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Princess Andre cuts a glamorous figure in a red gown as she attends the Mission: Impossible London premiere with brother Junior and dad Peter

Princess Andre cuts a glamorous figure in a red gown as she attends the Mission: Impossible London premiere with brother Junior and dad Peter

Daily Mail​15-05-2025

Princess Andre cut a glamorous figure in a red evening gown as she attended the Mission: Impossible London premiere with her brother Junior and dad Peter on Thursday.
The daughter of Katie Price and Peter Andre, 17, looked nothing short of a sensational as she posed up a storm in the off-the-shoulder maxi dress.
She wore her long blonde tresses in a straight style and added a glowing palette of makeup to elevate her natural beauty.
Princess accessorised with a silver diamante heart necklace layered with a gold and white Van Cleef chain, as well as a charm bracelet and a slew of glittering rings.
She toted around her essentials in a silver clutch bag as she joined her dad and brother at the star-studded premiere.
Peter, 52, and Junior, 19, cut equally dapper figures as they stepped out in smart black suits and posed for a family photo.
The family joined plenty of famous faces on the red carpet in Leicester Square to celebrate Tom Cruise's eighth and final instalment, The Final Reckoning.
The film, which has faced multiple delays, is finally due to hit cinemas on May 23 2025.
The London premiere comes just a day after Tom and a host of other stars attended the first premiere at the Cannes Film Festival on Wednesday.
With the new but final Mission: Impossible now just days away, fans are more eager than ever to find out how the eight-movie long series will come to its climax.
And film lovers could be in for a treat with some early viewers describing the film - which cost almost $400million to make - as 'astonishing'.
Following a series of press screenings, movie critics took to social media to gush about the latest instalment in the franchise, calling it 'the action film of the summer.'
'Tom Cruise defies all odds with jaw-dropping action built only for Imax,' wrote critic Anthony Gagliardi.
'Every stunt, every set piece, every second is designed to blow your mind, A PULSE-POUNDING THRILL RIDE, and Cruise remains the king of spectacle,' he added.
Tom Cruise defies all odds with jaw-dropping action built only for Imax,' wrote critic Anthony Gagliardi.
'Every stunt, every set piece, every second is designed to blow your mind, A PULSE-POUNDING THRILL RIDE, and Cruise remains the king of spectacle,' he added.
Fandango's Erik Davis wrote, 'Absolutely astonishing action moments meet a sprawling story with many nods to past MI films. It's the biggest, wildest and most consequential Mission movie yet.'
Movie critic Dave Baldwin gushed, 'It's exceptionally entertaining with pulse-pounding stunts that will leave you gasping. Tom Cruise has done it again.'
The 62-year-old actor is famous for doing his own very adventurous stunts which have become a hallmark of the franchise.
And the latest instalment is no different, with one particular shock moment showing the Hollywood star thousdands of feet up in the air as he dangles out of a helicopter before falling backwards to the ground.
Paramount Pictures have shared a new video on their YouTube channel using a Snorricam - a camera that locks the camera's perspective to the actor.
The nail-biting clip shows Tom leaping out of the helicopter, as well as including some of the decisions that were made by the crew before the stunt took place.
Reprising his role as the titular hero Ethan Hunt in Mission Impossible, Tom takes on his biggest mission yet, after a tense cliffhanger saw the spy determined to track down cyber weapon The Entity and learning that his team was betrayed and his 'secrets compromised.'

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My Glastonbury food odyssey: 10 of the best dishes – whether you're feeling hungover or healthy
My Glastonbury food odyssey: 10 of the best dishes – whether you're feeling hungover or healthy

The Guardian

time43 minutes ago

  • The Guardian

My Glastonbury food odyssey: 10 of the best dishes – whether you're feeling hungover or healthy

The food choices at Glastonbury can feel overwhelming – a smorgasbord of street food from around the world, which can trigger terrible choice paralysis when you're operating with a hangover, on zero sleep, or both. Fear not. Here are some guaranteed Glastonbury food wins, whether you're looking to stave off the mother of all hangovers or simply on the hunt for something green. South of the Pyramid stage A massaman curry served on brown rice (£14), this is loaded with nutritious ingredients, including greens, kimchi pickles and new potatoes. It's creamy, filling and thoroughly restorative, without leaving you bloated. The buddha bowls are a staple of most Glastonbury food lists for good reason. If you're craving salt, add the fried halloumi. Sprinkle a few chilli flakes for good measure. South of the Acoustic Stage One for the carnivores. Go for the Pitmaster (£17): a hunk of smoked barbecue brisket (cooked on site for more than 16 hours) served with a healthy dollop of pulled pork on a bed of crunchy fries and coleslaw. This is the dish if you decide to splash out and treat yourself. The south side of West Holt If it's your first time at Glastonbury, the Goan fish curry stall is something of a rite of passage (that queue is long for a reason). The go-to curry (there are a couple) consists of flaky white fish cooked in a hot tomato-based curry sauce, served with fluffy white rice (£13). Fans of spicy food will probably find this quite mild; if so, smother it in the zesty green chilli sauce. Fish has never really been in my hangover repertoire, but I've been reliably informed by my colleague, Gwilym Mumford, that the breakfast kedgeree here is a winner. The Reach, opposite the BBC Introducing stage Wings at a festival can feel like a risky strategy, particularly if, like me, you come with a beard. But sometimes they're necessary, and as long as you're happy to ask a friend or stranger to do a post-meal beard check, the much-hyped wings (£10) from the fusion street food company Mexican Seoul are worth queueing and getting dirty for. Dripping in a gochujang-based secret sauce, these are hefty double-fried wings with the crunch to match. It's a hearty portion of five wings, good if you're hungover, drunk, sobering up or simply sticking to your high-protein diet. Opposite the Left Field The Crumble Pots van is a build-your-own-crumble adventure. There are sweet options (apple, rhubarb, banoffee) and savoury (roast dinner, chicken and leek, veg curry). Billy Bragg says he is often distracted by the choices available at Crumble Pots whenever he performs at the Left Field. 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But if you make better choices than me, this is great when your body is crying out for something nourishing that isn't covered in batter or served with chips. Left of the Other stage The Notso Katsu stall offers delicious vegan fried chick'n dishes. If you need a hearty meal, the katsu curry (£12.50) is the right balance of stodge (rice), gratification (the chick'n), flavour (the Japanese curry sauce) and nutrition (edamame, pickles and seaweed), with a good kick. If fake chicken isn't your thing, you can sub in a pumpkin croquette (and the katsu burger looks banging, too). Between Left Field and West Holts These are hollowed-out bread rolls stuffed with chilli (vegan or steak, with varying spice levels), topped with sour cream and toasted garlic bread (£12). The bread is a sturdy vessel for the steak chilli, which is easily scooped out and shovelled down. This is perfect if you're on the go or need to sober up. The choice of whether to eat this when you have a hangover depends on your spice tolerance. Opposite the Park stage The chilli cheese dosa (£11.50) is a crisp pancake with a spicy masala paneer filling, served with pots of sambar chutney and coconut yoghurt. Great for a quick fiery hit, though it's a tough eat on the go: the pancake doesn't hold together quite as well you think it will, and cocky 'eat and walkers' – of which I am one – may find themselves coming unstuck. The south side of West Holts The surf and turf box (£14) is packed with juicy prawns and chunks of tender chicken. It's a good portion size, all perfectly seasoned, served with cajun-spiced fries and a very saucy coleslaw that keeps everything from getting too dry. I'm in two minds about including this one as I'm definitely going back and I don't want the queue to get any longer.

The 1975 at Glastonbury review – amid the irony, ego and pints of Guinness, this is a world-class band
The 1975 at Glastonbury review – amid the irony, ego and pints of Guinness, this is a world-class band

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timean hour ago

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The 1975 at Glastonbury review – amid the irony, ego and pints of Guinness, this is a world-class band

The 1975's first Glastonbury headlining slot arrives preceded by some intriguing rumours about what's going to happen. Some fairly eye-popping figures are being bandied about regarding the cost of their set's staging – which allegedly vastly outweighs the fee the band are being paid – while one dubious online source insists Healy has shaved his head for the occasion. He hasn't (he appears onstage tonsorially intact), but clearly large sums of money have been spent somewhere along the way. What ensues isn't quite as complex as their last tour, which featured lead singer Matty Healy eating raw steak, doing push ups, climbing through a television and Prince Andrew's face appearing on a bank of television screens accompanied by the strains of Mahler's 5th Symphony. Nevertheless, there are huge video screens everywhere: not just behind the band, but above them and at either side of the stage, and indeed below the actual video screens that Glastonbury traditionally provides. The treadmill that ran across the front of the stage during their 2018 tour – there for Healy to glide around on, something he does with admirable insouciance – makes a reappearance, while, for reasons that aren't entirely clear, the rear half of a car makes an appearance stage right at one point. Healy sings from within it. The screens alternately bathe the stage in white or pink light, show Adam Curtis-esque montages of news footage, flash up lyrics as Healy sings them – a good idea in the case of Part of the Band, a song packed with authentically funny lines. But this being the 1975, never a band to miss the opportunity to make a meta point about being in a band, they also flash up critiques of Healy's lyrics – 'MINDLESS HOLLERING' – and more generally, of the 1975 themselves: 'They're essentially making robotic Huey Lewis tunes' is a particularly cutting judgement on the band's signature synth-heavy, pastel-hued 80s pop-rock-influenced sound. Later, the screens render their lyrics as meaningless gibberish by displaying what it sounds like he's singing – 'oh mah hez smell like chocolate'. And this is done immediately after Healy informs the audience that he's 'the greatest songwriter of my generation … a poet'. 'I was only joking,' he adds later, although his talent as a frontman is less open to question: there's something gripping about the way he switches from straightforward 'Glastonbury-are-you-with-us?' enthusiasm to role-playing as a raddled, tormented pop star, pint in one hand, cigarette in the other. He makes earnest pronouncements about the lasting friendships at the centre of the band and is seemingly astonished at the size of the crowd: 'Oh Jesus,' he mutters as the lights reveal its full extent, 'yeah, it's normal, it's fine'. But then, there'll be arched-eyebrow examinations of his own genius, from posing to dancing with wild enthusiasm. It's a show that's frequently strange and self-deprecating – an intriguingly different approach to the business of headlining the world's biggest music festival – although it runs the risk of the actual music they make getting lost somewhere amid the visual bombardment and commentary. Happily, their set also functions as a reminder that behind all the irony, the 1975 are impressively skilled at the prosaic business of writing songs. If You're Too Shy (Let Me Know) or She's American have pop-facing melodies strong enough to shine through. The one point where the staging seems to overwhelm the show itself is during a lengthy interlude when the band vanish from the stage entirely and the message 'Matty is changing his trousers' flashes on to the screen. It's a very risky move indeed at a festival where there's always something else you could be watching: a minor exodus duly takes place in the audience. But when they return they start rolling out the big hits: It's Not Living (If It's Not With You), Sex, Love It If We Made It's dense parade of millennial angst, the gleaming pop of The Sound. It ends with About You's appropriately epic balladry, and the members of the 1975 embracing each other, apparently genuinely emotional: a straightforward conclusion to a bold, experimental, occasionally confounding, but ultimately hugely impressive performance.

Rod Stewart: let's give Nigel Farage a chance
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