Prince William Just Took Over a Role Meant for Harry Amid Reports He Wants Him ‘Harshly' Dealt With For the ‘Ultimate Windsor Crime'
Amid the rift that's going on with Harry and King Charles, Prince William has taken up the reins on a role that was meant for Harry. The Prince of Wales took up a traditional military role recently.
Prince William was appointed Colonel-in-Chief of the Army Air Corps (ACC) in 2024 after his father's coronation. The King handed him the position at the Army Aviation Centre in Middle Wallop. It's widely thought that Prince Harry would get this role since in 2012, he served as an Apache helicopter commander and co-pilot gunner with the Army Air Corps. Since the latter stepped down from his Royal duties, William was responsible for taking over.
More from StyleCaster
What Queen Camilla Really Thinks of Harry Amid Reports Charles Doesn't 'Trust' Him After His 'Attack' on the Family
A Man With Drugs Just Broke into William & Kate's Home Months After the Couple Were Burglarized
Prince William also served in the British Army with the Blues and Royals and as an RAF search and rescue pilot. In his memoir Spare, Prince Harry opened up about his experience in flying the Apache helicopter and how he described killing 25 people as removing 'chess pieces.'He was criticized by British military officials, but defended his choice to share his story with the public. He told Stephen Colbert on The Late Show, 'I made a choice to share it because having spent nearly two decades working with veterans all around the world, I think the most important thing is to be honest and be able to give space to others to be able to share their experiences without any shame.'
Prince William's visit to the ACC comes weeks after there were reports that the future King won't be easy on his brother when he takes the throne. An insider told The Daily Beast that the Prince of Wales wants to strip his brother and sister-in-law of their HRH titles , 'It's no secret William wants Harry more harshly dealt with. He thinks he has betrayed the family from top to bottom, which is the ultimate Windsor crime. It wouldn't take much to provoke him to flex his muscles when he is king.'
The source explained that Charles, who was diagnosed with cancer in 2024, has a different approach to Harry and Meghan that William wants to change when he ascends to the throne. 'Charles isn't going to open a new front in the civil war on the basis of one Instagram post, and it's not as if they are calling themselves HRH. I think everyone is pretty clear, at this stage, what the Duke and Duchess of Sussex's position in the family is,' the insider said.
Best of StyleCaster
The 26 Best Romantic Comedies to Watch if You Want to Know What Love Feels Like
These 'Bachelor' Secrets & Rules Prove What Happens Behind the Scenes Is So Much Juicier
BTS's 7 Members Were Discovered in the Most Unconventional Ways
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Chicago Tribune
4 minutes ago
- Chicago Tribune
‘Downton Abbey' star will bring her play about Ava Gardner to Chicago
Elizabeth McGovern, the American actress best known for playing Lady Cora in the British TV and movie franchise 'Downton Abbey,' will star in a show headed to Chicago that is based series of real-life interviews given by the Hollywood actress Ava Gardner. Titled 'Ava: The Secret Conversations,' the show was written by McGovern and is directed by Moritz Von Stuelpnagel. Aaron Costa Ganis also appears in the piece, which will run Sept. 24 to Oct. 12 at the Studebaker Theater in Chicago's Fine Arts Building. Karl Sydow is the producer of this commercial production, managed by Pemberley Productions, which has brought several shows to Chicago. McGovern becomes the third 'Downton Abbey' star to work in Chicago theater, following Brendan Coyle, who appeared at the Goodman Theatre, and Lesley Nicol, whose solo show was performed at the Greenhouse Theatre Center. 'Ava: The Secret Conversations' has previously been seen at the Geffen Playhouse in Los Angeles and NY City Center in New York. It is drawn from the series of interviews Gardner gave to the British writer Peter Evans (played by Ganis) between 1988 and 1990, wherein the Golden Age star spoke of her various marriages to Mickey Rooney, Artie Shaw and Frank Sinatra, as well as her famously turbulent relationship with Howard Hughes. Evans had been hired to write Gardner's autobiography, but she ended up firing him. His book detailing the interview was not published until 2013, and has been re-imagined by McGovern for the stage. McGovern will also be seen this fall on screen in 'Downton Abbey: The Grand Finale.'
Forbes
23 minutes ago
- Forbes
This Maverick British Chef Is Rewriting The Rules Of Fine Dining
Chef Gareth Ward (left) and a colleague at Ynyshir Gareth Ward believes fine dining should be fun. 'You're on a night out, for f*ck's sake,' says the iconoclastic British chef. 'Stop taking yourself so seriously. Let your hair down, kick your shoes off, enjoy the music. Eat some food, drink some wine, and just take 12 hours of your life out…. 'Loosen your shoulders, do some breathing. Don't be so angry. You know what I mean? It's just like, What's the point? Don't come. It's all about going out. It's all about having fun.' That's why a DJ booth has pride of place in the dining room at Ward's remote restaurant-with-rooms, Ynyshir, at the edge of Wales' Snowdonia National Park. It sits between the open kitchen and the handful of tables where diners sit side by side, schoolroom-style, to ensure that everyone has a view of the show on both stages. Bookshelves lined with vintage vinyl hang kitty-corner to racks of cooking implements in the kitchen. To be sure, the soundtrack helps Ward through service—'I can't really work without music,' he says—and it works as a drumbeat for the highly efficient servers as they present and clear the impressive 30 plates that make up a dinner at Ynyshir, an experience that takes about five hours. But it's also part of the gastronomic immersion that Ward has dreamed up. Diners at Ynyshir have pre-dinner drinks in the lounge That's why Iggy Pop's 'The Passenger' and Bronski Beat's 'Small Town Boy' are listed as 'bonus tracks' on the fashionably cryptic printed menus that guests receive at the end of the evening. They're played as the final desserts are served. The lights go down and the disco ball gets fired up, cartwheeling mirrored light around the room. 'If you get the right crowd, it's absolutely buzzing,' says the chef, throwing in an expletive or two. 'You get people dancing, you get people partying, letting their hair down.' It's an unusual way to describe a restaurant that holds two Michelin stars (the only one in Wales with such a distinction), but then, Ynyshir is a highly unusual restaurant. Since 2013, Ward has been relentlessly committed to innovation, bold flavors, meticulous craftsmanship and the very best versions of whatever ingredient he decides to serve. (And note that you will eat whatever ingredient he decides to serve: Ynyshir is an all-in experience, with no substitutions allowed.) Or as he describes it, it's things he wants to eat. And he doesn't mess around with anything less than the best. 'We don't take ourselves seriously at all,' he clarifies. 'But we take what we do very seriously.' That means quality-obsessed international sourcing, carefully controlled aging in a state-of-the-art salt chamber, and an unfailing determination to be unique. A slice of hamachi sashimi with wasabi Ynyshir was named the Best Restaurant in the UK in 2022 and 2023, and now it's attracting diners from further afield. Ward says he recently welcomed a Canadian couple. 'They'd flown from Canada to London. They'd hired a car, driven to this restaurant, had dinner, stayed over, driven back to London, got on the plane and gone back to Canada. I was blown away. I was almost in tears when they told me,' he recalls. 'I was like, You kidding me? That's f*cking stupid, you know what I mean? And they were like, No, we wanted to come to this restaurant for so long. All of our friends want to come. We wanted to be the first to do it.' Ward recognizes this both as an honor and as a responsibility—and as even more of an imperative to be unlike anything else in the world. 'I don't watch what anybody else is doing,' says Ward. 'I'm not interested. Not that anybody's not—there are some unbelievable restaurants and chefs out there—but I don't really want to be influenced by them. I want everything that comes out of this building to come from within this building. 'I think you can go to a lot of restaurants at the moment and have the same meal. There's nothing wrong with that if that's what they want to do. But I don't want to do that. I love going to a restaurant and being blown away by something different,' he continues. An unrolled handroll of bluefin tuna with preserved black truffle 'The amount of restaurants that are doing the Parker House rolls and the little tarts—you have four of these little tarts before the meal, and it's the same. It's just the same thing. I went to London a few months ago and I went to two restaurants on two nights, and I had exactly the same dish at both restaurants. I went, I spent a lot of money coming here; I don't want to eat that twice. I want a different experience, and that's what I try not to do here.' Unsurprisingly, he has little patience for trends like foraging and sustainability orthodoxy. His fish and A5 wagyu beef are flown in from Tokyo, his truffles come from Western Australia, and shelves behind the counter at the entrance—where he slices some of the hamachi, madai and Balfegó bluefin tuna that will begin the menu—display a global collection of condiments. There's Picual olive oil from Spain, Red Boat fish sauce from Vietnam and S&B curry powder in a red tin from Japan. 'If it's local, I want to use it, obviously. But if it's not, I'll go elsewhere,' he says, noting that his milk and shellfish come from quite close by. 'People go on about sustainability and stuff and local. Well, it's a great story, isn't it? Drawing a ring around your restaurant and saying, I'm not using anything outside of that? It's an unbelievable story. But if it's sh*t, what's the point? You're just lying to yourself and everybody else, and you're robbing people.' He continues, 'So if the lamb isn't amazing around here, I'll get the lamb elsewhere'—mostly Scotland and another region of Wales. 'Some of the local stuff around here, it's just not good enough. Just because there's sheep in my fields doesn't mean I'm going to use them.' A bedroom at Ynyshir His respect for ingredients extends to storing, preserving and cooking them. Often, that means a willingness to do the minimum and let the products shine on their own. The first quarter of the menu is raw or nearly so (and heavily inspired by Ward's many trips to Japan): sashimi slivers of that madai, hamachi and bluefin are enlivened with white soy, tama miso or simple fresh wasabi. From there, the menu moves around Southeast Asia, starting with fish and seafood—local shrimp with green curry, local lobster with nham jim—and then moving on to birds and meat. In keeping with his vision, Ward doesn't shy away from strong flavors. The Singapore-style chili crab is properly spicy, and the bird larb is even more so. He comes back to Wales for the desserts, going heavy on the local dairy products, as in the cream in the custard that's served with a Pricia apricot, in the tiramusi that's laced with Ethiopian coffee and in the milk that's paired with mango and passionfruit. And one of the ingredients he's most proud of is his hyperlocal birch syrup, which is collected from trees on the estate. He serves it over banana ice cream and N25 Kaluga caviar. Snowdonia is also heavily present in the dining room. Local sheepskins cover the chairs, the ceramics are made down the road, and much of the furniture was made onsite. Ward notes proudly that Ynyshir is perhaps the only restaurant in the world to employ a full-time blacksmith—instrumental not only in restoring the old manor house that became the restaurant but in maintaining its many handmade details. The rooms upstairs, in the nearby garden house or in the smattering of tepees on the grounds are filled with the same attention to detail and spirit of serious unseriousness. Ward's fun nights out don't end with the last petits fours, and neither do Ynyshir's lasting impressions.
%2520color-web-hires.jpg&w=3840&q=100)
Vogue
27 minutes ago
- Vogue
The Kinetic Force of Art World Couple Niki de Saint Phalle and Jean Tinguely Comes to Life in Somerset
We considered Hauser & Wirth in Menorca, but the team insisted on Somerset—somewhere I had never been! But I trusted the professionals. When I arrived, I was shocked at how on point it was. Jean and Niki moved out of the city early on and worked in barns. They loved the rural life. It felt very beautifully British, but also meant to be. Jean Tinguely, La Grande Tête (The Big Head), 1988. Photo: Ken Adlard, courtesy of Niki Charitable Art Foundation and Hauser & Wirth Photo: Ken Adlard, courtesy of the artists and Hauser & Wirth I had such a visceral reaction to seeing the exhibition. The gorgeous gardens, the curation. You start with Tinguely's moving kinetic machines, then you move to Niki's stark and solemn shooting pictures, then you look out the window and see the Nana sculptures in the gardens. I think it's beautifully curated. I'm thankful this is happening right now, before the big exhibition in Paris, where we see Tinguely, Niki, Pontus Hultén…all artistic friends. Then we're opening an exhibition for Jean's centennial in Geneva. You see the real scope of both of their work. In Somerset, we have their very intimate correspondence on display. You see their love, humor, and generosity. In the Somerset gardens, they get the fountains on and children run through the water with the Nanas. I was fortunate enough to be a kid around Niki and Jean, so I truly got to understand the magic of their work. I think it's wonderful to get people young to understand art, and see that art is a part of life. How did you even begin to distill the scope of their work? For Niki in particular—from the shooting paintings to the Nanas—the range in form and storytelling is so vast. I think it's really always important to tell stories, or at least to create a path so that people can create their own stories. We show all these different creative languages that they used both together and separately—from imagery to cinema, to moving machines, and the fountain. I think it's wonderful to blur the boundaries between public and private art in this exhibition, and that's actually very rare. And while this show is so much about joy and humor and providing a bit of a solace from the darkness of the world, the heavy subjects are there—but in a poetic way. Installation view. Photo: Ken Adlard, courtesy of the artists and Hauser & Wirth Photo: Courtesy Hauser & With and the artists I think that's the beauty of their work: there are converging and contradicting ideas. I love that you can see how intensely they collaborated, but also the real delineations between them. You would maybe think, as a couple, that they would have mirrored each other more. Instead, they have a singular sense of artistic identity.
