Star's wild bedroom act two weeks into dating
An NRL superstar has revealed the make or break moment with her now husband when the couple were just two weeks into dating.
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News.com.au
an hour ago
- News.com.au
Delta Goodrem hits back at US actor who ‘completely humiliated' her with viral dancing video
Delta Goodrem has opened up about the moment she went viral after a US actor 'completely humiliated' her by calling out her 'unrhythmic' dancing abilities on social media. The Aussie singer, who was 30 at the time, was attending Beyoncé and husband Jay Z's On The Run tour at Pasadena's Rose Bowl Stadium in LA in August 2014, where she was sat nearby White Chicks star Marlon Wayans. As she danced away at the gig with close friend and Aussie TV personality Renee Bargh, Goodrem had no clue the actor had been filming her on his phone to later post to his followers on Instagram. 'Man I got the most UNRHYTHMIC WHITE WOMAN dancing next to me at the jay and bay concert... This b***h dancing to AC/DC,' he would later caption the video. Speaking on The Life of Bryony podcast this week, Goodrem said she only found out about the video when she woke up the next day to many alerts on her phone. 'I look at my phone and I just start scrolling and scrolling. I'm like, 'What the?'' she recalled. 'It's never ending and I'm like, 'What's happened?' and I start getting scared. Something's happened and I don't know what's happened.' The Aussie singer said an email from her mum and a quick Google search clued her in on the video and the 'derogatory comments' Wayans had made about her. 'At this point, my heart was just like... I was just destroyed,' she nervously laughed. 'And then I see just all of this vitriol of this moment.' 'I didn't cope well when I first saw it in the morning. I was pretty upset. I was crying and I was just extremely [clutches chest], just because it had been a pile-on... I was just dancing in my chair!' After the tears dried, Goodrem said she was done wallowing and began to workshop ways to recover. And because she's not a 'woe is me kind of person', she decided to find the funny out of the situation. 'I was like, 'OK, let me take this on.' And I love Seinfeld so I thought I'm going to [post] the clip of Elaine and put up that I had a blast last night.' The video posted to Twitter was from an iconic scene in the sitcom where Elaine (Julia Louis-Dreyfus) is told her dancing 'stinks' by her quirky mate Kramer (Michael Richards), but she continues to dance anyway. After posting the clip, Goodrem instantly felt 'the air went out straight away and the positivity flipped' online. Now, 11 years later, she believes the moment actually changed her for the better. 'There's always been that little bit in me that was a little bit shy to dance,' she shared. 'That freedom that that moment gave me, it's like if someone keeps pressing on a certain point where they're like, 'You can't dance.' And you're like, 'You know what? Awesome.'' 'Now I could dance in the street, I could dance right here. I could show you all my dance moves. I have no fear when it comes to dancing. 'All because I'd been completely humiliated. Thank you, now I can do an entire dance routine in my shows. I love it. I am ready to go!' For his part, Wayans refused to apologise when fans called him out for shaming Goodrem. 'Ok so let me start by saying suck it long, hard and til y'all mouths hurt to all these sensitive a** people,' he tweeted at the time. 'Secondly, I ain't apologising for a joke… I love that all these people calling me racist cuz I stated a fact. She can't dance. Apparently neither can u. Now f**k outta here,' he continued. 'One day people are gonna understand... I simply don't give f**k. And I refuse to succumb to this new world order if not having an opinion. All comedians, say what u say and let it be said. Never say sorry for a fact, just say f**k off. Be you, be true.'
ABC News
an hour ago
- ABC News
Mean Feeds: From footy to foodie, James Segeyaro takes pride in representing PNG on a plate
Representing Papua New Guinea on the footy field has been an immense source of pride for James Segeyaro. What may come as a surprise, however, is this former Kumul's love for the kitchen. From footy to foodie, Segeyaro is plating up home-cooked meals which he shares online, exploring culinary content across various cultures as well as familiar dishes from his home back in PNG. "I'm still learning," he admitted with a smile. "I strive for progression, not perfection." But his love of food goes a whole lot deeper than the flavours. What motivates Segeyaro is the community fostered through the literal act of breaking bread with others. He also highlights how preparing a meal can be a therapeutic process. "When I was cooking … I used to self-reflect a lot on how my life was at the time," he said. Sharing familial anecdotes along the way, Segeyaro told Nesia Daily that what we've seen so far is merely an appetiser and the main course of his culinary journey is still to come.
ABC News
2 hours ago
- ABC News
Jafar Panahi comes to Sydney Film Festival at the last minute to open Palme-d'Or-winning film It Was Just An Accident
When I was first told that celebrated Iranian filmmaker Jafar Panahi was heading to Sydney for the Australian premiere of his latest film, It Was Just an Accident, it was so hush-hush he wasn't even named. I had to guess it was him from an oblique hint. Why all the secrecy? Because Panahi, a hero of world cinema, has been persecuted by the Iranian government, serving time in prison and under house arrest for daring to shoot his "social" films, as he calls them. Banned at home, they often feature non-professional actors and detail the intricate complexities of life in the theocratic republic. It's only very recently that Panahi has been allowed to leave the country, including to pick up the top prize at the Cannes Film Festival, the Palme d'Or, for It Was Just an Accident in May. It was a tenuous détente, no doubt reached because of the high esteem in which Panahi is held globally. This is why Sydney Film Festival didn't want to risk endangering Panahi by announcing the visit. Instead, he appeared onstage at the State Theatre during the opening night speeches to thunderous applause. Two days later, we sit down together with a translator over coffee at the Park Royal Darling Harbour, to discuss why his thought-provoking films are worth risking his freedom. Panahi is wearing his trademark black, including shades, indoors. "When you are in pain over something and it is tickling at you, you say, 'I must make a movie,'" Panahi says of his inescapable commitment to many causes. "Everything is happening from a simple accident, and then you have a duty of care. You are not separated from your movie." Simple accidents they may be, but Panahi takes these intense moments of personal experience and spins them into intriguing morality plays that rattle the bars holding Iranian citizens back. "The changes I feature are borne out of society," says the filmmaker, who was mentored by Iranian New Wave leading light Abbas Kiarostami. He has long followed the evolution of women's rights in Iran. His third feature, The Circle (2000), addresses access to abortions and sex work. Six years later, his joyous Offside is centred on plucky young women who flout the ban on attending a World Cup qualifying match. The hijab-law-rejecting protests sparked by the death of Mahsa Amini broke out during Panahi's second, and most recent, stint in prison — this time alongside several fellow political prisoners. It was 2022, with Panahi's self-starring feature, No Bears, debuting at the Venice Film Festival in his absence. "Bits and pieces of the news would come to us, but we really didn't know what the people on the street were experiencing," Panahi says. A strange turn of events would allow him a closer look, when an insect bite sparked a persistent skin problem. "The doctor in jail couldn't really help," Panahi recalls. "I needed to see a specialist. I had to request this for two or three months." Eventually, he was placed in handcuffs and bundled in the back of a van with darkened windows to attend the specialist. "They didn't want me to see anything, but I could, through the front windshield," he notes of his stolen glimpse at the protests. "I could see that the city has already changed." Now, Panahi says he cannot make another film in which all of the women on the street are wearing a hijab. "I would be telling a lie," he says. "What am I supposed to do when the politicians are running behind for 20 years?" Panahi is heartened that audiences worldwide have embraced his portraits of a nation in flux, including the complete celebration of his work at the Sydney Film Festival leading up to the local debut of It Was Just an Accident. It screens alongside all of his previous features in Jafar Panahi: Cinema in Rebellion. The new feature is drawn from Panahi's experience of interrogation, after being held in solitary confinement during his first stretch inside. It poses the question: what would you do if you were confronted with the man you think was your interrogator? Would you demand answers? Show mercy? Or opt for revenge? He says the best part of being free again and able to travel, however risky, is sitting with audiences as they experience the film. "The Iranian government put a distance between us and the viewers," Panahi says. "They didn't allow us to make that connection. But now I can sit with them and see which part of the movie works and which is not OK." After all he has been through, you'd forgive Panahi if he walked away from his home country. But — as with a beautiful moment in No Bears where he, playing a version of himself, stands on the border with Turkey — he has no intention of doing so. "I didn't put my foot on the other side of the border," he says. "I came back. I do not want to exchange my life for anything else. Life in Iran is not difficult for me. Life outside is. I cannot live anywhere else." Editing It Was Just an Accident in France for three months was too long away for Panahi. "Every day I said, 'I cannot survive here. I cannot continue in here. I must go home.'" It Was Just an Accident marks its Australian debut at the Sydney Film Festival on Friday, May 13, alongside a retrospective of Panahi's films.
