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Tom Daley Gets Candid On Fame, Fatherhood And His Closeted Past In New Documentary

Tom Daley Gets Candid On Fame, Fatherhood And His Closeted Past In New Documentary

Yahoo4 hours ago

As a young diver, Tom Daley never imagined he'd one day feel confident enough to share specifics of his personal life with fans. That changed in 2013, when the British Olympic diver came out as gay in a YouTube video.
Twelve years later, Daley gets even more candid in a new documentary, 'Tom Daley: 1.6 Seconds.' Released this month on Discovery+ and Olympics.com in the U.S. and on HBO Max elsewhere, the film finds the now-retired athlete reflecting on his rise to fame, his path toward living as his true self and his relationships with his husband of eight years, screenwriter and filmmaker Dustin Lance Black, and his late father, Robert Daley.
'It's weird when somebody comes to you and says, 'We want to make a documentary about your life.' I was a little bit hesitant to start with, because ... what do I even have to say? What do I want to say?' Daley told HuffPost in an interview. 'But the more I got into what was going on beneath the surface when I was growing up ... the fact that my kids are going to be able to understand a bit more about what their papa did ... it felt like therapy.'
Admirers of Daley's aquatic prowess won't be disappointed by '1.6 Seconds,' the title of which alludes to his gold medal win in the men's synchronized 10-meter platform at the 2020 Summer Olympics in Tokyo, held in 2021. While working on the film, director Vaughan Sivell pored through hours of archival footage showing Daley training for childhood competitions and, later, his four Olympic Games.
In fact, Daley himself hadn't watched many of the videos before he sat down to provide his on-camera commentary. He can be seen tearing up after some particularly emotional clips, some of which include his father, who died of cancer in 2011 at age 40.
'If I could be half the dad my dad was to me, I feel like my life would be complete,' Daley said. 'My middle name is Robert, named after my dad. My oldest son is also a Robert ― we call him Robbie. The relationship I had with my dad is how I model being a father now.'
Other emotional moments in the film include the lead-up to Daley's coming out as well as the early days of his relationship with Black, whom he refers to simply as 'Lance.' In addition to 6-year-old Robbie, Black and Daley share a 1-year-old son, Phoenix.
'When I came out, I had no idea what was going to happen on the other side of it,' Daley said. 'I was told I was going to lose sponsorships and not be able to compete in certain countries. There was a lot of fear around it [and] I didn't think I'd be able to open myself up to falling in love beyond a surface level. But when I met Lance, it felt like I'd met my forever teammate.'
Black recently completed work on a documentary of his own, 'Rock Out,' which examines the LGBTQ+ community's unheralded influence on heavy metal, punk and rock music.
Daley, meanwhile, has shifted his professional focus. As seen in '1.6 Seconds,' he famously took up knitting and crocheting in 2020, and has since launched the Made With Love brand dedicated to his handiwork. He continues to tout knitting as his 'superpower' and a 'mental reset,' and will further showcase his skills as the host of 'The Game of Wool,' a forthcoming television series.
Sports and knitting both factor into Daley's newfound role as a mental health advocate. At the 2012 Summer Olympics in London, he was granted a re-dive after getting distracted by a large number of camera flashes from the crowd ― a chilling moment captured in '1.6 Seconds' that impacted his own mental health.
'We spend all of our life training our bodies to be able to do the thing,' he said. 'But if you don't train your brain as well, how do you know if you're going to be able to hold it together in competition? On a micro or macro level, at some point, everybody deals with a really stressful situation, and how you navigate that and perform under stress and under pressure really will play into how successful that moment might be. So I think for me, I wish I'd started those mindfulness practices slightly earlier in my career.'
These days, his routine also includes 'going on walks with my husband. We drop our kids off at school, and then we go for a hike, and we just spend the first hour of our morning just talking to each other. And I know that might not necessarily be 100% mindfulness, but it's our way of talking to each other about anything and everything.'
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India's Next Gen: Shubman Gill and Yashasvi Jaiswal show their time is now
India's Next Gen: Shubman Gill and Yashasvi Jaiswal show their time is now

New York Times

time30 minutes ago

  • New York Times

India's Next Gen: Shubman Gill and Yashasvi Jaiswal show their time is now

To lose one legend before a huge Test series could be put down to misfortune, but losing two looked anything but careless for India at Headingley where two of the younger faces of their batting lineup stepped comfortably into the shoes of giants. It is difficult to exaggerate the scale of the setback to India after the decisions of both Rohit Sharma and Virat Kohli, two of their biggest superstars, to announce their retirements from Test cricket ahead of this marquee five-match series against England. Advertisement That left them with a highly talented but inexperienced — and potentially even vulnerable — looking batting line up which was asked immediately to face the music on the first day of the first Test in Leeds after Ben Stokes won the toss and put India in to bat. Under most scrutiny was a new captain in Shubman Gill who stepped into one of the most high pressured roles in sport. Gill was not even first choice to succeed Sharma, with Jasprit Bumrah having insisted he would not be fit enough to lead India in five Test matches over seven weeks. Yet if Gill was feeling the strain on his first day in high office then it did not show. Having come in after lunch, he oozed class and skill. The captain was utterly unruffled as he eased his way to an unbeaten 127 and, together with fellow century-maker Yashasvi Jaiswal, batted his side into a position of considerable strength at 359 for three at the close on day one. Gill and Jaiswal are hardly rookies but, at 25 and 23, they represent the future of India's Test batting as well as the present. They might have been burdened with the weight of Indian expectations on their shoulders at Headingley. They carried them effortlessly. The new captain had cut a calm and relaxed figure at his pre-match press conference. A measure of the job ahead of him was summed up when the opening questioner asked Gill about his 'coronation moment' and whether he had grasped the 'enormity' of the responsibility being thrust upon him. He just smiled and batted the question away as easily as he would an under-par England bowling line-up on Friday, where he pulled and drove away at will in his distinctive style in progressing to a sixth hundred — and third against England — in his 33rd Test. Talk of a coronation was a further reminder of the absence here of 'King' Kohli, but the man nicknamed 'Prince' — it is even stamped on his bat — took on the role at No 4 vacated by one of the biggest figures in Indian cricket history for the first time. He made it his own. Advertisement 'There used to be a king out there — today there's a prince,' said former India wicketkeeper Dinesh Karthik on commentary with Sky Sports. The only thing not regal about Gill here was his decision to wear black socks while batting, a fashion faux pas in Test cricket if ever there was one. Not that he will have cared. Gill has a much better record in home conditions than outside the subcontinent — he averaged just 14.66 in England before this Test — but, here, the hosts could do nothing to stop him. They tried different ploys, including a relentless barrage of early in-swingers at the start of his innings given the data suggested that is where he is at his weakest in these conditions. All to no avail. Only when Gill almost ran himself out on just one did he look uncomfortable, but Ollie Pope's throw from midwicket not only failed to hit the stumps but raced away to the boundary for overthrows and one of two 'fives' in the day. To again almost quote Oscar Wilde, to concede one five when trying to run out the India captain may be considered misfortune. But to concede a second, when Harry Brook parried the ball onto a fielding helmet placed behind wicketkeeper Jamie Smith to penalise England and hand India five 'extras', was certainly carelessness. There was one man in the England dressing room who would have been unsurprised at the ease with which Gill took on the Indian captaincy. In 2020, England coach Brendon McCullum — then in charge of Kolkata Knight Riders in the Indian Premier League, cricket's biggest and most glitzy franchise competition — promoted a young Gill to his leadership group. Gill had yet to play a Test. 'Even though he is young I am a big believer in it's not necessarily true just playing for a long time makes you a good leader,' explained McCullum at the time. 'It's about exhibiting the behaviours of a leader. To us, Shubman is one of those guys.' Advertisement That Kolkata leadership group also included Eoin Morgan, the former England white-ball captain and architect of the attacking style that took them to World Cup success in 2019, an approach since replicated by McCullum and Stokes in Test cricket. Morgan had no doubts India had chosen the right man to lead the post-Kohli and Sharma era. 'He's a natural leader,' Morgan told Sky Sports on Gill's appointment last month. 'He takes on responsibility within a group, he doesn't mind questioning methodology within the camp, but ultimately the collective goal is what's most important to him.' What would definitely not have surprised England was the performance of Jaiswal. They saw plenty of the dynamic left-hander last year when losing 4-1 in India, the biggest setback endured by Bazball since Stokes and McCullum took up the reins in 2022. So dominant was Jaiswal then that he scored a monumental 712 runs in the five-match series, the most ever scored by an Indian against England, and smashed double centuries in successive Tests at Visakhapatnam and Rajkot. To be in India watching that series was to witness a boy who, at 12, left his home in Uttar Pradesh for Mumbai to try to make his name in the sport — he slept in tents on the maidans that have spawned so many cricketing talents and sold pani puri, a deep-fried street food, to earn pocket money — becoming the new poster boy of Indian cricket. Not least when he hit Jimmy Anderson, the most prolific fast bowler in Test history, for three successive sixes during the second of those double hundreds in Rajkot; the first flicked over fine leg, the second flying over extra cover and the third disappearing back over Anderson's head. There was a little less of Jaiswal's audacity in Leeds, but there was plenty of class as he scored a disproportionate 88 per cent of his 101 on the off-side, completing a century in his first Test in England just as he had on debut and in his first Test in Australia. 'I love scoring every hundred but this one was special,' said Jaiswal afterwards. 'We were just trying to keep it simple and play within an area. If there is a loose ball I always believe you need to go for it. I really enjoyed it.' It left plenty questioning Stokes' decision to bowl on a sunny day when presented with a flat pitch that looked made for batting. But there was data method behind his apparent madness. The previous six Tests at this famous ground have been won by the side bowling first while Stokes famously prefers to chase in Tests, with four of England's victories in the opening Bazball summer of 2022 coming from reaching large fourth-innings targets. Advertisement Since 2015 on a ground once known to suit seam bowling, batting has become easier and easier, an average of 26.81 per wicket on the first day swelling to 40.06 on day five. So it would be unwise to write off England just yet. But, for now, it is all about India and the prince who has become India's new king. Gill completed his hundred with a glorious drive for four off Josh Tongue and screamed almost in relief before embracing his vice-captain, Rishabh Pant. There was a bow, too, as the applause rained down. The king is dead. Long live the king. Click here to follow cricket on The Athletic and see more stories like this.

28 Years Later is a bleak fever dream with rage pumping through its veins
28 Years Later is a bleak fever dream with rage pumping through its veins

The Verge

time31 minutes ago

  • The Verge

28 Years Later is a bleak fever dream with rage pumping through its veins

While it wasn't the first film to feature fast-moving ghouls, there is no denying how much of an impact 28 Days Later had on modern zombie movies. It was a gripping and nauseating wonder, whose action felt uniquely visceral thanks, in part, to director Danny Boyle's inspired use of a digital video camera. And there was a gut-wrenching sense of hopelessness baked into writer Alex Garland's script that made 28 Days Later feel far more grounded than most of the zombie films that inspired it. Boyle and Garland stepped back from the franchise as it continued with a graphic novel and director Juan Carlos Fresnadillo's 28 Weeks Later in 2007, but they are back together again for 28 Years Later. Though it's set in the same world and calls back to the original, the new film hits very differently because of how much more overrun pop culture is with zombie-themed horror. You can feel Boyle and Garland trying not to echo other big pieces of zombie IP as they weave a new tale about how the world has changed almost three decades after the outbreak of a deadly virus. And in a couple of the movie's pivotal moments, the filmmakers manage to avoid being too derivative. Many of this story's smaller beats feel overly familiar, though — so much so that it almost seems intentional. That wouldn't be a huge knock against 28 Years Later if it could conjure the same kind of pulse-quickening scares that made the first film such an instant classic. But the most terrifying thing about the franchise's latest chapter is how oddly conservative and, at times, nationalistic its story winds up becoming. Though 28 Years Later opens with an arresting reminder of how people had no idea how to defend themselves against those infected with the rage virus in the outbreak's early days, it revolves around a community that has learned what it takes to survive. Like everyone else holed up on a tiny island in northern England, Jamie (Aaron Taylor-Johnson) knows how dangerous the infected are and how easily their virus is spread. He also understands that, were it not for the island's unique geography — it connects to the mainland with a causeway that vanishes with the tides — his life of relative comfort wouldn't be possible. Jamie and his sickly wife Isla (Jodie Comer) work hard to impress upon their son Spike (Alfie Williams) how important it is to adhere to their community's rules. People can leave the island to collect wood or hunt for whatever food they can find. But they do so knowing that no one will come to save them if they can't make it back to the island on their own. Everyone also knows that, while Great Britain is still quarantined, the rage virus has been all but eradicated everywhere else in the world. And because other countries have essentially left the British to fend for themselves, there's a current of resentment (particularly toward the French) coursing through Jamie's community. One of the first things that jumps out about 28 Years Later is its overwhelmingly white cast. Some of that can be attributed to the idea that these are all people who just happened to already live on the island when the virus first got out. But Boyle also makes a point of emphasizing how capital B British all of the film's characters are, with closeups of photos of Queen Elizabeth II and moments where people remind each other that it's time for tea. The film frequently cuts to archival black-and-white footage of British soldiers marching during World War I and scenes from Laurence Olivier's Henry V in a way that makes British identity feel like it's meant to be understood as a crucial part of the story. This is also true of the way 28 Years Later prominently features a recording of 'Boots,' Rudyard Kipling's famous poem about a British soldier's participation in the Second Boer War. But all of that imagery becomes charged with a very pointed, Brexit-y energy when 28 Years Later juxtaposes it with shots of the writhing, naked infected who have become the mainland's dominant population. The racial homogeneity of Jamie's community is that last thing on anyone's mind as he prepares Spike to go on his first trip to the mainland — an experience that's supposed to help them bond and show the boy what it's like to kill an infected. Isla's terrified at the idea of her son leaving, but it excites Jamie, who almost seems to enjoy his forays into danger. Spike, too, is thrilled to finally get a chance to see parts of the world that he's never had access to. But it's not long before they encounter the infected and are forced to spend the night hiding rather than returning home. Especially once Jamie and Spike have ventured out, 28 Days Later starts to feel a lot like The Last of Us in the sense that its story is — at least initially — about a man working through his feelings about fatherhood in a world plagued by flesh-eating monsters. And the film's focus on manhood (as well as its parallels to other, more recent zombie fiction) becomes that much more pronounced when Jamie and Spike first encounter an alpha, one of the new types of infected. The way 28 Years Later evolves its monsters is one of the more interesting aspects of the film. There are still jerky, sprinting infected who present the most immediate risk, but after decades of mutation, the virus has also given rise to corpulent 'slow-lows' who crawl on the ground, and infected who seem able to form social connections. Boyle showcases the film's new types of monsters brilliantly in a number of action sequences that make heavy use of a unique iPhone camera array that creates shots that pivot around scenes in a very Matrix -y, bullet time fashion. Those shots — of arrows being shot into infecteds' necks and groins — are exhilarating and impactful, but deployed so frequently that it quickly grows tiresome. What's even more exhausting is how, despite the fact that we're told how these survivors have adapted to life with the infected, the film's characters repeatedly make decisions that feel wholly unmoored from reason. This becomes very apparent in the movie's second half as Comer — who delivers a tremendous, if restrained performance — takes on a much more prominent role. Columbia Pictures That said, 28 Years Later is absolutely gorgeous more often than not. Boyle's shots of the English countryside are majestic, but they become alarming as the infected shamble into view. There's one chase scene on the causeway that stands out for having some of the most beautiful visuals ever featured in a zombie film. But the story's rote-ness keeps 28 Years Later from feeling like the product of Boyle and Garland working at the height of their powers. As questionable as some of its messaging is, 28 Years Later is just the first installment of a new trilogy. It's possible that its off-putting qualities are being propped up for the subsequent two films to knock down -- which means that, like the infected, the series will have to evolve.

Plymouth Argyle confirm Austria training camp as part of pre-season
Plymouth Argyle confirm Austria training camp as part of pre-season

Yahoo

timean hour ago

  • Yahoo

Plymouth Argyle confirm Austria training camp as part of pre-season

Plymouth Argyle's pre-season schedule under their new head coach Tom Cleverley will include a week-long training camp in Austria. The Pilgrims will play a behind-closed-doors friendly on Saturday, July 5 before travelling to Austria on the Sunday. They will have one match on Friday, July 11, against opposition to be confirmed, before returning to the UK the next day. Advertisement Argyle will then make the trip into Cornwall to play 2024/25 National League South champions Truro City on Wednesday, July 16 (7.30pm) before they have a still to be confirmed fixture on Saturday, July 19. READ MORE: Gareth Bale linked to Plymouth Argyle takeover bid by US-based group READ MORE: Wrexham sign Plymouth Argyle striker Ryan Hardie on three-year contract The Pilgrims will play Paul Wotton's Torquay United, who were pipped to the National League South title by Truro on goal difference at Plainmoor on Wednesday, July 23 (7.30pm) before Championship side Bristol City visit Home Park on Saturday, July 26 (3pm). Advertisement Argyle will then begin their 2025/26 League One campaign the following weekend as they bid to bounce back to the Championship at the first attempt after their relegation last term. The club's head of football operations David Fox said: "We are pleased with the competitive pre-season schedule we have put together so far, so the team are ready for the Sky Bet League One season ahead. "It is brilliant that we will be playing a pre-season game at Home Park for the first time in a while and we look forward to welcoming the Green Army back to PL2 ahead of the regular season. "We are also excited to head to Austria for a pre-season camp which will see the players tested in not only warm weather, but at altitude as well, which will challenge the squad and improve their fitness immensely. Advertisement "The season is fast approaching and all of us here at Argyle are just as excited as the Green Army to see football return once again." Argyle Women, under their new head coach Marie Hourihan, will also play a pre-season game at Home Park on Sunday, July 27, with the opponent to be confirmed imminently. You can read more of our Argyle stories from Plymouth Live by clicking HERE

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