logo
'S**T show': Fans fume as 'ticket links don't work' for 'must-see' show in Glasgow

'S**T show': Fans fume as 'ticket links don't work' for 'must-see' show in Glasgow

Yahoo16-05-2025

FANS are fuming as the ticket link for a 'must-see' Glasgow show 'isn't working', and say they've given up trying to secure tickets.
Two stars of The Sopranos are due to headline the live show at the Theatre Royal next Spring.
Steve Schirripa (Bobby Bacala) and Emmy Award-winner Michael Imperioli (Christopher Moltisanti), are bringing their 90-minute stage show, Talking Sopranos, to the city centre venue.
The show will take place on Sunday, February 22. However, fans have flocked to social media to share their frustrations over not being able to get tickets.
One disappointed fan tried to access the pre-sale yesterday and said, "I tried the link yesterday, and it said event not found."
Fans fume as 'ticket links don't work' for Glasgow show (Image: www.ents24.com) Another replied: "Same here. Tried 2 mins ago also and nothing. S**t show man."
A third had even tried looking at other locations and dates, they vented: "I've tried searching for tickets for Bristol via all the various agents Ticketmaster etc. and it's coming up with 'no event found'. Will keep trying, but judging from the other comments everyone is having similar issues. Very frustrating!"
The Live Nation site is also not working (Image: Live Nation)
READ MORE: Stars of The Sopranos to headline 'must-see' show in Glasgow
Another had contacted the ticket selling site for help: "Presale today has been a right f**k up and the lack of info from Live Nation and Ticketmaster is a joke."
The show is due to take place at the Theatre Royal (Image: Supplied) Based on their Webby Award-winning podcast and New York Times bestselling book, Woke Up This Morning, the show brings fans inside the world of one of television's greatest shows.
READ NEXT: Caledonian Braves European trophy win is 'next step towards challenging Old Firm'
Hosted by comedian Joey Kola, audiences will experience intimate memories and hysterical behind-the-scenes stories from the making of The Sopranos, enhanced with entertaining slides and video clips that celebrate its legacy.
The night will also include a Q and A, where fans will have the opportunity to ask Michael and Steve anything about their time on the show.
After the performance, fans can purchase access to an exclusive meet and greet, offering a once-in-a-lifetime photo opportunity with the stars.
The organisers have been contacted for comment.

Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

Kim Kardashian Robbery Spotlighted In BBC Three Doc; Canal+ & Netflix Partner In Sub-Saharan Africa; ‘Jaws' Documentary
Kim Kardashian Robbery Spotlighted In BBC Three Doc; Canal+ & Netflix Partner In Sub-Saharan Africa; ‘Jaws' Documentary

Yahoo

time7 minutes ago

  • Yahoo

Kim Kardashian Robbery Spotlighted In BBC Three Doc; Canal+ & Netflix Partner In Sub-Saharan Africa; ‘Jaws' Documentary

Kim Kardashian Robbery Spotlighted In BBC Three Doc The BBC is to tell the story of Kim Kardashian's robbery and reveal new details. A BBC Three documentary, The Kim Kardashian Diamond Heist, will drop later this month, with new insight into what happened nearly a decade ago and following the story up to the reality superstar facing her robbers in court last month, where eight people were found guilty. Featuring interviews with friends of the family, police officers and journalists who have followed the case, the doc takes viewers back to that fateful night when she was robbed of millions of dollars' worth of jewellery in Paris at gunpoint. Nasfim Haque, Head of Content at BBC Three, said: 'This documentary offers an insight into one of the most publicised celebrity crimes of our time committed on one of the most famous women on the planet which will delve into the facts behind the gossip and explore the price of fame in the digital age.' The Kim Kardashian Diamond Heist is being produced by Firecracker Films. More from Deadline BBC Content Chief Latest: Race To Replace Charlotte Moore Nears Final Two, As Zai Bennett Drops Out & New Candidates Emerge Biden Blasts Trump Over "False" Claims That Aides Ran Country During His Presidency; Current POTUS Admits He Has No Proof For Allegation - Update BBC Condemns Israel After IDF Soldiers Strip-Searched & Detained Journalists At Gunpoint Canal+ & Netflix Partner In Sub-Saharan Africa Canal+ and Netflix have extended their partnership to Sub-Saharan Africa. Under the agreement, Canal+ said it will become the first operator to distribute Netflix as part of its offering across 24 Sub-Saharan African countries. The pair have had a partnership since 2019 in France and Poland and today's news represents a geographical extension. Pascale Chabert, Chief Content Acquisition Officer of Canal+, said: 'Our millions of African subscribers will benefit from a unique offer, bringing together the best of Canal+ and Netflix content in a joint package. This new agreement demonstrates Canal+'s ability to extend its unique super-aggregation model beyond the European continent.' The news comes with Canal+'s acquisition of African giant MultiChoice still making its way past the regulator. EXCLUSIVE: U.S. indie Leroy Street Films is behind Jaws-inspired doc The Farmer & the Shark, which will launch at the Martha's Vineyard Museum on Tuesday, August 19 at 4pm. The documentary explores the life of local Martha's Vineyard legend, Craig Kingsbury, and his impact on the production of Steven Spielberg's classic movie, which celebrates its 50th anniversary this year. The documentary focuses on the influence Kingsbury had on the film, from both behind and in front of the camera, as the embodiment of Robert Shaw's iconic shark hunter, Quint. The doc features conversations with Craig Kingsbury's family members and interviews with local and Hollywood tradesmen and artisans who worked on the film, including production designer Joe Alves, cameraman Michael Chapman, Tom Joyner, Kevin Pike, Jonathan Filley, Jeffrey Kramer. Pic is produced by Leroy Street Films in association with Atomic Clock, Witter Entertainment, and Stage 3 Productions. Pic is directed by John Campopiano, written by Rick DiGregorio and John Campopiano, and co-written by Matthew Spry. Best of Deadline 2025 TV Cancellations: Photo Gallery 2025 TV Series Renewals: Photo Gallery 'Stick' Soundtrack: All The Songs You'll Hear In The Apple TV+ Golf Series

Banijay Scripted Business Chief Says Lower Budgets Have Made Streamers 'More Stable'
Banijay Scripted Business Chief Says Lower Budgets Have Made Streamers 'More Stable'

Yahoo

time23 minutes ago

  • Yahoo

Banijay Scripted Business Chief Says Lower Budgets Have Made Streamers 'More Stable'

Banijay Entertainment's co-head of scripted has given his assessment of the current scripted market, suggesting that the budgeting challenges of the post-peak TV could give rise to better television. In an on-stage interview with Deadline at Seriencamp, he added that the upside to streamers lowering their spend is that their budgets are now more 'stable' and simpler to plan around. More from Deadline 'Smallville' Co-Showrunner Kelly Souders Tells Producers: "Don't Give Notes When Everybody's Gone Home" - Seriencamp Folivari International Takes Global Rights To 'Pil's Adventures' Spin-Off Series Major TV Events Continue In Cologne Despite Huge Evacuation While German City Deals With WWII Bombs 'You can talk about the streamers decreasing investment, but there is now a plateau, and it is a little more stable way for them to work, which is great as we then know how they work and what their budget limits are,' he added. 'As long as we know the rules, it's easier to work in this environment. 'It wasn't purely a great time during peak TV, because everything could be done, and one or two things weren't that great. In the long-term we need to produce great things, because that's the only way audiences will come back to us. We're not just competing against each others, we're competing against games and social media, so we have to be on the top of our game.' Tax breaks versus levies Banijay claims it is now the largest independent producer of scripted in Europe, giving Jensen and Matthews a birds-eye view on dozens of production companies working in multiple territories. It is a market wrestling with how to finance programs and ensure the streamers who pushed prices up dramatically during the peak TV era continue to invest. Jensen said while tax breaks are vital to the new European TV world, he wasn't completely supportive of streaming levies. He noted that while France had landed 'a lot of productions' from its system, Denmark had seen streamers cut back on spend after introduction a mandatory spend system. 'It can go both ways,' he said. 'I'm not that much for putting a tariff on things, but I believe people locally want to watch local things, so if you enter a market, you probably want to do local shows. The streamers pulling out and not spending will probably see they lose some subscribers locally.' Tax incentives on the other hand, can change the shape of a market, but need to be introduced in a methodical way. 'Locally, we'll probably need to have rules between broadcasters and streamers,' said Jensen. 'Tax breaks need to be reliable and understandable. It's benefitting the local territory when you do that, and there are numerous examples of it.' Jensen also used his appearance in Cologne to spell out how Banijay treated investments in scripted, playing down the idea that super-indies push their subsidiaries in certain directions. 'Creativity is the most important part,' he said. 'Banijay is a group that has been acquiring companies and making a lot of talent deals over the years, but what we don't do is go in and put producers in a box. We want the entrepreneurial person running that scripted company to do their thing. We wouldn't go for the talent if we didn't want what they do.' Jensen took on his new role in January, when he and Steve Matthews – who is Head of Scripted, Creative – were upped from their roles as CEO of Banijay Nordics and Content Partnerships Executive, respectively. He described their roles as like a 'door opener to the international market to local producers.' Jensen and Matthews can work with indies to access Banijay's scripted fund to help finesse scripts, strike talent deals or land IP, while they try to add more formalized systems into place. Jensen paid tribute to former HBO Europe exec Matthews for his 'reputation as a great, great creative' who could provide an outsider's view on local productions. Jensen was talking a day after Banijay Entertainment CEO Marco Bassetti sowed some market confusion around Banijay's interest in ITV Studios. While it's been reported several times that Banijay – one of the most active consolidators in the market – has spoken with ITV, Bassetti told a SXSW London audience, 'We're not buying ITV Studios' before going on to talk about the need for scale in the globalized entertainment market. Jensen didn't address the M&A situation, but talked about how scale had been important for Banijay, which claims to be the largest independent scripted producer in Europe through companies such as Kudos, Banijay Studios in several territories, Grøenlandia, Jarowskij/Yellow Bird, Rabbit Track Pictures and The Forge. 'I hope that people think we are a place where they can collaborate,' he said. 'When you look at the current market situation, my feeling for some time now has been you have to be big, like us and some of our competitors, or small, where you're not dependent on constantly selling shows and you control everything yourself. They're two different paths to the same thing.' Jensen also addressed how producers can work with Banijay companies on co-productions – with the current state of the market, strategic partnerships and clever financing models have been the talk of the week here in Germany. He admitted Banijay would prefer to keep co-productions within its ranks if possible, but pointed to cop drama Weiss & Morales – which is made by Banijay Espana's Portocabo, Nadcon and ZDF Studios for RTVE in Spain and ZDF in Germany – as an example of a production with third parties. 'We are really open to it,' he said. 'We want to have the best IP and be a great place to go to. If your idea resonates in the Nordics or Spain, we can facilitate that and we'd love to have more collaborations.' Jensen noted Banijay has seen 'much less money' coming from the States into European productions in recent years and said this is playing into the way shows are being built. 'We don't known about the Trump tariffs – we will keep an eye on them – but we do know there was less money from the U.S. even before those talks, and that there is momentum for us here. We need to build Europe stronger in general, and in the media industry as well. That is about collaborating between borders, but also internally. You don't need to own everything forever, so you can find ways of financing and working together.' Further back in his career, Jensen was among the original producers of unscripted format Survivor in Sweden. Asked what scripted producers could take from unscripted, he said: 'When you are pitching a show, you person you're pitching to is not the one who makes the decisions. That is knowledge the unscripted guys have known for a long time. There is a business knowledge in unscripted that we could learn in scripted. He also suggested there could be more IP developed in 'parallel' with the unscripted world, pointing to how unscripted shows such as The Traitors had been influenced by murder mystery dramas and suggesting this could work in reverse. Best of Deadline 'Stick' Soundtrack: All The Songs You'll Hear In The Apple TV+ Golf Series 'Nine Perfect Strangers' Season 2 Release Schedule: When Do New Episodes Come Out? 'Stick' Release Guide: When Do New Episodes Come Out?

How to Root for a Merciless Man, According to Wes Anderson
How to Root for a Merciless Man, According to Wes Anderson

Atlantic

time31 minutes ago

  • Atlantic

How to Root for a Merciless Man, According to Wes Anderson

The Manhattan hotel at which I'm interviewing Wes Anderson has striking views of Central Park out of its windows. Looming a little more ominously, however, is the Trump International Hotel and Tower, one of the president's many jutting edifices dotted around the globe. I wouldn't have noted it, except that Anderson's new film, The Phoenician Scheme, is about a tycoon with hands in many pots: arms dealing, manufacturing, large-scale infrastructure projects. In conceiving the character—a businessman named Zsa-zsa Korda (played by Benicio del Toro)—the director told me that he was thinking of a more old-fashioned type of European magnate, in the vein of Aristotle Onassis or Gianni Agnelli. But 'I think that everything's filtering in,' he allowed with a chuckle. 'We're all reading the same newspapers.' Anderson has (unfairly) earned a reputation as a maker of fidgety little cinematic dioramas, meticulously designed but hermetically sealed off from reality. But his work is clearly responsive to modern life: His previous feature, the staggering Asteroid City, was a charming dramedy about a space-age desert town encountering aliens that also managed to capture the feeling of people going into lockdown in the early days of the coronavirus pandemic. Anderson wrote Asteroid City while in quarantine, an experience that appears to have directly informed its sense of anxiety and claustrophobia. ('Your imagination is responding to whatever the stimuli in the world is,' he told me.) The Phoenician Scheme, by comparison, is light and zany, as Korda embarks upon a madcap dash across the globe to save his dwindling fortune. As I noted to him, it also obviously seems to prod at the preening foolishness of today's mega-rich land barons. I worried he'd deflect the comment—Anderson often talks about his screenwriting process as somewhat mysterious, in which he moves among scenarios in ways that surprise even himself. But he noted the strange manner in which more serious subjects were intersecting with his otherwise delightfully wacky tale. Much of the film finds Korda in transit, typically by airplane—even after surviving multiple crashes caused by would-be assassins, which stokes growing anxiety over how many times he can make it out alive. Korda's steadfast preference for flight travel, however, is meant to reflect his social status; airplanes, Anderson said, have become the ultimate symbol of wealth and power: 'Now,' he observed, in reference to the $400 million aircraft recently gifted to Donald Trump, 'we've got a 747 coming in from Qatar.' If reality is 'filtering in' to The Phoenician Scheme, it's transformed through the usual bundle of Andersonian layers. The film is cold-bloodedly whimsical, asking the audience to root for a merciless man who endeavors, ever so incrementally, to understand some deeper human truths. It follows Korda and his estranged daughter, Liesl (Mia Threapleton), a novitiate nun who insists on the immorality of her father's business interests, which starve and impoverish people worldwide. Korda professes disinterest in Liesl's concerns, but as he flies from country to country dodging assassination attempts and strong-arming fellow businessmen, Anderson allows his protagonist's heart to grow just the teeniest bit: 'My original impression of what I thought we were going to do was a ruthless, brutal, unkillable businessman who is just on his path, totally focused on his own mission and is going to do a lot of damage to not just the people around him, but the world at large, in his own interest,' he told me. Then he wrote the first scene and was surprised to find that it came out more farcical: a comical action set piece in which Korda's secretary is blown in half and Korda has to land a crashing plane by himself. 'I do feel a bit like you start writing a thing, you have your preconceptions,' Anderson said, 'and then it just starts to tell you what it wants to be.' The Phoenician Scheme thus became something funnier and stranger, in which Korda's cruelty is quietly moderated by his daughter and his unspoken fear of death. Every time he brushes close to expiration, Korda is zipped to a surreal, black-and-white netherworld where he's judged by otherworldly beings (including God, played by Bill Murray, wearing white robes and sporting a big beard). As he tries to convince other tycoons (played by other familiar members of the Anderson ensemble, such as Bryan Cranston, Jeffrey Wright, and Mathieu Amalric) to help him finance an ambitious infrastructure proposal, Korda begins to tap into a sense of fellowship he'd otherwise been missing. As he does with Korda, Anderson introduces each of these competing captains of industry under absurd circumstances—such as at a high-stakes basketball game and during a dramatic nightclub shootout—that are befitting their characters. 'These tycoon-y character people, they're cartoons,' Anderson said. 'They always have eccentricities and peculiarities because they can do anything they want.' But his inspiration, beyond famous faces like Onassis or the legendary oil middleman Calouste Gulbenkian, was his own father-in-law: Fouad Malouf, a Lebanese engineer to whom the film is dedicated. This bore out in both Korda's professional interests and his attempt to build a relationship with Liesl: At one point near the end of his life, Malouf produced a series of shoeboxes from his closet of effects gathered throughout his career, and explained their contents to his daughter. The Phoenician Scheme repeats that shoebox imagery. With even his most outlandish stories, Anderson said, 'it just becomes more personal without even me intending it to.' The most fascinating challenge of the film, at least to me, was keeping the screwball energy high while otherwise heeding Anderson's specific style. Each set is carefully assembled, with the blocking of each shot perfectly aligned, and Anderson's rat-a-tat dialogue is delivered exactly as written. Still, there's a spontaneity to the storytelling and the world it's moving through. Anderson's locations reference real places, but they always feel exciting and new, never derivative. The director's particular approach—one that eschews on-set trailers, keeps all of the cast together (including dining communally and staying at the same hotel), and moves from scene to scene quite quickly—is unusual for larger-scale filmmaking. But Anderson is clearly cheered by the enthusiasm his performers have for the process, and how well the newer members of his family of players have taken to it. Michael Cera (who is fantastic as a fussy Norwegian tutor in Korda's employ) and Riz Ahmed (as Prince Farouk, the heir to the fictional nation of Phoenicia, which is vital to the plot) were Anderson's two big additions this time around, and the filmmaker said that both actors dove in with aplomb. And it shows—they fit comfortably among the Anderson stalwarts, capturing the archness typical of the director's characters. Del Toro's performance is the most crucial component to The Phoenician Scheme; it's the first Anderson movie centered on a single lead since The Grand Budapest Hotel, starring Ralph Fiennes. Del Toro had been in Anderson's head as Korda from the start, so much that he informed the actor of the idea while they were promoting their prior collaboration, 2021's The French Dispatch. Anderson remembered his pitch being vague to a comedic, overblown degree: 'I told him there's some Buñuel aspect to it.'' As I tried to describe Del Toro's on-screen presence to Anderson, I ended up referencing his 'whatever' (American for je ne sais quoi). Del Toro's early roles (in 1990s cult films such as The Usual Suspects and Excess Baggage) smacked of knockoff Marlon Brando: all movement, mumbling charm, and giddy chaos. But with time, the actor has learned to communicate decades of regret and the darkest emotional headspace with barely a flicker of his face. That's the power of his presence, or, as Anderson agreed, his 'whatever.' This isn't the first time Anderson wrote with an actor in mind. As we spoke, he mentioned the late Gene Hackman in The Royal Tenenbaums. Hackman's character, Royal Tenenbaum, is another intense father figure who, like Korda, is both brilliant and terrible. But Anderson scripted him two decades ago, before he became a parent. I asked him if the intervening years had changed his investigations into the sins of fatherhood, and he nodded. ' Tenenbaums was completely from the point of view of looking up at the old man,' he said. Now, at age 56, the director is practically Korda's age; he also has a daughter, as do Del Toro and Anderson's frequent story collaborator Roman Coppola: 'I guess we're coming at it from the father's point of view, but, I will say, with a bit of the perspective of still thinking about our own fathers.' The Phoenician Scheme strikes that balance: It's wiser, and it has the looser silliness that comes with middle age—but it's looking up at those imposing father figures, tycoons or no, with awe and fear all the same.

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into the world of global news and events? Download our app today from your preferred app store and start exploring.
app-storeplay-store