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Heartthrob steals the show at State of Origin - and he's not a footy player

Heartthrob steals the show at State of Origin - and he's not a footy player

Daily Mail​11-07-2025
The State of Origin decider may have been a nail-biter, but it was off the field that a new star truly stole the show.
Social media went into a frenzy after Wednesday night's game, with legions of young women flocking to TikTok in a desperate bid to identify a certain dashing videographer.
'PLEASE TikTok gods find us this guy,' pleaded one fan, Regan Loveday, as she shared footage of the mystery man in a TikTok that racked up an astonishing 433,300 views in just 14 hours.
The comments section exploded with fellow admirers, all trying to track down the young man who was seen on the pitch standing alongside the NSW Blues players in a navy tracksuit.
Daily Mail Australia can confirm the overnight sensation is Lewis Coote, a fresh-faced 22-year-old videographer who was on duty filming the behind-the-scenes action.
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'That's all I was thinking the whole time,' one viewer commented.
'I'm so glad this was a collective experience,' added another.
'Guys, the Blues were at my school training and that is the principal's son he's a sport photographer,' said a third.
The video has racked up 83,000 likes and counting, with female Sydneysiders quick to band together to track down Lewis' identity.
'I will need his dad's number please,' one older viewer commented.
But for those hoping to slide into his DMs, we've got some bad news.
While Lewis himself took a little while to catch on to his newfound fame, his eagle-eyed girlfriend, Charli Bowers, was quick to spot the viral TikTok.
She promptly delivered a crushing blow to her boyfriend's legion of new admirers: Mr Coote is very much off the market.
'That's my mannnnnnnns,' Charli commented on the video.
Charli took the viral moment in good humour as she took to her own TikTok to share several videos dedicated to her beau.
'Guilty of not watching the game and just him,' she captioned an adorable video of her embracing her boyfriend after the game, adding: 'Forever and always the proudest of this boy.'
The beautiful brunette then used a popular TikTok sound, which begins with the quote 'But daddy is a state of mind,' mashed up with lyrics from George Michael's Father Figure.
'To all the girlies who cooked and made the edit of my boyfriend,' Charli captioned a short video in which she holds her hands up in a praising motion and blows a kiss.
'New fav song on repeat thanks to Regan xoxo,' she captioned her shout-out.
Viewers were quick to praise Charli for taking the public manhunt for her partner in good stride.
'You were so quick to it!! He's such a lucky man x,' one viewer commented, with Charli replying: 'He deserves the hype.'
Even Regan, the original creator of the Lewis fan edit, reached out to her.
'So glad we got it sorted hehe, and you're welcome for the song,' she commented on Charli's response video.
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Cameron blocks out the noise to show his worth as Rangers' new boys inch club closer to the promised land
Cameron blocks out the noise to show his worth as Rangers' new boys inch club closer to the promised land

Daily Mail​

time28 minutes ago

  • Daily Mail​

Cameron blocks out the noise to show his worth as Rangers' new boys inch club closer to the promised land

Lyall Cameron would have been well advised to stay off social media over the past couple of days given some of the pelters that have been coming his way courtesy of the keyboard warriors. It's safe to say the young midfielder hasn't endeared himself to fans of his former employers with his comments on how he's finding life having made the move up from a 'smaller club' like Dundee. Sure, he could have perhaps been a touch more careful in his choice of words, but that wasn't enough to let him off the hook in the eyes of some. Best stay out of the City of Discovery for a while, Lyall. The good news for the 22-year-old is that he looks right at home in Glasgow. He was one of a handful to get any sort of praise from manager Russell Martin following Saturday's dismal collective display against Motherwell. Considering he is the only one of nine new summer arrivals not to have been brought in by the new boss, he's certainly made an impression. Thrown in for his first start for the club on a huge European night in front of an expectant Ibrox crowd, he didn't look the least bit out of place. At the weekend, it was his attitude which caught Martin's eye. His determination to run himself into the ground for his team-mates. All of that was on full show once again here, but he offered far more than hard yards. More often that not, he was the one linking the play. Any possible early nerves were soon set aside with a thumping tackle to win back possession. Time and time again, he found pockets of space between the lines. The visitors had no idea how to pick him up. On this evidence, the once undroppable Nico Raskin might have a problem getting back into the team. One delicious pass in behind midway through an excellent first half set Djeidi Gassama free. Oliver Antman was unfortunate to see his first-time effort blocked on the line. The Finnish new boy — signed on Monday from Dutch outfit Go Ahead Eagles — provided a much-needed spark on Rangers' right-hand side. It was he who won the penalty which doubled his side's advantage, nicking the ball back on the edge of his own area before playing a one-two with Gassama and ending up being hauled down just as he was about to pull the trigger. His delivery for Gassama to head home the third was inch-perfect. Early days, of course, but he couldn't have asked for a much better start to his Rangers career. The Ibrox side — with Antman and Gassama on the flanks — look, at long last, to have some pace about them. Goodness knows they've needed it. Having Cyriel Dessers alongside them helped. The much-maligned front man — the only player to have attracted any interest this summer, according to his manager — is a big improvement on Danilo. The Brazilian has contributed next to nothing in three starts so far this term. Dessers got a goal and an assist within the first half alone. Of course, he'll never be good enough for many Rangers supporters, despite his outstanding goals return. But the club would be mad to let him go. Like it or not, he is far and away their best option up top. For the time being, at least. The overall performance from Rangers was night and day compared to what they offered up at Fir Park at the weekend. Martin's reading of the riot act worked a treat. Just as well, too. He put himself in a tricky position ahead of Tuesday's tie after hanging so many of his squad out to dry. Captain James Tavernier was one of four dropped. Max Aarons was dreadful at left-back throughout both legs against Panathinaikos. In his more natural position on the opposite side of defence, he looked far more assured. Rangers, as we've now come to expect under Martin in these early days, remain a tough watch when playing out from the back. You could genuinely hear the collective intake of breath every time Nasser Djiga or John Souttar had possession in their own third. Thankfully, both carried out their defensive duties to a tee. The former's outstanding block kept the scores level within the first 10 minutes. Who knows whether or not it would have been a different story had Matej Vydra's effort gone in. And quite honestly, who cares? Rangers are one step closer to the promised land.

TonyInterruptor by Nicola Barker review – satire that sees right through you
TonyInterruptor by Nicola Barker review – satire that sees right through you

The Guardian

time2 hours ago

  • The Guardian

TonyInterruptor by Nicola Barker review – satire that sees right through you

As TonyInterruptor begins, musician Sasha Keyes is in the middle of an improvised trumpet solo. A man stands up in the audience and says, 'Is this honest? Are we all being honest here?' He points at Sasha and adds, 'You especially.' Soon a video of the episode appears online, with a companion clip of Sasha's vitriolic reaction: 'Some random fucking nobody … some dick-weed, small-town TonyInterruptor.' Given the times we live in, this naturally leads to Sasha's trial by social media for artistic fraudulence and abusive conduct. But the shockwaves soon extend to everyone adjacent to the event: Fi Kinebuchi, the self-styled 'Queen of Strings', who was playing with Sasha at the time; India Shore, the teenager who posted the first video; India's father, Lambert, an architecture professor with a secret crush on Fi Kinebuchi; his wife Mallory, who divides her time between parenting her daughter, Gunn, who has special needs, and venting intellectual spleen; and even to TonyInterruptor himself, real name John Lincoln Braithwaite, an otherworldly outsider whose 'main occupation – his duty, even – is to observe and assess the falling and the catching of light'. The author of more than a dozen books, including the Goldsmiths prize winner H(a)ppy and the Booker‑shortlisted Darkmans, Barker is known for experiment and brainy whimsy. There could be no better person to write a comedy about art and its discontents. The novel is devastatingly on the money about the ways we're all not being honest here: whether as flawed, self-conscious humans, or in the special case of artists, who strive harder for honesty and thus fall harder into affectation. Even the unworldly Braithwaite isn't immune. What are we to make of a man who smokes because 'smoking is a condensed and bastardised form of fire-watching', and when asked to shake hands responds with, 'I object to handshaking on ideological grounds … but you seem well-meaning so I'm happy to respond in the vernacular you're most comfortable with.' Sincerity here is just the youthful illusion that we're exempt from universal impostordom; or the lovely illusion of lovers that their inamorata is the one in a million who is really real. Sign up to Bookmarks Discover new books and learn more about your favourite authors with our expert reviews, interviews and news stories. Literary delights delivered direct to you after newsletter promotion The characters' sensitivity to the falseness all around them – and in them – gives them no peace. Lambert describes his wife, Mallory, as relentless in her criticisms, 'like a seagull up to its knees in sea-swell, determinedly dissecting a crustacean as it rolls ceaselessly back and forth'. But this is true in various ways of all the characters, who are always finding fault. Sometimes this means railing at others, as when India tells her dad to 'stop always making everything so … so INTELLECTUAL, so META … and just … just … for once in your life risk being real'. Sometimes they bemoan their own artificiality, as when Lambert conceives of himself as being 'like a Moneymaker tomato: ripened to an unnaturally bright hue on a constant drip-diet of Baby Bio'. The prose is a profusion of thoughts and associations, and shadings of the thoughts, and metaphors extending from the associations. All this is delivered in long, manic sentences that love to chase their own tails. When we're told Braithwaite is 'like a leading character in a bad 1980s American capitalist drama (say Dallas: the over-indulged younger brother, the prodigal son who returns to the oilfield and promises his tough yet paradoxically indulgent slate-eyed, tan-faced father that he will learn the trade from the ground up; prove himself). But also like a character from an excellent, slightly clunky but extremely sincere first play about a demoralised primary school teacher who is struggling to nurture a gifted but troubled Irish Traveller child written by a 23-year-old northern prodigy whose uncle once ran (and possibly still runs) an abbatoir' – well, are we really expected to parse all that? I suspect not. The excess is the joke, and the joke is sometimes on the reader who struggles to get anything as sensible as an image out of Barker's imagery. It's a rollercoaster kind of excess, where the best part is that it's too much. Sometimes, I think, we're being invited to enjoy the slapstick experience of losing our footing mid-sentence, and to join the laugh if we fall flat. Midway, the book takes a turn into romantic comedy, with a series of scenes where unlikely characters fall for each other. The honesty they've been pursuing, it turns out, consists not in improvised jazz, but in becoming besotted with an inappropriate person and blowing up your life. Barker manages this shift with an extraordinary lightness and perceptiveness, making it feel as though the rogue wave of love sweeping through her narrative was inevitable as soon as the words 'Are we all being honest here?' were spoken. In a pivotal scene, a bewildered Sasha Keyes sums up all we've learned by citing the 'Buddhist Lineage of Mis-steps', in which it is the seeker's mistakes and failings, not their spiritual achievements, that lead to enlightenment. It is a somehow fitting climax to a book in which Barker seems incapable of putting a foot wrong. This is satire that sees right through you, but forgives you and teaches you to forgive yourself. It's that rare thing, a serious work of art that is also a giddy confection: a vehicle of pure delight. TonyInterruptor by Nicola Barker is published by Granta (£16.99). To support the Guardian, order your copy at Delivery charges may apply.

K Mak at the Planetarium review – cosmic trip into the void
K Mak at the Planetarium review – cosmic trip into the void

The Guardian

time2 hours ago

  • The Guardian

K Mak at the Planetarium review – cosmic trip into the void

'I'll leave you with the cosmos,' Australian singer Kathryn McKee – or K Mak – whispers dreamily at the start of this ethereal but oddly muted gig. A globe of light emerges and vaguely spacey projections beam around the band as their electro-classical orchestration soars into life. From there, with no other interaction with the audience, the show struggles to gain much velocity. Freeze any moment of this performance and the snippet of synth-infused symphony you catch will have an otherworldly beauty. But in the room, with the band squashed awkwardly against the back wall so as to be caught in the projection's light, the energy is halting. The action feels untethered from the space we occupy together, neither party quite sure what to expect from or offer the other. The instruments are an easy extension of their players, the irrefutably accomplished musicians on drums, violin and cello sometimes closing their eyes as they lose themselves in the mournful music. The voice of K Mak, who is also on keys, comes to us first with heavy synths, her voice high and alien, her lyrics taking effort to unpick. Then she strips back the modulations to give us her voice unfiltered, her just-discernible words of love and longing making it equally possible that she's speaking as a person as she is a star. Behind the performers, psychedelic projections veer from micro to macro, from abstract and tangible, with globular molecules and rushing comets colliding as if tilted through a kaleidoscope. These trippy visuals have the most impact when they feel tailored to the music, a burning flame around a black hole pulsating in time with the beat of a drum. But moving on to images of bouncing jellyfish and unfurling flowers, they begin to seem compiled at random. Losing any connection to outer space, they threaten to tip into the abstract bounce of a desktop screensaver. The music may be cosmically calming, but this performance lacks the intensity required to either truly ground or transport you. At Summerhall, Edinburgh, until 24 August All our Edinburgh festival reviews

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