
Andrew Scott channels Pedro Pascal's head-turning Cannes Film Festival look as he flexes his biceps in a fitted vest top at a magazine launch dinner
The Irish actor, 48, turned heads with his muscular physique on show, rocking a cropped grey sleeveless shirt.
He completed the bold look with skinny blue jeans and crisp white loafers as he posed up a storm for the cameras.
The star appeared in good spirits at the event and also took time to have snaps with pal and fitness entrepreneur Connor Minney.
Andrew's look bore a striking resemblance to Pedro Pascal's bold red carpet outfit at Cannes Film Festival earlier this year, where US star, 50, made waves in a black muscle tank.
Fans couldn't get enough of his playful behavior — or his arms — at the Palais des Festivals during the photo call for his new film Eddington.
Andrew Scott (left) channeled full Pedro Pascal (right) energy as he flexed his biceps in a vest top at the IMAGINE Magazine Launch Dinner at Bistrotheque in London on Tuesday night.
One fan even shared a photo of Pedro with his arm around Emma Stone and wrote, 'My new religion is pedro pascal's arms.'
'Pedro Pascal had been massively serving at #CannesFilmFestival so far,' another X (formerly Twitter) user wrote, adding that 'the other men don't stand a CHANCE!'
A third added, 'Every time someone invalidates me for finding a 50 year old man hot, Pedro Pascal validates me by showing up even sexier and hotter than the day before.'
Also known for his sensational style, Andrew stole the show at the Golden Globes dressed head to toe in tiffany blue in January.
The Irishman, who was nominated for best performance by an actor in a limited or anthology series for Netflix's Ripley, turned heads in the standout number as he confidently posed for pictures.
Wearing a suit jacket, matching trousers, shirt and tie, Andrew ensured all eyes were on him as he made his way into the Beverly Hilton Hotel.
Beyond the bold colour choice, Andrew kept things simple in the shoe department with some black lace ups and finished his ensemble with a pearl bracelet.
As he took to the carpet, fans couldn't hold back on their thoughts, with many gushing over his appearance.
They wrote: 'andrew scott smiling that's it #GoldenGlobes';
'Andrew Scott looks like a paint swatch. However I WILL give him points for wearing something than all black (which a lot of men on the red carpet seem incapable of doing). #GoldenGlobes';
'why are all the men at the golden globes not giving? like the closest we have to a serve is andrew scott's tiffany blue suit and that's it';
'That shade is recognizable to brides around the globe as Jordan Almond Blue. But Andrew Scott is not a mere snack at the wedding reception. He's moving units at the Toyota dealership down the street';
'Love this blue on Andrew Scott. #GoldenGlobes';
'Andrew Scott looking handsome in this light blue dress.'
Inspired by Patricia Highsmith's Tom Ripley novels, Ripley follows Andrew as the cunning con artist who is hired by an American businessman to bring his wayward son back from Italy.
However, the seemingly simple task spirals out of control, leading Ripley into a tangled web of lies and murder as he fights to evade capture and maintain his façade.
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Daily Mail
32 minutes ago
- Daily Mail
Maya Jama denies accusations that Love Island producers are heavily involved in steering Islanders' actions in the villa as she insists 'it has to be real because it's reality'
Maya Jama has played down the level of involvement that Love Island producers have in steering narratives in the villa, insisting the show 'has to real, because it's reality'. The TV star, 30, has presented nine seasons since taking over as host in 2023, and gave fans an insight into the behind-the-scenes process of making the ITV2 show. And she has insisted that the romances and drama are authentic, denying mounting speculation that the production team secretly guide the outcomes. There have been many conflicting reports concerning the level of involvement that producers have on the Islanders' actions in the villa and overall authenticity of the series. Fans and former stars have frequently accused the show of rigging results, telling contestants what to do or say, and even staging scenes to drive storylines. However, in an appearance on her pal Chunkz's podcast, The Chunkz Show, Maya insisted that while producers may 'encourage' conversations, everything that is shown happens organically. There have been many conflicting reports concerning the level of involvement that producers have on the Islanders' actions in the villa and overall authenticity of the series She said: 'I don't know if it's like illegal or what, but they're not allowed to tell them what to do. 'The most they can do is encourage them to have a little chat. But it has to be real because it's reality.' While she added that she even bans the production team from telling her who will be dumped ahead of time, to ensure she doesn't give the game away accidentally, saying: 'Literally as I say it I find out, one second before everybody else'. Maya explained: 'I do this technique where I don't let them tell me who is going until I'm literally stood in front of them in my ear, because I don't want to stare at them or give it away. 'I've never said the wrong name or something but like there is cameras constantly around and they like the dramatic pauses. There is a lot of me saying something and then it waits. She also insisted that she herself couldn't engage much with the contestants, while on the show, explaining that she only could speak to them properly after they'd been dumped from the villa. She said: 'I can't really [talk to them between scenes]. It's only on Aftersun after they've been dumped that I can actually chat to them properly. 'But in between takes and stuff when I'm in there I will try and be like "are you okay?" or like check in, but you won't see those bits.' The debate over how heavily producer-led Love Island is has raged for years, but the show has always vehemently denied the accusations and stating the show is 'a combination of reality and produced elements.' In response to allegations in the past, they previously issued a statement that read: 'It is absolutely untrue to suggest that Love Island is fake, staged or scripted. 'The opinions they have and the relationships formed are completely within the control of the Islanders themselves.' However, a string of former participants have alleged that the programme-makers are heavily involved in contriving storylines, romances and even fights. Malin Andersson, who took part in the second series of Love Island, previously told Metro that producers would tell Islanders who to chat to and what about to stir drama. She explained: 'If something's been said, producers can tell you to go speak to specific people and have a chat about a certain topic. That'll happen quite often. Especially if there wasn't enough content. 'I mean, we all got on really well… If things weren't juicy enough they would literally just tell you to go and talk certain people and give you a topic.' Fellow ex-Islander Tyla Carr has also claimed that contestants were sometimes asked to redo dramatic scenes. She said: 'They tell you what they want you to talk about, and who with. You have to tell the producers on site if you are planning to have an important chat or do something. Liv Attwood had to dump Sam Gowland twice last year, which was embarrassing for both of them.' When asked if the show was real or staged by Grazia, Sophie Piper - who appeared on the 2020 series and last year's All Stars - admitted: 'A bit of both, but it's not massively staged. Producers might suggest, 'Why don't you talk about this and that?' While season four star Laura Anderson also maintained that producers would subtly steer stars to be more dramatic during conversations, recalling: 'I'd say, I really don't care. 'But then they'd be like, "Are you sure you don't care? Because you said this and you looked like this...".' In perhaps the most serious accusation, season two star Zara Holland previously claimed to MailOnline that she was 'brainwashed' and her every move dictated by producers. She said: 'Two producers lived in the basement throughout the show. They would say things like, 'Right, Zara. We want you to focus on so-and-so.' You trust them. 'You think you're on a summer holiday and you might find love, but you are in a posh prison where you don't know what time it is and a voice in a wall tells you what to do. I honestly believe I was brainwashed.' And in 2019, a number of whistleblowers from the show told The Mail on Sunday that producers went so far as to give contestants lines to parrot and tell them who they should choose to couple up with. One former star insisted: 'People don't realise how scripted it is, how much the producers influence it. 'It is completely disingenuous and a lot of the time very, very fake. It isn't fair to mislead the audience like that. 'The producers don't care what they're doing to people as long as they're making their ratings. We were treated like performing animals and the current cast are still.' A second ex-contestant from 2017 claimed she overheard producers instructing the boys what to say ahead of recoupling. She said: 'We heard them learning their scripts off by heart. They were going over and over what they were going to say. Nobody would have had to practise so long if it was genuine. We were kept away so they had time to do it.' While another previous cast member claimed that bosses often asked them to recreate conversations for the camera or tell them who to talk to. They said: 'If producers hear a juicy conversation going on, they'll ask you to say it again. They want you to come across more b****y, or in way that will create drama. 'At other times the producers would tell us to go and have a chat with such and such a person during the day. You don't get to choose who you talk to. Or they will put together a storyline and tell contestants how to behave to ensure that it happens. 'They would prompt you, or tell you about conversations other people had had about you, so you react – to stoke up drama. The reality is that it's not reality. It's acting.'


Telegraph
37 minutes ago
- Telegraph
Painting once owned by first British prime minister fetches record fee
A Canaletto painting of Venice owned by Britain's first prime minister has fetched a new auction record for the artist. Venice, the Return of the Bucintoro on Ascension Day (c. 1732), was sold to an anonymous bidder for £27.5 million (£31.9 million with fees) at Christie's in London last night. The painting adorned the walls of Number 10 Downing Street during the 20 year tenure of Sir Robert Walpole, in the 1700s. Andrew Fletcher, Christie's global head of the Old Masters Department, said the piece was 'unquestionably the greatest work by the artist to have come to the market in a generation.' He said: 'Seldom does a true masterpiece such as this – particularly by a painter as important as Canaletto – appear on the art market. 'This extraordinary painting of the grandest and most familiar view of Venice, by the city's most recognisable painter, dates to Canaletto's finest period and is as notable for its illustrious provenance as much as for its impeccable condition.' Christie's King Street headquarters had been decorated with a reproduction of the painting in the lead up to Tuesday's Old Masters Evening Sale, where the Venetian's work had been expected to fetch £20 million. The oil on canvas artwork was formerly accompanied by a pendant showing The Grand Canal, looking north-east from Palazzo Balbi to the Rialto Bridge. The pair had remained together until Venice, the Return of the Bucintoro on Ascension Day, was last sold at Paris auction house Ader Tajan in 1993. Appearing at auction for the first time in nearly 250 years, the Venetian's work fetched 66 million French francs (£7.5m), setting a record for an Old Master sold at auction in France. The pendant, Grand Canal from Palazzo Balbi to the Rialto, was later sold at Sotheby's in London in 2005, for £18.6m, which was formerly the record auction price for a Canaletto. Discovery The painting's presence in Sir Robert's collection was first noticed by British Art historian Sir Oliver, who discovered a reference in the 1736 manuscript catalogue of paintings at 10 Downing Street and in the 1751 auction catalogue when they were sold by Sir Robert's grandson, George. While it is not known when Sir Robert acquired the Canaletto, it is likely that his son, Edward, facilitated the deal after his time spent in Venice between 1730 and 1731. Purchase of the paintings may have been prompted by the refurbishment of 10 Downing Street in 1732-35 after the residence was offered to Sir Robert by King George II in 1732. Falling on the fortieth day after Easter Sunday, the Feast of the Ascension of Christ was a staple of the Venetian calendar until the fall of the Republic in 1797. On this day alone would the Doge use Bucintoro, the official galley of the Doge of Venice and a symbol of the Serenissima, to sail out to the lido and cast a ring into the water as a symbol of Venice's marriage to the sea. The vessel depicted in Canaletto's work, the last to be made at the Arsenale, was designed by Stefano Conti, and decorated by the sculptor Antonio Corradini. Giovanni Antonio Canal, known as Canaletto, was born in Venice in 1697. He became a favourite of British collectors, visiting England repeatedly between 1746 and 1756.


BBC News
42 minutes ago
- BBC News
Dance in Wales is elitist and not diverse, says report
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