
The Rock explains bizarre WrestleMania 41 absence – and WWE fans are having absolutely none of it
Dwayne ' The Rock ' Johnson has revealed his reason for skipping WrestleMania 41, leaving millions of wrestling fans gutted.
The Final Boss was expected to attend the Las Vegas showstopper for the culmination of six weeks of 'build' for John Cena vs Cody Rhodes.
The Hollywood A-lister was the in-ring mastermind behind Cena's heel turn at Elimination Chamber, which rocked the WWE universe to its core.
But The Rock never appeared in Sin City as, instead, his accomplice and music star Travis Scott helped Cena over the line to lift the WWE belt for a record-breaking 17th time.
Fans came out in their droves to slam his absence with many loyalists convinced the Hall of Famer would appear.
And now he has responded when speaking Tuesday on The Pat McAfee Show - and revealed he never wanted to continue his involvement in one of the biggest storylines in pro wrestling history.
"When we were moving forward with John and this idea of him getting crowned at WrestleMania and becoming 17, and being a heel champion, I knew then the best thing for The Final Boss," Johnson said.
"We've established this idea of Cody's soul. We can always come back to it. I did feel, I made the call, I don't want to be involved in that. Let 'The Final Boss' step back into the shadows.
"Let all the spotlight go to John, let it go to Cody. Let's not make it about Cody's soul or John's soul. Let's let them do what they do."
The storyline began way back after February's Royal Rumble where The Rock made a shock appearance and vowed to take Rhodes' "soul."
But The Rock said his role in the rivalry had ended just weeks later.
"I called John after Elimination Chamber, spoke to him, called Cody, and I said, 'I think 'The Final Boss' work is done. We've established it,'" Johnson said.
"We just pulled off the greatest angle in the history of professional wrestling, other than Hulk Hogan turning heel back in the '90s.
"I said, 'This is amazing. We have six weeks. Now, let's build. You guys go and crush it. I'll be right there with you, and I'm always here if you need me, but I think it's best for 'The Final Boss' not to be involved in that finish. Six weeks to plan for that.'
"I loved the finish of [Sunday's] match. I would have finessed things a little differently in how they got there, but that's just me creatively. There are a lot of minds in the room.
"That's my thought, but still, ultimately, the bottom line was I loved John getting 17. I never had a concern about John pulling this off.
"My thoughts were always to Cody because of what we've established with him and his story, and the kind of babyface he is.
"So, if done right, and I think if finessed right and nuanced right, down the road, that guy not only has an incredible babyface run again as champion, but also just an unheard of rise as a heel down the road."
Although Johnson was satisfied with Scott's involvement, he didn't think it was perfect.
"We can insert 'Final Boss' in the end of this finish, but then where do we go?" Johnson said.
"There's other commitments that I have. I want to also be careful that we're not overstepping and leaning over our skis too much here.
"Can get involved in the finish, but I said, 'Why get involved in that finish when the spotlight should just be on, in my opinion, John, 17, heel champion, what does 2025 look like if this man says he is going to ruin professional wrestling?'
"That, to me, is the anchoring storyline. It's not soul right now. We'll go back to it."
Fans on X were quick to hit back at The Rock's explanation with the census he had misled them.
One said: "The Rock's interview was full of passive-aggressive comments & contradictions Oh to be a fly on the wall for HHH/Rock communications over the past year... Regarding his excuse for stepping back, he is either dumb (he's not) or this was a receipt for derailing his WM40 plans."
Another posted: "The Rock inserting himself in this feud just do do sweet f*** all when it actually matters."
One fan quipped: "The Rock randomly pulls up to a weekly show, blows up creative by inserting himself into a story, then f***s off with no intention to coming back to finish what he abruptly started."
Another raged: "This photo should've been the closing shot of WrestleMania [with a picture of John Cena, The Rock and Travis Scot in the ring]."
John Cena now looks set to rekindle his rivalry with Randy Orton after they came to blows at WWE Raw on Monday.
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Times
13 minutes ago
- Times
Ronnie Rondell obituary: stuntman on Pink Floyd album cover
As a Hollywood stuntman Ronnie Rondell spent much of his adult life crashing cars, braving blazes, tumbling from galloping horses and hurtling through the air, but the daredevil performed his most famous stunt for the cover picture of Pink Floyd's 1975 album Wish You Were Here. The idea was to show two music industry executives shaking hands, and one of them (Rondell) bursting into flames as he was 'burnt' by the deal. Aubrey Powell, the photographer, said Rondell was initially reluctant to be set alight. 'It's dangerous for a man to stand still on fire,' the stuntman told him. 'Normally you're running and the fire's spreading behind you, or you're falling and the fire is above you, or you can always make out with camera angles that the stunt person is closer to the fire than they actually are. But to stand still…?' He eventually agreed, however, and the scene was shot on a back lot of the Warner Bros Studios in Burbank, California. Rondell wore a business suit and wig soaked in flame-retardant, and was smeared with a protective gel. Fourteen times he was doused in petrol and set on fire as Powell sought the perfect shot, but the 15th attempt coincided with a gust of wind and the flames suddenly licked around Rondell's face. He threw himself to the ground where Powell's team sprayed him with foam and smothered him in blankets. He lost only an eyebrow and part of his signature moustache, but declared: 'That's it! I'm done!' 'Ronnie was very gracious about it, considering,' said Powell, who had fortunately taken the picture he craved on the previous attempt. That photograph went on to become one of the great album covers. Years later, Rondell said his only regret was that it completely eclipsed the far more dangerous stunts he had performed during a career that included more than 200 movies and television series. In the course of that career, according to The Hollywood Reporter, he 'broke ribs, arms, wrists and vertebrae, detached his triceps, suffered concussions and had his hips replaced and his spine fused'. But, he said: 'You never told anyone you were hurt … because they always had another guy who could fit the clothes.' Ronald Reid Rondell was born — quite literally — in Hollywood, California, in 1937. His father, Ronald, a native of Naples in Italy, was himself a stuntman and actor. His mother, Ruth, had worked as a secretary in the movie industry. As a boy, he would visit film sets with his father and worked as an extra in the film Ma and Pa Kettle at the Fair (1952). At North Hollywood High School he excelled at high diving and gymnastics. During a spell in the US navy in the late 1950s he served as a scuba diver and mine clearer. Thereafter he worked as an extra in various films before following his father into stunt work and serving as a double for various well-known actors. 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'The thought never crossed my mind to quit this business. It's the job I chose. It's the thing I do best.' In the end, he died not in a blaze or a crash on a film set or a dreadful fall, but in the peace of a Missouri care home. Ronald Rondell, US stuntman, was born on February 10, 1937. He died on August 12, 2025, aged 88


The Guardian
13 minutes ago
- The Guardian
‘You're gonna need a bigger bank account': how a Jaws child actor turned a fleeting appearance into a fortune
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Scotsman
23 minutes ago
- Scotsman
Edinburgh Fringe theatre reviews: Someone Has Got to Be John Mariupol + more
Sign up to our Arts and Culture newsletter, get the latest news and reviews from our specialist arts writers Sign up Thank you for signing up! Did you know with a Digital Subscription to The Scotsman, you can get unlimited access to the website including our premium content, as well as benefiting from fewer ads, loyalty rewards and much more. Learn More Sorry, there seem to be some issues. Please try again later. Submitting... Someone Has Got to Be John ★★★★ theSpace Triplex (Venue 38) until 23 August Three people in smart black suits and ties take to the stage, although one of their famed number is missing. Where, and who, is John? It's the hot summer of 1969, at the tail end of the Swinging London decade, and history is being made – not by the Beatles themselves, although they're currently in the midst of recording their final album Let It Be, but by the first International Symposium on Gender Identity, which is being held at the city's Piccadilly Hotel. 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David Pollock Lost Paws ★★★ theSpace @ Surgeons Hall (Venue 53) until 23 August When love goes out of the window, it comes back through the door in Lost Paws, an adventure comedy starring two cats. Iris is a sheltered house cat from North London, and Jeffebelle is a streetwise Tik-Tok sensation from the South. Before Iris's disappearance, Shira, her owner, reads aloud her favourite book, Jonas Jonasson's 2009 novel The Hundred-Year-Old-Man Who Climbed Out of the Window and Disappeared, and this signposts events to come. Advertisement Hide Ad Advertisement Hide Ad It seems it is the owners, Shira and Arlan, who require the freedom and independence displayed by their cats Iris and Jeffabelle, as they lead each-other astray at the cost of finding their way home. 'Welcome to the streets, pussycat!' Jeffabelle says. It is London as Iris has never seen it before. Iris's disappearance is challenging for Shira, who has never let her out of doors. 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She meets Steve, a Ukrainian naval officer; but their intense holiday romance is brief, and when they meet again ten years later - by chance, in a Moscow cancer ward waiting room - their reunion is even more short-lived. Cut to the present war, when Galina's son is held prisoner of war and hostage at the Azov steel plant in Mariupol, where Steve is a commander of Ukrainian forces; and she fights her way through the war, from Moscow, to try to save her boy. The drama is high to the point of sensationalism, as shock follows revelation while Russian rockets thunder outside; Nathalie Barclay and Oliver Gomm do their best, in a restrained English style, to measure up to the story. In the end, though, it just seems too soon even to begin to understand the tragedy of the continuing war in Ukraine through the medium of a well-intentioned romance; and the landscape of Mariupol just too utterly destroyed to be a modern-day Casablanca - or for that matter the Paris that Rick and Ilsa will always remember, in that greatest of wartime love stories. Joyce McMillan David Alnwick: The Dare Witch Project ★★★ Advertisement Hide Ad Advertisement Hide Ad PBH's Free Fringe @ Voodoo Rooms (Venue 68b) until 24 August Describing himself professionally as an 'occult illusionist', David Alnwick has a bunch of shows focused on his stage magic abilities on at the Fringe this year. Yet this is something very different, a performance containing elements of both comedy and magic, but which revolves around an audio-visual tribute to the cult 1999 'found footage' horror pseudo-documentary The Blair Witch Project. Even more unusually, for what's essentially a Free Fringe comedy show, it's set up at the top with a tribute to the great German filmmaking eccentric Werner Herzog, and particularly his startling documentary Grizzly Man. Advertisement Hide Ad Advertisement Hide Ad As a 14-year-old in Scarborough, Alnwick tells us, he made his own documentaries, and he takes influence from Herzog's maxim 'if I'm shooting a film and I get scared, I know I'm on the right track'. Now he's apparently bought an old video camera on the internet, and a tape has been left inside. But what could be on it? That the tape features a woodland explorer who looks exactly like Alnwick, even though he tells us it isn't him, takes a little of the magic out of what follows, but still he balances the fun he's clearly having with horror movie tropes – there are jump scares and moments of the unexplained – with his need to create a show which entertains and raises laughs. Those who share his obvious film buff tastes will get a lot out of it. David Pollock Delusions and Grandeur ★★★ Advertisement Hide Ad Advertisement Hide Ad Red Lecture Theatre at Summerhall (Venue 26) until 25 August Karen Hall is a professional cellist navigating an existential crisis. From Carnegie Hall to Glee, her life has been a relentless symphony of performance, yet the instrument she loves and relies on for her living now feels like it might be devouring her. Confessional monologues are a Fringe staple, but this one sidesteps self-indulgence with kooky grace. Karen's conversational ease draws you in before anxiety ratchets to a near-boiling point. The show fires in all directions, skewering decreased arts funding, cultural elitism, and the dusty hierarchies of the musical canon. Live performance punctuates the monologues, flashing sly humour alongside moments of genuine poignancy. Advertisement Hide Ad Advertisement Hide Ad How to reconcile love for music with the brutal economics of the industry? The question lingers, unresolved, and probably unanswerable. Earnest charm abounds here, and with further development, this could blossom into something truly heartstring tugging. Alexander Cohen A Sudden, Disturbing To Do List ★★ Greenside @ George Square (Venue 236) until 23 August Written by Eleanor May Blackburn, A Sudden, Disturbing To Do List articulates a year in the life of Phoebe, a freelance writer who becomes overwhelmed with compulsive list-making. She helter-skelters from shopping lists to listing past jobs to lists about lists, navigating the map on the floor outlining every object in her bedroom, until a giant fluffy monster appears. Advertisement Hide Ad Advertisement Hide Ad It is unclear if the incidences of the listing and the monster implies a psychotic break, or if the monster character is real. The direction is also wanting, as unfortunately, much of the action occurs on the floor, sacrificing sightlines. Josephine Balfour-Oatts