Danny O'Donoghue marries long-term girlfriend Anais Niang
Danny O'Donoghue has married his partner Anais Niang. The Script frontman, 44, tied the knot with his long-term events manager girlfriend, 31, at a ceremony on Thursday (08.05.25) in the UK and the pair are delighted to have become husband and wife. The couple told MailOnline: "We're over the moon to be married and now we take the first steps on the journey of the rest of our lives together!" Danny and Anais have been together for five years after meeting by chance in London during the COVID-19 pandemic and the Irish singer revealed that his partner had received his mother's approval when they made their red carpet debut together at the Pride of Britain Awards in 2021. He said at the time: "We actually live in the same part of London, and up until now we've mainly just been hanging out at home. My mum loved her, and offered her lots of tea." Danny proposed to Anais when the pair holidayed in Norway last year and explained that he had to keep his romantic gesture a secret as the pair climbed up a mountain. 'The Man Who Can't Be Moved' artist said: "We hiked up to the top of a mountain to face the most beautiful waterfall in the world, The Seven Sisters. It's our favourite place on Earth. "I nearly passed out from exhaustion carrying up all the champagne, glasses and food for if she said yes. I had to do it all without her knowing." Danny also recalled how he knew that his partner was 'The One'. He explained: "When you know, you know... I knew when it wasn't right, but now I know whatever that is, that it's 100 per cent right. "She's great. I met her during Covid and if you've been with anybody through Covid it's like you compress ten years into these years. "You learn everything, all the good bits, mostly the bad bits, and if you get through those moments... I don't know if it's a rite of passage, if you've made it through those few years then you know." O'Donoghue previously revealed that he went "off the rails" following the death of his bandmate Mark Sheehan, who passed away aged 46 in 2023 following a short illness. He told Virgin Media One's 'Six O'Clock Show': "I went off the rails after Mark passed. I went heavy on drinking, smoking and eating c*** food, really went off the rails. "I had writers block, a mental block because I could not articulate what was going on because everything comes into question, not just should we carry on as a band, but is there a God? Why? There is no answers to these questions."
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Yahoo
an hour ago
- Yahoo
Actor Who Portrayed Late Beach Boys Legend Brian Wilson Offers ‘Love and Mercy' to the ‘Maestro'
Actor Who Portrayed Late Beach Boys Legend Brian Wilson Offers 'Love and Mercy' to the 'Maestro' originally appeared on Parade. , the actor who portrayed in the acclaimed 2015 biopic Love and Mercy, took to social media to offer a tribute to the Beach Boys mastermind, who died on Wednesday, June 11, at the age of 82. At the time of his death, Wilson was battling dementia. 'The maestro has passed - the man was a open heart with two legs - with an ear that heard the angels. Quite literally. Love and Mercy for you and yours tonight . RIP Brian,' Cusack wrote, taking a short break from his usual political posts on X, formerly Twitter. 🎬 SIGN UP for Parade's Daily newsletter to get the latest pop culture news & celebrity interviews delivered right to your inbox 🎬 'Brian wrote down the lyrics of love and mercy for me -,' Cusack also shared, along with a photo of the lyric sheet and two photos of the actor and the legendary musician together. In Love & Mercy, Cusack portrayed Wilson in his later years when he was guided by controversial therapist , who was played by in the film. The movie was named after the 1988 song of the same name by Wilson. also portrayed a young Wilson in the film, directed by , during the Beach Boys' rise in the 1960s. Cusack's followers on X weighed in with comments about the role and the loss of Wilson. 'So sorry for your loss, John. Thanks for sharing 💔,' wrote one. 'Thank you for sharing your thoughts and these lovely mementos of your time with this incredible man that you portrayed so beautifully who lived through so much and gave us even more. Thoughts and good vibrations to everyone touched by Brian, especially his family, friends, and loyal fans,' added another. 'Brian Wilson was a musical genius. It's sad that he didn't always get the recognition he deserved,' a third person added. 'You played him brilliantly. Hope you're okay today,' another said. Actor Who Portrayed Late Beach Boys Legend Brian Wilson Offers 'Love and Mercy' to the 'Maestro' first appeared on Parade on Jun 11, 2025 This story was originally reported by Parade on Jun 11, 2025, where it first appeared.
Los Angeles Times
2 hours ago
- Los Angeles Times
Brian Wilson was more than a genius. His sound epitomized the lore of SoCal
Brian Wilson didn't create the sun or the ocean or the sea-sprayed landmass we call Southern California. He didn't invent the car or the surfboard. He wasn't the first person to experience the cold pang of isolation or to fall in love with somebody so deeply that the only thing to do is regret it. Listen to a song by the Beach Boys, though — to one of the tortured and euphoric classics that made them the most important American pop group of the 1960s — and I bet you'd be willing to believe otherwise. I bet you'd insist on it. Wilson, who died Wednesday at 82, was one of music's true visionaries, if that's the right word for a guy who dealt in the endless possibility of sound. As a composer of melodies, a constructor of textures, an arranger of vocal harmonies — as someone who knew how to pull complicated elements together into songs that somehow felt inevitable — he was up there with Phil Spector, George Martin and the Motown team of Holland-Dozier-Holland. The Beach Boys' hits are so embedded into American culture at this point that you don't really need me to provide examples. But let's do that for second — let's savor the beginning of 'Wouldn't It Be Nice,' where an eerily out-of-tune electric guitar conjures a dreamlike atmosphere until the hard thwack of a snare drum breaks the spell. Let's think about the terrifying theremin line that snakes through 'Good Vibrations' like it's tugging a flying saucer down onto Dockweiler Beach. What we should really do is go over to YouTube and pull up the isolated vocals from 'God Only Knows,' which allow you to luxuriate in Wilson's obsession with the human voice. The song is a cathedral of sound that you could walk into 500 times without fully grasping how he built it. For all his architectural craft, Wilson's essential genius was his control of emotion — his ability to articulate the feeling of being overwhelmed by affection or fear or disappointment. 'Pet Sounds,' the Beach Boys' 1966 masterpiece, represents the apotheosis of Wilson's expressive powers: the trembling anticipation he layers into 'Wouldn't It Be Nice,' the sting of betrayal in his singing in 'Caroline, No,' the certainty beneath those celestial harmonies in 'God Only Knows' that anything precious is destined to die. To my ears, even the group's earlier stuff about surfing and cars is laced with the melancholy of an outsider looking in. I tried out that idea last year on Wilson's cousin and bandmate Mike Love, who wasn't buying it: 'If you're talking about 'Fun, Fun, Fun' or 'I Get Around' or 'Surfin' U.S.A.,'' he told me in an interview, 'there ain't no melancholy in them.' That Love identified no sadness in the songs only makes it easier to understand why Wilson the lonely young pop star was writing tunes as openly forlorn as 'In My Room.' Wilson formed the Beach Boys in Hawthorne in 1961 with Love, his brothers Dennis and Carl and the Wilsons' neighbor Al Jardine; the band rode quickly to success as avatars of a kind of postwar suburban prosperity. In 1964, after suffering a panic attack on an airplane, Wilson decided to quit touring and focus his efforts in the recording studio, where he made so many advances that soon he was holding his own in a creative rivalry with the Beatles. (As the story goes, the Beatles' 'Rubber Soul' inspired Wilson to make 'Pet Sounds,' which in turn drove the Beatles toward 'Sgt. Pepper's Lonely Hearts Club Band.') Yet Wilson's panic attack can also be seen as the start of a lifelong struggle with mental illness that threatened to derail his career in the wake of 'Pet Sounds.' Indeed, not unlike that of Sly Stone, who also died this week, the Beach Boys' peak hit-making era looks relatively brief in retrospect: After 'Good Vibrations' in 1966, the band didn't score another No. 1 single until 1988 with 'Kokomo,' which Wilson wasn't involved in. Even so, the late '60s and the 1970s remained a fertile period for Wilson — not just with 'Smile,' the infamously ambitious LP he'd finally complete and release in 2004, but with quirky and soulful albums like 'Friends' and 'Sunflower'; 'Surf's Up,' from 1971, features one of Wilson's most stirring songs in the wistful title track, whose extravagantly wordy lyric by Wilson's pal Van Dyke Parks is almost impossible to parse in anything but a pure-emotion sense. The '80s were darker — you can watch the 2014 movie 'Love & Mercy' for a look at Wilson's experiences with the therapist Eugene Landy, whom the record exec Seymour Stein once described to me as 'the most evil person that I ever met' — and yet no Wilson fan ever wanted to stop believing that Brian would come back, a hope he kept alive through decades of intermittently brilliant work on his own, with Parks and even sometimes with the Beach Boys. (Dig out Wilson and Parks' 1995 'Orange Crate Art,' if you haven't in a while, for a powerful dose of bittersweet California whimsy.) I interviewed Wilson once, at his home in Beverly Hills in 2010. He was preparing to release a gorgeous album of Gershwin interpretations that was twice as good as it needed to be — and probably three times better than most anybody expected. Years of life and everything else had taken much of his conversational ease from him, at least when he was talking to journalists. But I can still see him lighting up as he explained how he learned to play 'Rhapsody in Blue,' which he said he'd loved since his mother played it for him when he was 2. 'It took us about two weeks,' he said of himself and a friend who helped him learn the song. 'I'd play a little bit from the Leonard Bernstein recording, then I'd go to my piano, then back to Bernstein, then back to my piano, until I got the whole thing down.' A technical wizard with his arms open wide to a cruel and beautiful world, Brian Wilson always got the whole thing down.
CNET
4 hours ago
- CNET
This Hilarious Prime Video Caper Flips the Script on British Crime Drama
You can't move for hit British crime shows right now. Whether it's Dept. Q or Adolescence on Netflix; MobLand on Paramount Plus; or Slow Horses on Apple TV Plus (even if that one's technically more of a spy show), gritty and binge-worthy content is showing up on the best streaming services, all delivered in a vibrant array of British accents. Deep Cover feels like a real crowd-pleaser. Peter Mountain/Metronome Film But a shift is happening. We're about to enter cozy-crime summer, when the genre will get an injection of lighthearted comedy, largely thanks to the much-anticipated adaptation of Richard Osman's Thursday Murder Club book series, set to land on Netflix this August. In the meantime, Prime Video is getting in there first with Deep Cover -- an action-comedy that flips the British crime script from serious to silly in the best possible way. In the film, which arrives on Prime Video on June 12, an unlikely trio of improv actors, all of differing skill levels, is recruited as undercover police officers and infiltrates London's underworld, theoretically to bust a drug ring. Needless to say, am-dram chaos ensues. Bryce Dallas Howard plays a failed stand-up comic turned improv teacher who ropes her two most hapless students into the gang: a method actor with delusions of grandeur, played by Orlando Bloom, and a nervy IT office nerd, played by Nick Mohammed. Together the three, nicknaming themselves Bonnie, Roach and the Squire, fudge their way through meetings with gangland bosses, each more intimidating than the next, and somehow manage to find friendship and romance along the way. I went to the film's premiere at SXSW London last week and came away convinced that Deep Cover should be at the top of everyone's watch list this weekend. The combination of comedy and action lands it squarely in crowd-pleaser territory, somewhere between Hot Fuzz and The Fall Guy. Of Deep Cover's three stars, it's Mohammed who has the most established comedy chops and gets the biggest laughs (you'll likely know him best as Nathan Shelley in Ted Lasso -- the kit man who defects to become a rival coach). That's not to say Bloom, who steps somewhat out of his comfort zone in this role, and Howard don't also deliver. The chemistry between the three lead characters keeps you rooting for them long after their "yes, and..." improv approach to undercover work seems to be failing them. The film's director, Tom Kingsley, has also worked on the Bafta-winning TV show Stath Lets Flats (available on Max), which is simultaneously the most Greek and most British piece of television you could ever hope to watch, and which I've long been convinced is a work of significant comic genius. Deep Cover has the same echoes of awkward, almost farcical humor, but with an Amazon-size budget behind it. Still, as Kingsley explained during a Q&A following the premiere, the budget was far smaller than anyone might expect for such a production. Bringing in bona fide Hollywood stars Bloom and Johnson attracted more funding, as did Amazon hopping on board. But the film was reportedly made on something of a shoestring by Hollywood standards. Still, it's easy to see where the injection of cash ended up. Deep Cover's action scenes are sometimes outlandishly slapstick, perfectly befitting of the three clowns at their center, and at times so graphic or high octane that they don't always jell with the overall tenor of the film. It's a minor niggle in the scheme of things, and one that shouldn't deter you. For all its silliness and stunts, Deep Cover is ultimately a heartwarming tale about developing adult friendships at that stage in life when you might feel like the moments for such opportunities have passed. If you're looking for something easy and fun to watch this weekend, then look no further.
