a gritty and decidedly unglamorous war drama, directed by Vittorio De Sica, featured Loren as a widow who is struggling to care for her 12-year-old daughter. It climaxes with the two of them being raped by a group of soldiers inside a church, and Loren's bold rejection of the sexuality that she had embodied since she began her career made for stunning viewing. 'I thought it was worth taking the risk at 25 to play an older woman because the story was so beautiful,' she later said. Lollobrigida did not make any public comment on Loren's awards at the time, but it was perhaps no coincidence that she lobbied for the role of Napoleon Bonaparte's sister Pauline in the 1962 biopic Imperial Venus, presumably in the hope of attracting similar attention. She won two major Italian awards, the Nastro d'Argento and the David di Donatello, but Oscars and Cannes gongs were not to be hers. Loren, meanwhile, enjoyed an elevated status as a Hollywood film star, appearing in leading roles in such epics as El Cid and The Fall of the Roman Empire and the Hitchcockian comedy-thriller Arabesque. Such was her standing that, when she was cast opposite Marlon Brando in the 1967 Charlie Chaplin-directed flop A Countess from Hong Kong, she was able to put the Method star in his place. As she recounted: 'One day … he suddenly reached out and grabbed at me. I twisted around and very calmly hissed in his face, like a cat when you pet its fur backward: 'Don't you dare. Don't you ever do that again.' As I gave him my dirtiest look, I suddenly saw how small and harmless he really was, almost a victim of an aura that had been created around him.' Disparagingly, she called Brando 'a man ill at ease in the world.' 'She hasn't stopped for 50 years' Loren went on to have a rollercoaster career that even encompassed a brief prison sentence in the early 1980s for tax evasion: she was treated, appropriately enough, by royalty by her fellow prisoners and the guards alike, and the incident did not damage her significant popularity. In their later years, Loren and Lollobrigida were pictured in the same place together exactly once: at a 1988 event honouring Michael Jackson in Los Angeles. Yet Lollobrigida continued to brood, and, in 2015, gave an interview to Vanity Fair in which she attempted to suggest that she was truly first amongst equals. 'My God! She and her press agents started this 'rivalry' with me – and she hasn't stopped for 50 years,' Lollobrigida declared. 'It was really boring for me … we are different. We made completely different careers. I wanted to be an artist more than anything else. I wanted a career on a high level.' Belying, perhaps, the idea that Loren was obsessed by publicity, the younger actress declined to comment. So it was not entirely surprising that, two years later, Lollobrigida was still keeping the feud going. She told the Italian newspaper Corriere della Sera that 'I was not looking for any rivalry against anyone: I was the number one' and, in an obvious dig at Loren and Ponti, announced that 'I succeeded only thanks to myself, without any producer supporting me. I did everything alone.' However, when Lollobrigida died in 2023, Loren was able to have the last word, announcing that she was 'deeply shaken and saddened' by the death of her one-time rival, and thereby exhibiting a magnanimity at the conclusion of the feud that was sorely lacking – on both sides – while it continued.
Telegraph
43 minutes ago
- Telegraph
Nobody left at TNT can rattle cages or set agendas like Rio Ferdinand
After a few weeks in which other sports had some time in the sun, big-time football has returned to dominate the TV landscape for the next 10 months or so. Sky Sports has increased its offering to at least 215 live Premier League games this coming season. TNT Sports, and parent company Warner Brothers Discovery, is also broadening its portfolio and it was TNT that had the chance to land an early blow this weekend before the Premier League coverage begins on Sky on Friday. With the BBC's first post-Gary Lineker Match of the Day coming this Saturday, the game is afoot for the sport's major broadcasters, and this column will have a look at all of them over the coming weeks. TNT had picked up the rights to the Community Shield, which has been on ITV in recent years: no longer a charity shield, nor free-to-air either. Suck it, Commies. These are the times we watch live sport in. Laura Woods helmed from Wembley and in the modern style, there was no studio, with all the broadcasting done on the pitch, or by the side of it. You need an exceptional live operator to pull it off, and Woods is certainly that. She had Steve McManaman and Ally McCoist with her on Sunday, both of whom were in jolly form, verging on the unruly. Macca was sporting an untucked blue office shirt, giving him the look of a work experience lad who isn't sure if this is all for him. He's 53 now but there is something of the sixth-form rebel about him that I personally find endearing. Macca began the broadcast in a pair of rather rum sunglasses but they were removed, presumably on instructions from Sir, because special guest Joel Ward also had shades on at first but took them off. It was for the best. TNT had announced the signing of Gareth Bale for their coverage this season; he had impressed bosses with his work on the Europa League final. Rio Ferdinand's departure leaves them possibly a bit short of heft. McManaman, Peter Crouch, Joe Cole and Owen Hargreaves are all likeable and have their qualities but none is an agenda-setter or a cage-rattler and Ferdinand, for his limitations, had some gravitas and an appetite for debate both on screen and in the important secondary theatre of social media. We'll have to see how Bale gets on but he doesn't immediately strike me as a sure-fire star player. Happy to be proved wrong. TNT, carrying on where BT Sport had left off, has now carved out an identity that is distinct from Sky's intense-men-arguing vibe and it works well, especially for lighter fare like sunny days at Wembley. Darren Fletcher was in cheerful mood, offering up the palindrome of 'Ekitike' to amuse or bamboozle McCoist. 'I'm aware what a palindrome is, now don't get carried away,' said the Scot. John Motson would have had Eberechi Eze and Romain Esse as well but Darren isn't one to push his luck. He rightly lamented the unpleasantness during the minute's silence for Diogo Jota: 'Why on earth there are a certain few inside the stadium who would spoil that moment is absolutely beyond me' but, unless I missed it, there was no mention of anything about the anthem booing. Was TNT playing it too safe? Elsewhere, there was a tremendous piece of buffoonery where Woods attempted a walk-and-talk and had to navigate McCoist and McManaman tripping over each other and giggling, before they all settled on a three-abreast stomp towards the camera with Woods in the middle. 'I feel like I am being escorted out by two bouncers, a familiar memory…' she said. Whole lotta love ❤️ Joel Ward is mobbed by his former Palace teammates after their Community Shield win 🥰 📺 @tntsports & @discoveryplusUK — Football on TNT Sports (@footballontnt) August 10, 2025 Ward, making his TNT dayboo, was really good. Plenty of dressing-room insights and hugs with the players who were his comrades until just recently. He seems like a good egg and he looks the part. He has done one or two Palace matches on Sky and surely has a future in the punditry game should he wish to. Woods joked: 'He'll be taking my job.' That definitely isn't going to happen, but he seems like the sort of affable – perhaps slightly inoffensive? – type who would fit right in with the TNT ethos.
