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Breakfast legend returns to BBC daytime for the first time four years after quitting sofa

Breakfast legend returns to BBC daytime for the first time four years after quitting sofa

The Sun14 hours ago
A BREAKFAST legend has returned to BBC daytime for the first time four years after quitting the sofa.
The presenter previously fronted the corporation's flagship morning show for nine years.
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Louise Minchin, 56, became a regular anchor on BBC Breakfast in 2012 when she hosted the programme for three days a week.
Initially she sat on the red sofa alongside the likes of Bill Turnbull and Charlie Stayt, 63.
This was before she established a regular partnership with Dan Walker, 48, who now presents the news on 5.
In June 2021, she announced she was leaving the show after 20 years on air before making her final departure in September.
Now the star returned to daytime broadcasting on BBC One as she made an appearance on Morning Live.
Gaby Roslin, 60, and Rav Wilding, 47, introduced the star as a 'consumer expert'.
She appeared on the main rival to ITV 's This Morning to give her take on the drop in car insurance costs.
Angela Rippon on Rip Off Britain.
The TV personality was sat on the kitchen island alongside the likes of Dr Kiran Morjaria and gardener Mark Lane.
Gaby took to her Instagram grid page as she revelled in the company of the broadcast veteran.
BBC Breakfast hosts Naga Munchetty and Charlie Stayt forced to pull live broadcast after 'dead dog' shown on-screen
She could be seen pushing Louise who swung on one of the show's plush swivel chairs in the brightly lit studio.
She captioned the video: "Good morning everyone. Pre show shenanigans here @bbcmorninglive with @louiseminchin and we are so ready to spin around on this Friday morning."
Before she took to the airwaves, Naga Munchetty and Charlie fronted the Friday edition of BBC Breakfast amid growing tensions.
It has previously been revealed the show's editor Richard Frediani, has taken an extended period of leave amid claims of bullying.
Naga, 50, is said to be at the 'end of her tether' with Frediani and the fractious working environment.
She was also alleged to have used a slang term for a sexual act off-air in separate damning claims.
A BBC spokesperson previously said: "While we do not comment on individual cases, we take all complaints about conduct at work extremely seriously and will not tolerate behaviour that is not in line with our values.
"We have robust processes in place and would encourage any staff with concerns to raise them directly with us so they can be addressed.'
The fresh claims emerged as Beeb bosses urged any member of staff with concerns to raise them.
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The Bear's Will Poulter on his secret London favourites
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time14 minutes ago

  • Times

The Bear's Will Poulter on his secret London favourites

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Oasis reunion: A high-five and a hug - the gestures were there, but ultimately it was all about the music
Oasis reunion: A high-five and a hug - the gestures were there, but ultimately it was all about the music

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Oasis review – a shameless trip back to the 90s for Britpop's loudest, greatest songs
Oasis review – a shameless trip back to the 90s for Britpop's loudest, greatest songs

The Guardian

timean hour ago

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The noise from the audience when Oasis arrive on stage for their first reunion gig is deafening. You might have expected a loud response. This is, after all, a crowd so partisan that, in between the support acts, they cheer the promotional videos – the tour's accompanying brand deals seem to involve not just the obviously Oasis-adjacent sportswear brand Adidas, but the more imponderable Land Rover Defender. Even so, the noise the fans make as the reconstituted Oasis launch into Hello takes you aback slightly, and not just because Hello is a fairly bold choice of opener: this is, after all, a song that borrows heavily from Hello, Hello, I'm Back Again by Gary Glitter. But no one in Cardiff's Principality Stadium seems to care about the song's genesis: the noise is such that you struggle to think of another artist that's received such a vociferous reception. So, the success of the show seems more or less like a foregone conclusion. Anyone who saw them in the 00s will tell you that the old Oasis were a hugely variable proposition live: you never knew what mood Liam Gallagher would show up in, or how the current state of familial relations might affect their performance. But evidently as little as possible has been left to chance at these reunion gigs. No one – including, to their immense credit, Liam and Noel Gallagher – seems interested in pretending this tour is anything other than a hugely lucrative cash-grab, and clearly, you only grab the maximum possible cash if the tour doesn't descend into the kind of bedlam to which Oasis tours were once prone. Liam is on his best behaviour – 'thanks for putting up with us,' he offers at one juncture, 'I know we're hard work', a noticeable shift from the days when he was wont to rain abuse on the audience – and Liam and Noel have rhythm guitarist Paul 'Bonehead' Arthurs stood squarely between them on stage, creating distance. You could say that removes combustibility, the hint of potential chaos that was at least part of Oasis's appeal, but you might as well save your breath: no one would be able to hear you over the sound of people singing along en masse to a set that plays to the strengths of Oasis's back catalogue. Few bands' reputations have been better served by the rise of streaming, both in its favouring of curated playlists over albums – all the highlights and none of the rubbish, of which there was a great deal in Oasis's later years – and in the way it decontextualises music, denuding it of its accompanying story or contemporary critical responses. The much-vaunted Oasis fans too young to remember the band first-hand definitely exist – you can see them in the audience – but you do wonder how many of them believe Oasis split up in 1998, rather than grimly trudging on for another decade, to declining artistic returns. The show seeks to maintain this myth. It's very much playlist Oasis, big on the first two albums and B-sides from the years when Noel Gallagher's songwriting talent seemed so abundant he could afford to blithely confine stuff as good as Acquiesce or The Masterplan to an extra track on a CD single, and low on anything at all from their later years. Only the presence of 2002's Little By Little indicates that Oasis existed into the 21st century. You can still sense inspiration declining – 1997's D'You Know What I Mean? sounds like a trudge regardless of how many people are singing along – but far more often, the show serves as a reminder of how fantastic purple patch Oasis were. Against a ferocious wall of distorted guitars, there's a weird disconnect between the tone of Noel's songs – wistful, noticeably melancholy – and the way Liam sings them like a man seething with frustration, on the verge of offering someone a fight. Even discounting half their career, they have classics in abundance: Cigarettes & Alcohol, Slide Away, Rock 'n' Roll Star, Morning Glory. Enough, in fact, that a section where Liam cedes the stage and Noel takes over vocals doesn't occasion a dip in the audience's enthusiasm: during Half the World Away, the audience's vocals threaten to drown the song's author out entirely. It ends with precisely the encore you might have expected – Don't Look Back in Anger, Wonderwall and Champagne Supernova – which understandably occasions precisely the response you might have expected. A very perfunctory clap on the back – the only time the Gallaghers interact beyond playing the same songs – and Liam vanishes: a car is waiting by the side of the stage to whisk him away before the final notes die away, a triumph in the bag.

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