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John Torode sacked from MasterChef

John Torode sacked from MasterChef

NZ Herald15-07-2025
'He has stated he has no recollection of the alleged incident and does not believe that it happened. He also says that any racial language is wholly unacceptable in any environment.
'The BBC takes this upheld finding extremely seriously. We will not tolerate racist language of any kind and, as we have already said, we told Banijay UK, the makers of MasterChef, that action must be taken."
Torode said on Monday: 'I am shocked and saddened by the allegation, as I would never wish to cause anyone any offence.'
The Telegraph understands that Torode was the subject of multiple allegations, although only one was substantiated.
Torode and Grace Dent, who was hired as Wallace's replacement, recently filmed a series of Celebrity MasterChef, which was due to go out this autumn.
That means the BBC now has two MasterChef series that may never see the light of day – the celebrity version and last year's amateur competition hosted by Torode and Wallace.
BBC director-general Tim Davie earlier said that MasterChef was bigger than its presenters. Asked whether the show had a future, he replied: 'I absolutely think it does. I think a great programme that is well loved by audiences is much bigger than individuals.
'It absolutely can survive and prosper, but we've got to make sure we're in the right place in terms of the culture of the show.'
Davie was also asked about the last series of the show, which was filmed but has not been released and features Wallace in all but the final episode. He said: 'This is a difficult decision, and we need to weigh it up carefully. We're thinking through things.'
A former member of the production team told the Telegraph that the show needs to 'reform'.
'The people in power are the problem. They have enabled this behaviour and that needs to change. I hope the show undergoes a cultural change now. This has been a long time coming.'
In a post on social media last night, Torode said: 'Although I haven't heard from anyone at the BBC or Banijay - I am seeing and reading that I've been 'sacked' from MasterChef and I repeat that I have no recollection of what I'm accused of. The inquiry could not even state the date or year of when I am meant to have said something wrong.
'I'd hoped that I'd have some say in my exit from a show I've worked on since its relaunch in 2005, but events in last few days seem to have prevented that. Over the past few months, I have been considering my life and the shape of it now and in the future.
'Celebrity MasterChef, which I recently filmed with Grace Dent along with two fantastic Christmas specials will be my last. Personally, I have loved every minute working on MasterChef, but it's time to pass the cutlery to someone else. For whoever takes over, love it as I have.'
He added: 'I will watch fondly from afar as I now focus on the many other exciting projects that I have been working towards. My tummy will be grateful for a rest after 20 years of eating, but what a joy it has been. Life is ever changing and ever moving and sometimes personal happiness and fulfilment lay elsewhere.
'Thank you for the many years of MasterChef."
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40 years after Live Aid, it's still personal for Bob Geldof
40 years after Live Aid, it's still personal for Bob Geldof

NZ Herald

timea day ago

  • NZ Herald

40 years after Live Aid, it's still personal for Bob Geldof

Geldof persuaded many of the world's top artists at the time to play for free, including Queen, David Bowie, Madonna, the Who, Elton John, Tina Turner and Paul McCartney. The shows were seen by about 1.5 billion people in more than 150 countries and would go on to raise more than US$140 million ($235m). Stars including George Michael, left; Paul McCartney, fourth from left; and Freddie Mercury, second from right, during the Live Aid Concert at Wembley Stadium in London on July 13, 1985. Photo / Getty Images The concerts followed the success of the Band Aid charity single, Do They Know It's Christmas?, which Geldof had co-written with singer Midge Ure and released the previous year. The song featured a who's who of British music, and raised £8m ($18m). It also inspired Harry Belafonte to organise an American equivalent, We Are the World, which remains one of the bestselling singles in history. Live Aid transformed Geldof into one of the world's best-known and most successful activists. The Band Aid Charitable Trust, a foundation he co-created, is still funding international development projects to alleviate poverty and hunger in Africa. These include supporting maternal health care facilities in Ethiopia and a programme to provide meals for children. To mark the Live Aid anniversary, the BBC and CNN co-produced a documentary series, Live Aid: When Rock 'n' Roll Took On the World. It also covers Band Aid and Live 8, concerts that Geldof organised in 2005 that helped pressure the world's richest countries to cut the debt owed by the poorest countries and increase aid spending. A medical and food distribution centre in Ethiopia in November 1984 during what the BBC called a 'biblical famine.' Photo / Finn Frandsen / Polphoto / AFP Geldof, 73, is currently on tour for another anniversary – celebrating 50 years since the founding of the Boomtown Rats – and spoke in a video interview from Novi Sad, Serbia, where the band performed last week. This conversation has been condensed and edited for clarity. Q: Tell me about that day in 1984 when you saw the BBC report. 'I was anxious at the time. I don't think my band had made a great record, and we weren't getting in the charts. A measure of how well we were not doing was I was home at 6 o'clock: Pop singers should not be doing 9 to 5. 'But everyone in Britain came home and watched the 6 o'clock news. The BBC gave this story about famine in Africa about eight minutes – the reporter went to the epicentre of the famine in Korem, Ethiopia, and sent this devastating piece of journalism. The objective truth and the subjective rage of what he was telling us about was evident, and certainly struck me. 'We were riveted by the prurience and the horror of it. This other world was suddenly thrown at us. I very much remember those images, and if you force me to articulate them again, I start crying again. Those images are the things that my mind will not allow me to obliterate.' Q: Yet you revert to those images when you want people to understand the horror of what motivated you in the first place. A: I suppose it's been the animus through the years. I can lobby and write policy, but when push comes to shove, it's only the end object that animates me to act. It can come to a head in a personal way. In Montreal last November, I was staying at a posh hotel. My wife ordered breakfast. The guy arrived and asked if he could say hello to her husband. He came into the room in an ill-fitting suit, pushing the trolley. He was a small guy and obviously Ethiopian. Geldof and the singer Midge Ure in London in 1984. They wrote the single Do They Know It's Christmas? together. Photo / Getty Images He said, 'Can I shake your hand?' He then stood bolt upright – he had prepared this – and made a speech at me. He didn't know who his parents were, he had been in Korem, and said he was raised on Band Aid food in a Band Aid orphanage, and he got to Paris to study catering and he was now here. I asked if he had a family and he said yeah, he had met an Ethiopian girl and he showed me a picture of her and his two cute kids, 8 and 9. Then he suddenly rushed at me and hugged me, and laid his head on my chest and said, 'Thank you for my sons, thank you for my life.' Obviously, Live Aid and Band Aid were the work of thousands of people. But you know, it worked. Q: But there is a difference between being enraged and actually doing something. A: What I've learned is that it is no use walking around singing, We Shall Overcome. Because you won't. Singing the song isn't enough. Protest songs are only ever protest songs. Music can be a call to arms, but music itself changes nothing. It won't go further unless you are determined to act upon it. The bands at Live Aid were the Pied Pipers, and the audience gathered around the electronic hearth of television and radio. The symbolism of it all carried through to 20 years of lobbying to change policy. 'Singing the song isn't enough,' Geldof said. 'It won't go further unless you are determined to act upon it.' Photo / Chris Hoare, The New York Times Q: You saw music as a platform to do things. Could Live Aid happen today? A: I don't think it's possible now. Society has changed. The web is an isolating technology. It knows what you are, it drives you, it gives you what it thinks you want, and as you get jaded it gives you more extreme versions of that. Now, music is free and you get the news that you want to see. The web is an echo chamber of your own prejudices, so you only hear the music that it thinks you like. It's a silo of the self. So I don't think music can survive being the spine of the culture as it was. Q: Bohemian Rhapsody, the 2018 film about singer Freddie Mercury, suggests that Queen's Live Aid performance was the moment when the donations started flowing in. A: The movie isn't right. Queen were completely, utterly brilliant. But the telephone lines collapsed after David Bowie performed. I was given the outtakes of a report that the Canadian Broadcasting Corporation couldn't show, because it was just so appalling, the visual images. The editor had cut the film in Addis Ababa to the tune of Drive, the Cars song, and it's worse than the BBC report. Harvey Goldsmith, the concert promoter, and I had gone to see David about what songs he would sing. But before we started talking about the songs, I said, 'Look at this thing,' and I put it on. David Bowie during the Live Aid concert at Wembley in 1985. Donations started flowing in after his performance. Photo / Getty Images David was crying and said he would cut a song from his set to show the CBC report instead. It's an extraordinary moment during the concert, because at the end of Heroes, which the crowd were all singing, he quietly introduces the clip and asks people to send their money in. It was like a slap in the face. Bowie brought the house down. That was the key moment. Q: How do you respond to criticism that you and Live Aid are examples of a 'white saviour' complex? You have said it simply isn't relevant when you are dealing with an emergency or disaster. A: There is nothing to argue. It's nonsense, like any dogma. It's like Catholicism that says you are born with original sin. Or Freudianism. It's theory and notional. It's not even worth entertaining. It doesn't exist. Q: You have always been pragmatic with your activism, and you've dealt with politicians of all stripes. How do you feel about President Donald Trump and Elon Musk, and their decision to gut USAID, which worked in many of the areas and causes that you have fought for? 'We're in a radically different world now. It's the argument between nationalism and internationalism. 'What is profoundly shocking is the cackling glee with which the Trump-Vance-Musk triumvirate went about declaring war on the weakest and most vulnerable people of our planet. America was always the most generous by far of all the countries. 'Why would great America do that, while the richest man on the planet cackles that we're going to feed USAID into the wood chipper? It is grotesque, it is a disgrace to the country.' Musk said that the great weakness of Western civilisation is empathy. You fool. Empathy is the glue of humanity. It is the basis of civilisation. This article originally appeared in The New York Times. Written by: Ravi Mattu Photographs by: Chris Hoare ©2025 THE NEW YORK TIMES

Susanna Elliffe Is Winner Of The 2025 NZSA Laura Solomon Cuba Press Prize!
Susanna Elliffe Is Winner Of The 2025 NZSA Laura Solomon Cuba Press Prize!

Scoop

time3 days ago

  • Scoop

Susanna Elliffe Is Winner Of The 2025 NZSA Laura Solomon Cuba Press Prize!

The New Zealand Society of Authors Te Puni Kaituhi O Aotearoa (PEN NZ Inc) congratulates Susanna Elliffe on winning the 2025 NZSA Laura Solomon Cuba Press Prize with her manuscript Relic Party. The prize was created by the NZSA and the Solomon family to fulfil the wishes of Laura Solomon, a novelist, poet and playwright who was a longstanding member of the NZSA and a beloved member of the Solomon family. It awards new writing of ' unique and original vision ' with a cash prize of $2,000 and a publishing contract with The Cuba Press. Publication will be in 2026. The winning manuscript, Relic Party, is a short story collection that studies loss, both intimate and global, human and nonhuman, ranging through ugly ghosts, false relics, and desperate pilgrimages, to a dysfunctional 80's farmhouse and the speculative worlds of climate affected futures. We also congratulate Belinda O'Keefe who is the runner-up, winning a cash prize of $1,000 with her manuscript Trespassers Will Be Baked, Scrambled, Fried and Eaten. Susanna Elliffe's manuscript was selected by a final judging panel of Mary McCallum (The Cuba Press), Nicky Solomon (Solomon Family) and panel convenor and award-winning writer Cassie Hart. Cassie Hart, convenor of the judges, says: 'The quality of entries this year was amazing - choosing the finalists was not an easy task, and then selecting just one winner? A huge challenge. I so appreciate the writers of New Zealand for not making this easy! 'The final four were all so different from each other, spanning from a very lyrical collection of short stories to a humorous contemporary novel, a middle grade adventure, through to a memoiresque non-fiction book exploring the experience of immigrants! There is almost no way to compare the four, as they are each such a success in their own right. The winner, Relic Party, stood out as being the most unique and original of the three though, and I know that readers will fall in love with Susannah Elliffe's prose and storytelling just like we did.' Nicky Solomon says: 'It is so wonderful to see interest in the prize continue to grow, as we mark its fifth year. We are extremely grateful to the NZSA and The Cuba Press for taking Laura's idea and turning it into a true legacy. She would be absolutely delighted by the calibre of the work and I know that she would echo me in congratulating all of the finalists, and in fact all of the entrants. The judges are continually challenged, in a good way, by such high quality writing in such a diverse range of genres, and our family extends its heartfelt congratulations to Susanna and Belinda.' The Cuba Press director Mary McCallum says her team is delighted to be publishing another NZSA Laura Solomon Cuba Press Prize winner. 'It's like Christmas when the shortlisted authors for the prize come through for us to read,' she says. 'We have no idea what to expect. They are all very good and rock the unique and original vision that characterised Laura's own work.' Mary says Susanna Elliffe is a writer who creates vivid and beguiling worlds in her short fiction that spark with energy and take readers in unexpected directions. Susanna Elliffe has this to say about her win: 'Winning the Laura Solomon Cuba Press Prize is momentous for me. Creative writing has long been the lifeblood that runs beneath everything I do, my life's passion. I love to play with language, to unstitch it, pull at the seams, weave it anew, to create something that doesn't always fit traditional publishing moulds. So to have my work recognized in this way feels nothing short of surreal. I am deeply honoured - especially to receive a prize connected to Laura Solomon. Her short stories were also surreal and strange, but also dwelled in uncanny corners of the human heart. I am grateful, moved, and more inspired than ever to keep pushing language and narrative to its edges.' Susanna Elliffe is an experimental writer whose short fiction has been shortlisted for competitions including The Sunday Star Times, the Sargeson Prize, and the International Bridport Prize. Susanna is currently completing a Master's in Creative Writing at Massey University, where her work focuses on defamiliarisation and linguistic deviation in fiction. She lives in Oamaru with her sisters and cats, and spends her spare time when not writing, on the stage with Musical Theatre Oamaru. Congratulations to runner-up Belinda O'Keefe, with her manuscript Trespassers Will Be Baked, Scrambled, Fried and Eaten! A discretionary prize of $1,000 has been offered by the Solomon family to both winner Susanna Elliffe and runner-up Belinda O'Keefe. Congratulations also to shortlisted writers Ann Beaglehole (How to be an alien: A memoir of sorts), and Frances Duncan and Raewyn Hewitt (Call It Hope).

The 10 best comedy series to see before you die, according to the Herald's entertainment team
The 10 best comedy series to see before you die, according to the Herald's entertainment team

NZ Herald

time3 days ago

  • NZ Herald

The 10 best comedy series to see before you die, according to the Herald's entertainment team

Seinfeld (1989-1988) Jason Alexander and Jerry Seinfeld on Seinfeld. A series that's essentially about nothing doesn't seem like the right grounds for a comedy masterpiece, but thanks to Larry David and Jerry Seinfeld's impeccable writing, Seinfeld stands as (in my opinion) the best sitcom of all time. Spawning unforgettable pop culture references like Festivus and 'yadda yadda yadda', this show takes the concept of social normality and turns it on its head, letting the intrusive thoughts win every time and creating some of the funniest situations ever seen on screen. It paved the way for sitcoms to come, no matter how bad or good they ended up being. – MH Friends (1994-2004) Friends became iconic to a generation over its 10 seasons. The comedy series about six friends living and learning in New York City gave us the likes of Jennifer Aniston, Courteney Cox, and Matthew Perry and became iconic to a generation over its 10 seasons. It was an easy watch, kept us laughing and ultimately gave us the endings we wanted. There was a character everyone could relate to, with every 90s girl declaring themselves a Rachel, Monica or Phoebe. As a Monica, I neatly put this on the list while declaring she should have ended up with Richard. – JM It's Always Sunny in Philadelphia (2005-Present) Andy Buckley, Danny DeVito, Kaitlin Olson, and Charlie Day were among the cast in It's Always Sunny in Philadelphia. At its core, this is a show about very bad people doing very bad things ... and boy, is it wild to watch. Danny De Vito is having the most fun he's ever had on screen playing a gremlin of a man who eats cat food for breakfast, and the rest of 'the gang' are equally despicable. Crimes are committed, psychopathic traits encouraged, and there's no filter when it comes to the moral depravity at play, but it's both a cautionary tale and a raucous romp. This show lets its characters' inner demons out in a cathartic and hilarious fashion, unlike any other show seen on screens, and deserves a spot on the list for proving that surreal comedy does have a place on TV. – MH The Office UK (2001-2003) Rickey Gervais as David Brent. Photo / BBC It was The Office that started it all, with the deeply unlikable David Brent at the helm of the show. It was its own brand of sharp comedy, and it pioneered the mockumentary-style show. In typical British comedy style, it offered us far fewer character arcs than were later seen on the US version, far less warmth and not an ounce of American cheese. But Ricky Gervais as Brent showed us a show could be grotesque, offensive, get it all wrong, fluorescent lit, set in Slough, and we would still all follow along. - JM The Inbetweeners (2008-2010) The Inbetweeners is the ultimate coming of age comedy. While The Office, Black Books, Blackadder, and The IT Crowd paved the way for British comedy, The Inbetweeners cemented it in modern pop culture history. Still as relevant as ever in the TikTok age, this series about growing up has just the right amount of gross-out humour and heart to make it appealing as a comedy series. While the actors for Will, Simon, Jay, and Neil may have grown up, their spirited mishaps and quotable quotes (some too rude to share here) will continue to stay in the minds of comedy buffs everywhere for years to come. Just make sure you read up on British slang before watching to get the full comedic effect. – MH The Office US (2005-2013) The Office US featured Rainn Wilson as Dwight Schrute, Jenna Fischer as Pam Beesly, Steve Carell as Michael Scott, B.J. Novak as Ryan Howard and John Krasinski as Jim Halpert. Photo / NBCU Photo Bank The softer US iteration of Ricky Gervais and Stephen Merchant's series gave us Steve Carell as Michael Scott and plenty of beautiful and horrific characters to follow – I still detest Toby more than any character, ever. But The Office US gave us the UK Office with optimism, and more unforgettable moments and quotes than virtually any other show. Pam and Jim's love story is elite. Dwight's character is unmatched, and Michael finding love with 'the hottest girl in the world' warmed even the coldest of hearts. Dunder Mifflin forever. – JM The Simpsons (1989-Present) The dynamic of our favourite yellow family, The Simpsons, never gets old. Photo / Fox A best comedy series list isn't complete without the longest-running American animated comedy series ever, and The Simpsons has stood the test of time for good reason. It continues to reflect the world we live in, satirically touching on relevant issues with just the right tone and style to still entertain. The dynamic of our favourite yellow family never gets old, and new and legacy characters create an iconic world worthy of the movie and theme park rides it spawned. To this day, we are still waiting for the next opening credit couch gag, and will no doubt continue to look forward to it. – MH New Girl (2011-2018) Seasons 2-4 of New Girl were lessons in elite comedic timing. While the series starts slow, and season 1 of the Fox show can be considered anything but its best, seasons 2-4 of New Girl were lessons in elite comedic timing, perfect casting and characters who seamlessly feed off each other. The greatest TV friendship of all time sits in the form of Nick and Schmidt, Winston's mess-arounds will forever live rent-free in my head and Jess (played by Zoe Deschanel) and Nick's fiery (literally) love story reminds us that sometimes your person comes in the form of your best friend. – JM Veep (2012-2019) Veep, starring Julia Louis-Dreyfus, was over the top but scarily real. Scarily real, yet ludicrously over the top, this political satire from the genius mind of Armando Iannucci acts both as a warning and an expose of just how stupid politics can be. With some of the best comebacks and one-liners ever constructed, this show paints fictional US politician Selina Meyer (played by the superb Julia Louis-Dreyfus) as an unfiltered, morally despicable clown who will do everything and anything to retain power – and the result is rib-shatteringly hilarious. What makes the show even better is its supporting cast, who bend to the will of Meyer, often at their own expense, resulting in a circus of errors that leaves viewers in hysterics. – MH Derek (2012-2014) Ricky Gervais in a scene from Derek. Photo / Netflix Ricky Gervais as Derek could easily be misconstrued by pictures or even trailers. But Derek is one of the most beautiful characters in comedy history, showing us that kindness and believing in others are undervalued qualities. The gullible Derek, who works in a retirement home, shows us through the lens of humour, shows us that despite all odds, it's possible to find the good in everything. The cast of Kerry Godliman, Karl Pilkington, Barry Martin and Brett Goldstein (of Ted Lasso fame) turn a high-risk storyline into a comedy masterpiece. – JM Mitchell Hageman joined the Herald's entertainment and lifestyle team in 2024. He previously worked as a multimedia journalist for Hawke's Bay Today. Jenni Mortimer is the NZ Herald's chief lifestyle and entertainment reporter. Jenni started at the Herald in 2017 and has previously worked as lifestyle, entertainment and travel editor.

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