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James Wade feasts on out of date pizzas but World Matchplay finalist insists he's not past his sell by

James Wade feasts on out of date pizzas but World Matchplay finalist insists he's not past his sell by

Daily Record27-07-2025
The Machine has been magnificent in Blackpool and can now win a second Matchplay 18 years after his first triumph
Time-defying James Wade fancies another slice of Matchplay history after dining on out-of-date pizzas.

The Machine forged into a showdown with Luke Littler at the Winter Gardens with his epic semi-final success over Jonny Clayton.

Wade is the youngest-ever winner of the tournament having triumphed in 2007 as a raw 24-year-old who had burst onto the scene. Fast forward to 2025 and he's back in the showpiece aiming to lift the trophy again and prevent The Nuke from tagging his youngest-ever tag.

Wade might 'not care' about that statistic, but he does care deeply about his darts and has rolled back the years in Blackpool to maintain a superb season of form which is lifting him up the rankings again and banging him into the spotlight.
The Londoner isn't being snubbed for TV promos now as he heads into the crunch clash with Littler, but he's also keeping it grounded. Celebrations after the Clayton match were restricted as he said: 'Going back to my room. I've got some pizzas that are four or five days out of date. Hopefully they smell all right when I open them out of the fridge. Everyone thinks I'm joking, but I'm being serious.
'I'm just going back to my room to relax and enjoy myself. Not be too critical of myself. but really, really happy to win. So, so, so lucky to win that game, but it might make up for some of the times where I've been so unlucky. There you go.'
It was a titanic tussle that went 38 legs before Wade came through 20-18 and he said: 'To be fair, it's my own fault because I probably should have closed it off earlier. But you know, it is what it is. And there were so many moments where he would have turned me over if God was on his side and not my side. Just happy, don't want to harp on too much about who won and who lost, but I'm happy I won.'
Wade reckons 'stupidity' and 'ignorance' were keys to a big 161 finish that set-up the success and added: 'Desperation, rankings. It's nothing more than that. You're stubborn, you want to win and let's be honest, 'Jonny probably should have won that game, but I should have won it way before. Just happy to win. I'm exhausted, genuinely. Not very often I walk in after a game of darts, you know, we all go like, I'm tired. I am genuinely, absolutely bamboozled after that. I'm f****d. I'm knackered, I'm old.'
Wade's success ato bridge an 18-year-gap between first and latest would be an incredible storyline, but he's putting no extra store on it as, when asked what it mean to lift The Phil Taylor Trophy again, he said: 'No more different to what they all mean to me.'
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TV bosses ask Londoners to star in upcoming Harry Potter series with filming to start at end of month in London
TV bosses ask Londoners to star in upcoming Harry Potter series with filming to start at end of month in London

Scottish Sun

time37 minutes ago

  • Scottish Sun

TV bosses ask Londoners to star in upcoming Harry Potter series with filming to start at end of month in London

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How the era of the ‘angry young men' sowed the seeds for the Swinging Sixties
How the era of the ‘angry young men' sowed the seeds for the Swinging Sixties

Telegraph

time2 hours ago

  • Telegraph

How the era of the ‘angry young men' sowed the seeds for the Swinging Sixties

The 1960s, that much-loved decade, revived with gusto during the Britpop era, still surrounds us with its images and iconography, from Bond to Sgt Pepper – but where does this distinctly English narrative come from? When did it start? Look a bit deeper, and in the decade between the end of the Korean War and The Beatles releasing Please Please Me, something stirred in the provinces. Drama, fiction and cinema started to produce a body of work that was distinctly at odds with what had passed as appropriate entertainment in the 1940s. During a time when people knew their place – and were often trapped as a result – the era of the 'angry young men' took shape. Full of 'outsider' characters and regional settings, and dubbed 'kitchen sink' by critics in recognition of its determinedly down-to-earth style, this is what gave birth to today's cultural landscape. It's part of our national DNA, and language, giving us phrases such as 'I believe you, thousands wouldn't' as well as immediately identifiable characters such as Billy Liar and Archie Rice. While there had been writing of this type before – notably by Arnold Bennett, JB Priestley, and George Orwell – what came after the post-war austerity period was much greater in scope, drawing heavily on the class consciousness of the 1930s and the bitter, traumatic experience of the war. (Especially the latter: this was a time when everybody spoke about 'the war'.) Dominating voices Within a few years, disparate talents such as the Goons; Tony Hancock; writers William Cooper, Kingsley Amis and Philip Larkin; film producers the Boulting brothers and actors such as Stanley Baker, Diana Dors and Dirk Bogarde were presenting the public with new characters, novel situations and a questioning approach to status quo. Influenced partly by US noirs and European social realism, both of which were readily viewable on screen or available to read in paperback, 'kitchen sink' drama provided readers with everyday plots and strongly drawn working-class characters. Usually male, they rent a room somewhere. It's signalled that they may have been in the war, but none were officers, and they avoided heroism. Their appearance is important to them, and as this is a time of full employment, they drink and smoke continuously. Disaffected and denunciatory, they aspire to owning property and embrace materialism. Such plots are common in the work of John Osborne, John Braine and Alan Sillitoe. In terms of women writers, it was the idiosyncratic voices such as Muriel Spark and Iris Murdoch who dominated; yet, at the end of the decade authors, such as Shelagh Delaney emerged, whose narratives were grounded in reality: they described mixed-race relationships and affairs with yet-to-be-divorced older men, and broke new ground by allowing pregnancy and abortion to haunt their narratives. Frustrated, one morning our hero (or heroine) may pack a suitcase and head down to the station. On a long, slow train of blood-red carriages hauled by a black steam locomotive, they depart for London, throwing aside the conventions and restrictions of regional life. Distinctly realistic depictions All of this takes place in a country markedly different to the one we live in now: a landscape clogged with coal smoke from countless factories, yards and depots set amidst geometric rows of tiny houses. In some ways, the shadow of the war persists. 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London – Soho in particular – came into its own with distinctly realistic depictions. Prior to the mid-50s, film-makers rarely strayed beyond Mayfair and W1, and, if they did, usually shot on sets. Now there was an abundance of bedsit dramas, lots of crime and, by the standards of the time, sex (the Lady Chatterley trial helped fell those boundaries). Sowing the seeds for kitchen sink cinema The medium for showing these dramas varied. Despite being limited to only two channels, each broadcasting about six hours a day, television sowed the seeds for much of what followed. The feature-film-length TV play was a key element in the evening inventory, with ITV leading the way. At its peak, over 200 original scripts per annum were being commissioned, providing young actors and directors with critical early career exposure. TV today – including subscription platforms – could only dream of this. As for the theatre, director Joan Littlewood broke down stylistic norms and tackled themes rarely seen on stage before. Brendan Behan, John Arden, Lionel Bart, Shelagh Delaney and Arnold Wesker all benefited from her support. Much influenced by Bertolt Brecht and happy to stage big political ensemble pieces, her output at the Theatre Workshop, Stratford (formed in 1953), was youth-orientated and anticipated the satire boom that followed. There were hits, Fings Ain't Wot They Used T'Be, deprecating the replacement of community with consumerism, intriguing misses (Ned Kelly, with Harry H Corbett comes to mind) and one undeniable classic, Oh! What a Lovely War (1969). Most people encountered the kitchen sink in the cinema, though. The Odeon, Gaumont, Granada and ABC chains remained uniquely accessible and popular; and yet, the conservatism of traditional producers – for a while – made getting Osborne, Sillitoe et al on the screen difficult. The Rank Organisation, anxious to maintain their role as custodians of family entertainment, declined to back Look Back in Anger. One explanation for this resistance came from the kitchen sink portraying 'difficult topics' previously considered to be of limited interest to paying audiences. One of these was politics. No Love for Johnnie, written by Wilfred Fienburgh MP, a predecessor of Jeremy Corbyn in Islington North, showed a world of cynical career advancement, no-confidence votes, late-night drinking and extra-marital affairs. The genre ended on a high. Back in Liverpool, A Hard Day's Night was written by Alun Owen, and directed by Richard Lester, an accomplice of The Goons. Filmed in black and white, with kitchen-sink actors Wilfrid Brambell and Norman Rossington in supporting roles (and Kenneth Haigh, uncredited), it repeated one of the main plot features – the cast goes down to London by train – while also beginning the swinging Sixties. Indeed, A Hard Day's Night feels like the archetypal 1960s film, marking the dawn of a new permissiveness – but in its breaking down of barriers, in its celebration of four working-class lads, the seeds of its success were sown in the previous decade. Top five kitchen-sink heroes The writers remain in print and many of the actors are still recognised names. But look deeper, and there are some no-longer-quite-so-well-regarded figures whose work repays study. 1. Mary Ure Glaswegian actress Mary Ure made a huge impression as Jimmy Porter's fragile, abused wife Alison in Look Back in Anger (1959), playing the part – definitively – on both stage and screen. A spell with the Royal Shakespeare Company followed, as did an Academy Award nomination for her role as Clara Dawes in Sons and Lovers (1960), but her career – like those of many women – remained defined by her marriages, in her case to John Osborne and Robert Shaw. Like Harvey she died in early middle-age, more than half a century ago. 2. Laurence Harvey A true outsider – Jewish, Lithuanian, brought up in South Africa – Laurence Harvey projected an undemonstrative, detached acting style whilst being simultaneously debonair and anti-heroic. It was an approach that fitted the times, and brought him Academy Award and Bafta nominations for his turn as proto-Thatcherite Joe Lampton in Room at the Top (1959). He also directed, including the black jazz musical Simply Heavenly (1958) and a film The Ceremony (1963), which, much influenced by Orson Welles, suggests a talent that might have been more widely used. 3. Tom Bell Leading man Tom Bell owed much to TV plays, appearing in 33 when that genre reigned supreme on the small screen. From Liverpool, Bell was famous for 'upsetting the establishment' something that lost him much work. With a background in provincial rep and a spell at the Theatre Workshop his best role during this period was in The L-Shaped Room (1962). 4. Kenneth Haigh Similarly, Kenneth Haigh, from Mexborough, never quite achieved star status despite creating the part of Jimmy Porter in Look Back in Anger, partnering Roberts in Maggie May and playing Joe Lampton in Man at the Top (1970-1972) on TV. During a long career, which saw him appear in 21 TV plays, he played Napoleon in Eagle in a Cage (replacing Albert Finney) and co-starred with Joan Collins in The Bitch. 5. Rachel Roberts Rachel Roberts lasted only a little longer, and like Ure was famous as much for her husband, Rex Harrison, as for her acting. This included Bafta-winning performances in Saturday Night and Sunday Morning and This Sporting Life. Lionel Bart built the stage musical Maggie May (1964) around her, but despite a third Bafta for John Schlesinger's Yanks (1979), alcoholism took its toll a year later.

Luke Littler left perplexed by fan's bizarre jibe at Australian Darts Masters
Luke Littler left perplexed by fan's bizarre jibe at Australian Darts Masters

The Sun

time7 hours ago

  • The Sun

Luke Littler left perplexed by fan's bizarre jibe at Australian Darts Masters

LUKE LITTLER has learned to block out the haters and hecklers, saying: I just let my darts do the talking. The Nuke is heading to Auckland for part two of his Down Under jaunt this summer. 5 5 The 18-year-old banked £30,000 on Saturday when he beat Belgian thrower Mike De Decker 8-4 in the final of the Australian Darts Masters in Wollongong. It was his fourth success on the World Series of Darts circuit and was equally impressive given that he had not practised ahead of this 21,000-mile round trip. Every time he failed to hit a treble during the evening's three games, a group of locals shouted out 'rubbish, rubbish' and someone even bizarrely said he was 'washed'. This comment perplexed Littler but it is believed to mean he is supposed to be washed-up and not as good as he used to – which is clearly not the case. The more he wins, the more he will be targeted by irate punters but even for someone so young, he has learned to rise above it all. There have been times in Germany where he has been singled out and he was asked if he had gotten used to dealing with a portion of the crowd being on his back. Littler, in his second season as a pro, said: 'For myself, the first time I hear it, I will obviously do something, but then I will let it go by. 'Just do my darts. Let the darts do the talking. 'No-one has taught me how to deal with much. I just get on with things. You are on stage alone. 'No-one else is with you. No-one else is going to help you unless it's a few guys from the crowd. Yeah, you have just got to get on with it.' Littler – who is on the two-week trip with new girlfriend Faith – is in good form and in a good mood, telling his rivals that his confidence is sky high. No-one else is with you. No-one else is going to help you unless it's a few guys from the crowd. Yeah, you have just got to get on with it. Luke Littler on dealing hecklers while on the stage An early-morning flight to Kiwi country means shifting his body clock by another two hours – he has already said he struggles with jetlag on the other side of the world. Last year, the Warrington teen was defeated in a last-leg decider 7-6 by world No.1 Luke Humphries in the semi-finals at the Globox Arena in Hamilton. Littler, the newly-crowned World Matchplay champion, says he has a policy of practising hard for the big TV events but for the smaller ones, he will simply rock up and do his thing. 5 The world No.2 said: 'I'm very happy. My debut last year in Australia didn't go to plan. But second time lucky. 'I want to be winning things. We look to New Zealand next week. 'I will enjoy this. But then it's an early flight again. An extra two hours ahead – so I will definitely be needing some sleep. 'It's only my second time coming to New Zealand. I didn't do much last year. 'We can make the most of four to five days and then once it comes to Friday that is when the darts starts again. 'I'm feeling confident. This is the most confident I have felt in a very long time. 'For myself I know how much I will practise, how much I have been doing. 'But yeah I practised really well for the World Matchplay and won it. I think I will practise for the big ones. 'As a player, you are on stage for a long time. You practise leading up to it and when you are on stage, you gain that confidence. 'You get warmer and you find those four or five gears.'

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