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'EastEnders can do Avani's pregnancy story justice - here's why I hope they don't stray'

'EastEnders can do Avani's pregnancy story justice - here's why I hope they don't stray'

Daily Mirror24-07-2025
The Panesars are involved in yet another hard hitting storyline on BBC's EastEnders - as last week it was revealed 16-year-old Avani Nandra Hart had fallen pregnant
It was an emotional week on EastEnders last week as Avani Nandra-Hart found out she was pregnant with teenage villain Joel's child. Those eager fans (like myself) who love to dig into the spoilers every Tuesday were aware of the storyline before it had aired.

However, for those who wanted to keep it a surprise, the shock revelation came last week when she took a pregnancy test in front of Barney Mitchell. Avani was adamant she was going to have an abortion - but grandmother Suki has other ideas.

As I was scrolling through X, formerly known as Twitter, when the spoilers were released, I noticed a number of people calling the teen pregnancy storyline "repetitive" and "boring," however, I disagree.

Yes, EastEnders have showcased a number of teen pregnancy storylines – including Lily Slater, who fell pregnant at just 12 years old. In the earlier days, Sonia fell pregnant at 15 with Martin Fowler 's baby, unaware of her pregnancy when she went into labour. However, as a British Indian like the Panesars – I'm glad they're shedding ligh on a taboo subject in the community.
Despite Avani, understandably, not wanting any of her family to find out – Suki put two and two together after seeing her searching up abortions on her laptop.

Suki's initial reaction was heartwarming, as she told her granddaughter she was there if she needed to talk to someone. Despite the obvious initial shock, Suki remained cool, calm and collected, advising Avani she needed to speak to her parents.
I was really glad to see this, as a number of teenagers in the same position as Avani would do all they can to hide their pregnancy from their family, especially the older generation in fear of how they would react. In many cases, this would mean they'd go through the scary situation alone and I hope Suki's initial reaction helps them realise that they don't have to be alone.
However, things took a turn in tonight's episode, when Suki went to visit a Granthi for advice – telling him her granddaughter was "in turmoil." The Granthi then told Suki that all she can do is support her granddaughter – as he warned her she could face a similar outcome with Avani if she pushes her not to have the abortion.

She later went home, and shockingly told Avani she would raise the baby as her own, with many complaints on social media. For me, I would have loved to see Suki have another heart-to-heart with Avani after speaking to the Granthi – but instead she came up with an outrageous idea. Trying to push Avani not to have an abortion - Suki said she would raise the child as her own.
I hope this is just Suki reacting with panic, and Eve talks some sense into her. If EastEnders continue to stray with an unrealistic storyline, I fear this could push those in a similar situation one step back, rather than helping them to confide in their families or get help elsewhere.

In addition to this - Suki trying to control Avani's decision and not supporting her in what she wants to do may also give off the same message. I'd love to see Suki playing the supportive grandma role it looked like she was about to play at the start. Hopefully after she calms down, she comes to her senses and we see the character we've all grown to love in recent years.
Viewers are also yet to see Ravi's reaction, and with his hot head, it's almost expected he's going to lose the plot. However, we have seen a softer side of Ravi, especially after Avani was strip searched by the police.
We saw a softer side of Ravi during that ordeal, and I'm hoping that's the side we see if and when he finally finds out about his daughter's pregnancy, as I believe it will encourage many others who find themselves in that position to speak up.

The soap has a great chance to portray this in a way that can help others, like they have done with similar storylines before. Suki herself was involved in a huge storyline, as herself and Eve became the first lesbian couple to wed on the Sqaure. It came after Suki escaped her abusive ex-husband Nish Panesar – which was an extremely sensitive story, handled in exactly the right way.
The Panesars have been a great addition to EastEnders – and a great representation for the South Asian community. They've tackled a number of taboo subjects, and I'm hopeful this will continue far into the future.
I'm interested to see what turn the storyline takes and I'm sure EastEnders will do it justice. I'm just hoping they don't take a wrong turn.
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Admit it: no one really likes eating fish
Admit it: no one really likes eating fish

Spectator

timean hour ago

  • Spectator

Admit it: no one really likes eating fish

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‘I have different weathers in my brain': how Celeste rekindled her love of music after heartbreak and loss
‘I have different weathers in my brain': how Celeste rekindled her love of music after heartbreak and loss

The Guardian

timean hour ago

  • The Guardian

‘I have different weathers in my brain': how Celeste rekindled her love of music after heartbreak and loss

On Glastonbury's Pyramid stage in June, Celeste appeared wearing smeared black eye makeup and a leather jacket moulded with the impression of feathers, latched at the throat. She evoked glamour and tragedy, a bird with its wings clipped. 'My first album came out nearly five years ago and I didn't expect it to take so long,' she said of its follow-up. 'But I'm here now.' Celeste broke through in 2020, her voice reminiscent of Billie Holiday's racked beauty, but sparkling with a distinctly British lilt: a controlled, powerful vibrato that stirs the soul. Despite her jazz-leaning balladry not being obvious chart fodder, she became the first British female act in five years to reach No 1 with her debut album, Not Your Muse, which was nominated for the Mercury prize. She also won the BBC's Sound of 2020 poll and the Brit award for rising star and was nominated for an Oscar for best original song (for Hear My Voice from The Trial of the Chicago 7) the year after – but her chance to capitalise on those accolades was stalled by the pandemic. She had to halt her touring ambitions. Of the years since, she says: 'Sometimes you worry: are you on your path?' Celeste was haunting and spectacular when I saw her at Glastonbury, but now, as we stroll through Hyde Park in central London, she is relaxed and laughs easily. She becomes distracted by a carousel ride – 'They're my favourite! I love the music' – then she is back to talking about the five-year struggle to make her excellent second album, Woman of Faces, which will be released in November. 'The title was kind of a diagnosis of how I feel sometimes; a device to help me begin to understand my own complexity,' she says. She was born Celeste Waite in California to a mother from Dagenham, east London, and a Jamaican father. Her mother had found her way to Hollywood as a makeup artist and Celeste was born 'quite quickly' after her parents met there. They separated when Celeste turned one and she and her mother moved to England to live in Celeste's grandparents' home. 'It was almost like my mother was my sister, because we were both being looked after by my nan and grandad.' These are happy memories, but she has 'these different weathers in my brain … I've always had this little tinge of melancholy.' Maybe, she says, it stems in part from a lack of rootedness: 'You move from America to England and you don't really remember it, but you know that there's people that you've known there and built connections with. And then you don't have that.' She wondered if she would end up with a mental health diagnosis, 'something more clinical later on down the line. But I didn't feel I really needed that.' Instead, she found solace in other artists' music, 'people's lyrics and emotions and melodies, even how they dress themselves – that's always been quite a big remedy without needing to have a professional'. While she is frequently compared to Adele and Amy Winehouse, unlike them Celeste did not attend the Brit school of performing arts, instead studying music technology at sixth-form college in Brighton and working in a pub as she got her career off the ground. 'I'm really glad I taught myself to sing,' she says, arguing that it gives her 'rawness and authenticity'. Her venture into music was galvanised by the death of her father from lung cancer when she was 16: 'When you lose someone, every day you wake up and you're stunned by the fact that they're gone. And there's a certain point where you say to yourself: I can't do this any more, and that's when you start to either go to the gym or get into a practice. For me, that was where I picked up music and became really focused.' In the mid-2010s, she started uploading music to YouTube and SoundCloud and got a manager. She was picked up as a guest vocalist for producers such as Avicii, while Lily Allen's label released her debut single. 'I worked double shifts in a pub on weekends to afford to go to the studio,' she says. 'It took my energy away and I wasn't able to sing as well any more.' But she carried on doggedly, got signed to the major label Polydor, bagged the 2020 John Lewis Christmas ad soundtrack and beguiled listeners on songs such as Strange, in which her vocal tone expresses every contradictory emotion in a breakup – resignation, hurt, bafflement, poignancy, even a kind of helpless amusement at how awful it all is – in just four minutes. She is clear that she has received plenty of support and encouragement within Polydor: 'The people that signed me came into music with the intention to make meaningful, poignant, credible music.' 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She wanted 'a cinematic feel' and referenced Bernard Herrmann – a composer for films by Hitchcock, Welles and Scorsese – in the studio as she worked with the conductor Robert Ames and the London Contemporary Orchestra. 'Herrmann was a real innovator and it's reflected in people like Busta Rhymes sampling him [on Gimme Some More] all those years later. So we wanted to make sure that if we went into that territory of a cinematic string orchestra, it didn't feel like an impression of the 1950s – it sounded like something new.' With this ambitious scope and Celeste shuttling between sessions in Los Angeles and London, it took a lot longer than expected to complete Woman of Faces. It was originally due to be finished by the end of 2022 and released a year later. 'I didn't expect it to take so long,' she says. 'And if I'm really honest with you, at the end of 2021, into 2022, I experienced some heartache and I fell into such a depression about it all.' A relationship had ended. 'When you lose the person from your life that you really love, there's a grief that comes over you,' she says. The album's first single, On With the Show, was written at her lowest point. 'I didn't really want to go to the studio; I didn't really feel like I actually wanted to live at that point. I didn't find meaning and purpose in the music.' She just had the song title, which she shared with her collaborator Matt Maltese. 'I didn't even have to explain to him what it would be about, because he just knew. We spoke about the song and what it needed to be.' She had also recently seen Marius Petipa's 1898 classical ballet Raymonda. 'It's about a woman in the Crimean war and she has two lovers: one is in Russia and one is in Crimea,' she says. 'I could relate, because she was torn between these two entities: at that point, my dedication to music and my dedication to a person. And one was taking the energy from the other. So On With the Show was about me having to find the courage to let go of something, to meet back in with the path of my life as a singer.' Worse, she says, 'social media had come in to erode my relationship'. As a public figure on social media, 'people can view your relationship and have so much awareness of the fact that you're even in one. There's this really strange, invisible, intangible impression that interactions in that space can leave upon your living reality. I was upset at how much that had come to affect my personal, real life.' On Could Be Machine, a curveball industrial pop song inspired by Lady Gaga, Celeste explores the idea that 'the more time we spend with this technology, the more we become it'. 'My phone had become this antagonist in my life, via communication that I didn't want to receive and the fact it could just be in your hand. It was quite alien, in a way. I hadn't grown up with a phone stuck to my hand and it was something that I had to become more and more 'one' with in my music career.' She says that, during the relationship, love had reverted her to a kind of 'child-like state … a really pure version of yourself, before the world has seeped in and shaped you'. Losing the person who brought her into that state meant that she had to 'learn how to steer and guide' herself to rediscover it. She is leaning on other musicians to help her understand these difficult years. She cites Nina Simone's song Stars, a ballad about the cruelty and melancholy of being a professional musician. 'It says so much about the tragedy of where her life is at that moment in time, but then there's so much triumph in the fact she even gets to express herself in that way.' Another inspiration for Woman of Faces was the 1951 musical romantic comedy An American in Paris and one of its stars, Oscar Levant, who spent time in mental health institutions. 'I was really moved by what he seemed to carry in his being. And, I suppose, I relate a lot to artists who carry this pain, but their work eases it.' Whereas Celeste was previously in thrall to American blues and R&B ('the older sense of what R&B was in the 1940s'), down to the way she might 'time things and phrase things and even pronounce things', she has 'learned what my true voice is and who I really am as a person. I still have some of that phrasing and pronunciation there, but I exist a lot more as myself, therefore I sing a lot more as myself.' Buoyed up by her and others' art, does she feel happy? 'Yes!' She grins and throws her hands in the air. 'The main thing is finding happiness within the relationships I maintain around me and making sure those are kept really positive and nourishing.' She is glad to be in her 30s: 'Age becomes kind of taboo for a woman in the music industry – but then you hear people like Solange speak about women really coming into their true sense of who they are within their work. There's been a shift.' And if the happiness in her career ever dissipates, she has decided she will simply move on. 'I don't really see the need to live in a feeling of oppression, when I know there's so much freedom outside this world. And anyway, I'm sure I would find my way back to it again. But on my own terms.' Women of Faces is released on 14 November on Polydor In the UK and Ireland, Samaritans can be contacted on freephone 116 123, or email jo@ or jo@ In the US, you can call or text the National Suicide Prevention Lifeline on 988, chat on or text HOME to 741741 to connect with a crisis counselor. In Australia, the crisis support service Lifeline is 13 11 14. Other international helplines can be found at

EastEnders star set to make surprise return to the soap three years after leaving Albert Square
EastEnders star set to make surprise return to the soap three years after leaving Albert Square

Daily Mail​

time4 hours ago

  • Daily Mail​

EastEnders star set to make surprise return to the soap three years after leaving Albert Square

An EastEnders star is reportedly set to make surprise return to the soap three years after leaving Albert Square. The character, who first set foot in Albert Square back in 2018 had a spell of intense storylines over the years. Stuart Highway will make an appearance in Walford for a 'limited period,' but is set to cause some drama, according to The Sun. Played by Ricky Champ, 45, he left the soap in 2022 alongside his on-screen wife Rainie Cross (played by Tanya Franks). Stuarts major stories included confessing to accidentally killing DI Steve Thompson (Philip Wright) - who later turned out be alive. He also admitted to being a vigilante paedophile hunter which stemmed from being sexually abused as a child. Stuart was at the centre of a father's post-natal depression storyline, with the character struggling to bond with his baby Roland. He had struggled with his mental health after his diagnosis with breast cancer and had trouble adjusting to parenthood after he and wife Rainie (Tanya Franks) tried for a child for a long time. 'In EastEnders I went from villain to hero to dad,' he told Digital Spy at the time of his exit. 'It was amazing, doing that for five years with a character's arc. It felt weird leaving him,' he admitted. At the time Ricky didn't rule out a return to the soap someday, as he claimed that anything was possible. 'He didn't die. He rode off into the sunset. I think he's somewhere in the North Circular living with Rainie,' he said of his character. Outside of EastEnders, Ricky's additional ventures include his role as Paul Parker in the BBC Three sitcom Him & Her and a Games Of Thrones appearance as Gatins. Daily Mail has contacted the BBC for comment. 'In EastEnders I went from villain to hero to dad,' he told Digital Spy at the time of his exit in 2022 but he will be back for a 'limited period' Elsewhere, an EastEnders legend is facing the sack after a whopping 40 years in job - and fans of the BBC soap aren't happy about it. Beloved character Tracey, who is played by actress Jane Slaughter, has been on the show since 1985. Over the years the barmaid, who rarely has any speaking lines, has become a huge fan favourite while serving many punters at the Queen Vic. But a recent episode of EastEnders raised a few alarm bells with viewers after Kat Slater's (Jessie Wallace) nephew Freddie (Bobby Brazier) put forward the idea of working for her and take over from Tracey. Kat and Alfie Moon (Shane Richie) became the new owners of the pub earlier this month, after taking over from Linda Carter (Kellie Bright). During Tuesday's instalment of the BBC show, Freddie asked for a job, but was told that they didn't have enough money for him to join the team behind the bar. Freddie went on to tell Alfie and Kat that he would be able to work for half of what Tracey is currently paid. It's no wonder that the bartender is such a popular character on the show, having been on EastEnders since the very beginning. Tracey appeared on the very first episode back in 1985. She is the longest-serving character to ever take part in the popular programme having no breaks or exits. Although the character rarely says a word on the show, back in 2022 she made a shocking revelation about Phil Mitchell (Steve McFadden). She confessed that Phil was the 'best sex she's ever had'

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