logo
Kylie Minogue, 56, looks sensational in skin tight electric blue PVC ensemble as she takes to the stage in Glasgow for the first night of Tension tour in UK

Kylie Minogue, 56, looks sensational in skin tight electric blue PVC ensemble as she takes to the stage in Glasgow for the first night of Tension tour in UK

Daily Mail​17-05-2025

Kylie Minogue looked incredible in a skin tight electric blue ensemble as she began the European leg of her world tour.
The Australian singer, 56, brought her Tension tour to Glasgow on Friday night with a performance at the city's OVO Hydro arena.
Kylie's glam for the occasion certainly didn't disappoint excited fans, with the iconic popstar rocking an all-blue PVC look.
The figure-hugging outfit showed off the 56-year-old's sensational physique as Kylie sported a pair of skin-tight leather pants and matching top with mesh sleeves.
The star completed the look with matching leather blue heels and gloves as she gave fans a selection of the hits.
The Tension tour has so far seen Kylie perform across the globe in Australia, Asia and the United States.
The North American leg marked the Aussie's first-ever US arena run, with Kylie set to perform 13 shows in the UK in the coming weeks including four dates at the 02.
The star is the highest-selling Australian female artist of all time and the third best-selling in the UK, but has only now begun to make a name for herself in the US following the success of her viral 2023 hit Padam Padam.
In the past, Kylie has claimed her failure to catch on Stateside didn't phase her and she enjoyed her anonymity there.
However, her record label revealed in 2023 the singer now has her eyes firmly set on cracking the US market.
Padam Padam and follow-up album Tension helped turn her fortunes around in America and landed her a Grammy, a second number one on the US Billboard's Top Dance/Electronic Albums chart and a Las Vegas residency.
Speaking about her lack of success in the US Kylie said in 2022 she had 'resigned myself to the fact that America wouldn't be like the rest of the world for me. I'm anonymous there — which, I must confess, I kind of like.'
As well as telling The Express in 2009: 'It doesn't frustrate me [not cracking America]... frustrating being asked about it, the assumption it's something really missing in my career and life.'
'It just so happens I live in London and my time is spent more throughout Europe... the U.S.A. has remained at arm's length.'
While discussing her plans to crack America Jamie Nelson, SVP of U.K. Recordings at Minogue's label BMG, confirmed to Variety in 2023 the label were 'confident' Padam Padam would do well.
'It's now flipping into an area that's unprecedented,' he said, crediting TikTok and social media for the song's viral success.
The beloved pop princess first took to the stage at Rod Laver Arena (previously the National Tennis Centre) back in 1990.
She has since moved into acting and has also starred as a judge on Britain's Got Talent on a number of occasions.

Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

Why your friendly neighbourhood Spider-Man gives you the ‘ick' factor
Why your friendly neighbourhood Spider-Man gives you the ‘ick' factor

The National

time36 minutes ago

  • The National

Why your friendly neighbourhood Spider-Man gives you the ‘ick' factor

That shimmering street grid, and those sandstone bases of unbuilt skyscrapers, will host the most everyday superhero of the current Marvel Universe. Everyday, in every way. It's not just Peter Parker's tentative romance with Mary Jane Watson (and her variants), or his wracked grief on the deaths of his adoptive parents, or his humdrum job as a freelance photographer. But it's also his powers; they too partake of the everyday. In his earliest incarnation, Parker is bitten by a radioactive spider, escaped from an experiment. Spider-Man first appears in the nuclear-haunted, cold-warring mid-60s, where the lingering effects of radiation on babies and animals were well known. Not to mention the beginning of plausible genetic engineering. Watching the precursor to the forthcoming Glasgow-based movie, 2021's Spider-Man: No Way Home, it's notable that all the villains assembled – Doctor Octopus, Green Goblin, Sandman, Lizard, Electro – have gained their malevolent powers through exposure to radiation, or biological/cyborg experiment. Just like Spider-Man. READ MORE: 'Ludicrous': BBC bias claims reignite as majority of panellists back Labour Doth this 'good' mutant protest too much against the 'bad' ones? The citizens are consigned to the role of spectators (or squished collateral damage) as these super-humans fight for supremacy. No amount of Peter Parker homeliness – he is your 'friendly neighbourhood Spider-Man', after all, happiest when arresting street thugs – can hide his posthuman weirdery. No Way Home might be the eighth-biggest-grossing movie of all time, but it's lame in the way it resolves this tension – where body modification turns towards good or ill. Parker and friends test-tube up some remedies for the villains, transforming them back into their humdrum, benign human selves. But then Doctor Strange – played by a somnolent Benedict Cumberbatch – has to then 'magic' them back into the parallel universes they've come from. The current Spidey-verse – with a guileless Tom Holland in the title role – is, at this late stage in the Marvel franchise, a bewildering mix of superpowers. Under the techno-influence of Tony Stark, the old struggles with the Spidey costume – stitching it together, hauling it on, repairing rips – are now an automated swoosh from suit to suit. There's also a very funny sequence where previous Spider-Men from parallel universes (Tobey Maguire and Andrew Garfield) explore their web-making powers. Garfield and Holland have to keep refilling their cartridges, while Maguire produces it subcutaneously from his wrist (which was creator Stan Lee's original mutation). 'Does it come out anywhere else?' asks Holland guilelessly. This is a nod to the obvious metaphor: the yearning young adult Parker suddenly suffers a condition where white sticky fluid unpredictably erupts everywhere … The actors are given enough room to riff on it. So we're laughing, these days. But I don't think any amount of irony and eyebrow-raised referencing can reduce the essential strangeness of Spider-Man – and for that matter, X-Men, Iron Man, the Fantastic Four, Captain America, Black Widow, Ant-Man, I could go on. All of them are the victims of science and technology either gone wrong, or consciously applied to the body, resulting in imposed or desired superpowers. As the box office shows, the appetite is there for stories, however fantastic, of human biomodification. You could render them as giant compensation fantasies. We're coping with our everyday sense of bodily vulnerability to the outcomes of sci-tech, through entertainments that show us gaining power from it – not being polluted and made more fragile and dependent by it. Yet it strikes me that we are much more resistant to the transformations of bioscience than we are to the transformations of AI and automation. We consume all manner of creative narratives, both desirable and cautionary, about computers becoming conscious or purposeful – and it all seems more like a lubricant to the spread of AI in our lives than an inhibitor. When it comes to us and our bags of skin, however, we're just not as embracing of the radical bio-changes that the superheroes undergo, willingly or unwillingly. The safest vector is through disability or health. The pills and therapies that suppress appetite, attack viruses, enable pregnancies, and (who knows) slow down cell decay to prolong life. Even that avatar of techno-weirdness, Elon Musk, who wants to neurologically link brains and computers, does so first in service of the paralysed, giving them some much-needed agency and purchase in the material world. Yet we appear to have an unarticulated, deeply-set norm that kicks back against too much of this. The 'ick' factor is certainly present. Take the Enhanced Games that took place in Singapore the other week. Sportspersons competed in athletics which ignored the fuzzy line between legal performance-enhancing substances and illegal ones. But the games languished under waves of aversive, sometimes even revulsed press coverage. So we revel in the superheroic cavortings of cyborgs and mutants on our screens, while objecting to already finely-calibrated athletic bodies taking a few seconds off a track record, by expanding the pharmacopoeia of their drugs. I'm not complaining! Indeed, I'm desperately grateful that there seems to be some kind of natural, intuitive limit to the kinds of transformations we moderns of the 2020s are willing to undergo. Even the blockbuster entertainments are telling us something obvious, as the Earth is (yet again) threatened with total annihilation in their narratives. Which is that it ultimately, terminally matters how we humans consciously deploy our transforming powers in the world. I will admit to enjoying these bionic characters as modern mythological gods, cartoonishly laying out important dilemmas for us. However, I sometimes crave sci-fi tales in a much subtler register. Kazuo Ishiguro's Never Let Me Go is interesting to set alongside these bombastic tales. In its way, it's hardly less monstrous. The whole society in this novel is stable, settled, orderly and utterly cruel: the institutionalised children in it are clones, being grown to adulthood so that they their organs can be harvested for clients. The supportive relationships that comprise much of the novel are to support the weakening young adults, as they are weakened by the surgeries they undergo. This is body modification, but all about submission to the process, accommodating its demands. It's far from radiation, gene therapy or prosthetics enabling you to leap tall buildings with a single bound. Bio-heroes in the blockbusters conduct their sparring in the public sphere, as if they're conducting an oblique argument about the society they're in. For No Way Home, they literally battle across the surface of a scaffolded Statue of Liberty. They're also constantly pursued by an Alex-Jones-like vlogger, casting Spidey as a public enemy. In Never Let Me Go, the bio-subjects are held in a pastoral enclosure, erased from the world that depends on their sacrifice. The crowds gawp at the superheroes: faced with Ishiguro's bureaucratic horror, the crowds avert their eyes. The superheroes at least ask: What happens when your body has power and potential, when what you can do with it amplifies your agency? Ishiguro asks: what happens when the body simply becomes somebody's property? The Spider-Man producer Amy Pascal says the new film will be about 'Peter Parker going to focus on being Spider-Man, because being Peter Parker was too hard'. Cute: his pursuit of Zendaya, as his girlfriend with a now wiped memory of him, will no doubt humanise the story. But Spider-Man – and we haven't even touched on arachnophobia (or is that arachnophilia?) – is properly odd, if you scrutinise him closely enough, and line him up with all his bionic pals. There are important tensions about humanity, technology and the future, hidden behind that bug-eyed mask.

Dragonfly review – haunting, genre-defying drama of lonely city living
Dragonfly review – haunting, genre-defying drama of lonely city living

The Guardian

time3 hours ago

  • The Guardian

Dragonfly review – haunting, genre-defying drama of lonely city living

Twenty years ago, Paul Andrew Williams announced himself as a smart new British talent with his ferocious gangland picture London to Brighton, and his creativity has continued in film and TV ever since. His new film is a haunted, social-realist drama with elements of Mike Leigh but also moments of thriller and even horror. Williams isn't shy of stabbing us with an old-fashioned jump scare towards the end, which in fact challenges the audiences with its refusal of categorisation. There are two superb lead performances from Andrea Riseborough and Brenda Blethyn and an outstanding supporting turn from Jason Watkins. Dragonfly is about loneliness and alienation and about the eternal mystery of other people, the fear of intimacy and the unknowable existence of urban neighbours. Elsie, played by Blethyn, is an older woman who is quite capable of independent living in her bungalow, but a recent fall and an injured wrist has meant that her middle-aged son (Watkins), all too obviously to compensate for not visiting that often, has paid for daily visits from a private agency nurses. They are overworked and not doing an especially good job. Really, she doesn't need these nurses and by enduring them, Elsie is shouldering the burden of her son's guilt. Meanwhile nextdoor neighbour Colleen, played by Riseborough, is a continuingly strange presence. She is a melancholy, withdrawn figure, evidently on benefits and living with her huge American bull terrier, uncompromisingly named Sabre. Williams shows us that she is effectively living in a kind of platonic relationship, or mariage blanc, with this dog; the film periodically gives us startling shots of Sabre's colossal body in a kind of domestic nakedness sprawled on Colleen's bed. In a manner that may be insidious or predatory or just friendly and compassionate, Colleen befriends Elsie; the latter overcomes her initial nervousness of Sabre and she appreciates Colleen's forthright offer of help. Colleen goes down to the shops to get groceries for Elsie and after a few such trips they agree that what would be easiest would be if Colleen simply gets Elsie's debit card and Elsie gives her the pin number. Of course, the film allows us to suspect the worst and then suspect the worst of ourselves for suspecting it. Colleen seems to be unhappy and damaged but well-meaning, especially when she (for a laugh) buys them both a two-way radio so they can easily keep in contact – but then uses this radio to talk to Elsie late at night and semi-intentionally to allow bewildered Elsie to hear what's happening in Colleen's house. It is a riveting dual portrait of two gloomy people who really have, in a strange and dysfunctional way, found a new way of interacting and – importantly – this is a triangular relationship: Elsie, Colleen and the vast Sabre. But with a terrible inevitability, Elsie's uptight busybody son John (Watkins) arrives and there are awful consequences to a conversation he has with Colleen which Williams only shows us in long shot, withholding the truth about what he's saying. It's a stark, fierce, wonderfully acted film. Dragonfly screened at the Tribeca film festival.

K.O. (2025) Ending Explained – Does Leo survive the gang?
K.O. (2025) Ending Explained – Does Leo survive the gang?

The Review Geek

time3 hours ago

  • The Review Geek

K.O. (2025) Ending Explained – Does Leo survive the gang?

K.O. Plot Summary The premise of K.O. clings to all the usual tropes you'd expect from a flick like this, jumping straight into the action. Here, we follow aspiring MMA fighter Bastien, who finds himself in the ring with his bitter rival, Enzo. The pair go toe-to-toe in a relentless and pretty brutal sequence that immediately sets the tone and mood for the rest of the movie. Bastien's fight ends in tragedy when he counters a triangle hold into a full-on slam to the mat. Enzo's head crunches against the canvas, and unfortunately, he passes away as a result. Guilt-stricken, Bastien hangs up his gloves and disappears into exile. Fast-forward two years, and our reclusive hero is called back into action by Enzo's widowed wife, Emma. Her son, Leo, has gone missing after getting mixed up in the drug trade, and it seems he may be the target of some particularly nasty gangsters. With a bullseye on his back, Leo is in big trouble—and Bastien feels a moral obligation to do right by Emma. Who are the rival gang? Bastien heads off to find out the truth about Leo's whereabouts, where he winds up indirectly working with Captain Alaoui. The rival gang are called the Manchours. They're vicious and a lot of people are scared of them. They're fronted by a man named Abdul, a relentless gangster determined to grow his empire in Marseille – no matter the cost. Alaoui loses her badge thanks to getting too aggressive with a couple of gang members outside. She teams up with Bastien to get info on Leo's whereabouts, and they soon realize that he has valuable intel that could take down the Manchours. This explains why the gang are so interested in the kid – and why they want him dead. What is driving Alaoui and Bastien to fight so hard? Alaoui lives alone and doesn't have a partner. She's consumed by her grief though, still torn up over the passing of her brother. She has a history with the Manchours, stemming from her childhood. She grew up in the same neighbourhood as the gang and her brother began working with kids on the street. Unfortunately, when the Manchours started dealing drugs and getting the kids involved, her brother pissed them off badly. In fact, one night they tied him to a chair and burned him alive. Even worse, they sent the video to Alaoui and disappeared, until a year ago when they returned. They're smart and always one step ahead, building a criminal enterprise in Marseille – which Alaoui is determined to stop. What happens at the police station? After reuniting with Leo and a tense chase sequence at the apartment complex, the group make it back to the police station where Bastien explains why he's doing all of this. His father passed away when he was a kid and since then he was angry at the world and lashed out. Bastien chose fighting as an outlet and the irony is, this accident has caused Leo's father, Enzo, to die. He recognizes that Leo is going down a dark path and although Bastien didn't mean to kill the fighter, he feels responsible for making sure he steers the kid in the right direction. Bastien was lucky, having surrounded himself with good people and managing to turn a corner, away from a potential life of misery and crime. Who is the mole? Leo reveals in his police interview that the Manchours organized a big meeting with their contacts. Leo was new and shouldn't have been there but he showed up anyway. Here, the Manchour gang met with Andalou and his gang – the same guy we saw earlier tortured for the whereabouts of the drugs earlier in the movie. This was all a trap, organized by Andalou's contact. Leo saw Abdel Manchour kill a man right in front of him but unfortunately, was spotted spying on them and he decided to run. Leo got freaked when he saw the cops because that informant working with the gang happens to be 'The Cop'. It's here where Alaoui realizes there's mole in the midst… and it happens to be Vasseur. He immediately stabs Benoit in the neck before he's shot down. This explains why Leo never went to the police – he didn't trust them. Who survives the final fight? Outside, shots are fired at Sebastopol and the surrounding areas, sending officers out to check. Unfortunately, this leaves the station severely lacking in staff, prompting the Manchour gang to come in all guns blazing and shoot the place up. Alaoui does her best to fight back but Abdul is leading the charge. Through the fighting, Alaoui and Abdul wind up duking it out while Bastien handles Abdul's right-hand man, Driss. Bastien just about comes out on top while Alaoui kills Abdul after stabbing him in the eye and driving this through his skull. With police heading back, the gang breathe a sigh of relief after coming out in one piece. How does K.O. end? Leo is finally free and no longer hunted by the (presumably defunct) Manchour gang, while Emma is reunited with her son. It seems he'll now have a way of handling and channelling his anger, courtesy of Bastien's guidance too. As for Bastien, he intends to head out and carve a new name for himself, deciding that it's time to find something new to fight, looking out at the sunset ready for another day. Read More: K.O. Movie Review

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