FKA Twigs agrees to settle lawsuit alleging abuse from Shia LaBeouf
First filed in 2020, the case had several trial dates scheduled in the years since, but those were always delayed well in advance.
The two met and became a couple in 2018 after 37-year-old English singer and actor Barnett was cast in a supporting role in Honey Boy, an autobiographical film about LaBeouf's upbringing as a child actor.
After an early 'charm offensive' from LaBeouf, the relationship became a 'living nightmare', her lawsuit said.
She said LaBeouf put her in a constant state of fear and humiliation, once slammed her into a car, tried to strangle her and knowingly gave her a sexually transmitted disease.
She said he also isolated her from family and friends, demanded absolute fealty and was angrily jealous of everyone from waiters she'd been polite with to her ex-fiance Robert Pattinson.
She said that her experience was part of a pattern for LaBeouf.
'Shia LaBeouf hurts women,' the suit said. 'He uses them. He abuses them, both physically and mentally. He is dangerous.'
LaBeouf said in a statement just after the lawsuit was filed that he had been 'abusive to myself and everyone around me for years. I have a history of hurting the people closest to me. I'm ashamed of that history and am sorry to those I hurt'.
But he denied the accusations in the lawsuit in a 2021 filing, saying any injuries done or damages incurred by Barnett were not his doing.
LaBeouf is best known for his roles in 2007′s Transformers and in 2008′s Indiana Jones and the Crystal Skull. He also starred in the 2019 film The Peanut Butter Falcon and in last year's Megalopolis.
Known for her genre-bending musical styles, FKA Twigs worked as a backup dancer for other artists before releasing her studio debut, LP1, in 2014. She followed it with 2019's Magdalene and Eusexua from earlier this year. As an actor, she appeared in 2024's The Crow.
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The Guardian
21 minutes ago
- The Guardian
Beginner's Gluck: how the 18th-century composer and a castrato changed opera forever
Operas tell stories; like all great art, the operas that endure don't just tell stories – they reshape the way stories can be told. And it takes more than memorable tunes and a finely honed libretto to bring a piece into the hallowed pantheon of the operatic canon. Often it is the challenging of expectations that moves the dial for ever, permitting the art form to evolve, inspire and establish new ways of telling old stories. In my career as a countertenor opera singer I am often to be found singing the works of Handel, a composer whose oeuvre helped to define opera in the first half of the 18th century. Today, we often perform his operas in a style that befits our time; directors such as Katie Mitchell, Barrie Kosky, Richard Jones or Claus Guth push the singing actor far beyond what the famed castrati or prima donnas of Handel's day were expected to do. And, as I prepare to take on singing Gluck's opera Orpheus and Eurydice at the Edinburgh international festival I am acutely aware that its success will lie in both the staging and the piece itself. A quarter of a millennium ago Gluck's work broke new ground by challenging audiences' expectations. This staging with Circa will do the same. Gluck and his librettist Calzabigi 'reformed' opera. They wanted to move towards a noble simplicity and away from arcane plots. They chose for their mission the story of Orpheus and his descent into the underworld to rescue his wife, Eurydice. At its heart then was a character famed for his musical skill, moreover one who played an intrinsic role in the interpretation of classical mythology in western culture. The final piece in their jigsaw was to engage the famous Italian castrato Gaetano Guadagni, who as a young singer had enjoyed great success working in London with Handel. Together with Gluck, Guadagni found a musical language that did away with complex virtuosity – instead of arias that paused to reflect and repeat, as the audiences at the time were used to, it focused on driving the drama forwards. In fact, Guadagni had made many enemies in the London audiences who were said to have hissed his appearance on the stage after his refusal to bow to acknowledge applause (in order to maintain dramatic unity). He also shunned the overindulgence, prevalent at the time, to repeat well-received arias. Most notably, it was his association with the English actor David Garrick that bore fruit in his subsequent collaboration with Gluck. Garrick himself had changed the English stage. Gone were the soliloquies delivered standing stock-still. He dared to move around the stage while talking, gesticulate and, even (rare at the time), listen to the other characters and react to what they said! He was admired for his range of facial expressions and the air of truthfulness he brought to his parts. He worked with Guadagni in London and it is clear that the singer adopted the actor's innovative stage behaviour. Guadagni's commitment to playing Orpheus over the span of his later life suggests an empathy with the character brought about by an involvement with the role akin to what we might call method acting. In a break from operatic tradition, the majority of Gluck's new opera was declamatory in nature, hardly ever pausing to signal a shift from the recitative (the more narrative parts, often sung in the rhythm of speech) to the songs or arias. On stage in Gluck's new work, Guadagni was noted for his continuous acting throughout; he was praised for the resultant vigour and verisimilitude this brought. This shift would have shocked audiences of the time. In a daring challenge to his colleagues, the castrato no longer put himself first, but rather the character and the story. As a result he was one of the first singers ever to build a career through identification with a single role. It's a role that I have sung before in concert and on record but not as yet on stage. I associate closely with Guadagni, having performed a number of his parts written for him by Handel, and also in sharing the dubious honour of us both having had racehorses named after us. (Mr Davies's career was not long, nor distinguished). My countertenor range probably shares many of the qualities of a falsetto singer such as Guadagni. Countertenor voices are often described as 'otherworldly' and 'ethereal' in sound, and there's a beautiful, expressive legato to be found throughout Guadagni's roles that appeals to me. Furthermore, in the past two decades of my career I have relished more than anything else opportunities that give me a chance to be a 'singing actor' in the truest sense of the phrase. I learned a great deal from being on stage opposite Mark Rylance in the play Farinelli and the King: the magic he was able to conjure through his tinkering with rhythm and phrasing; dynamic range seemed to be a key attribute to his delivery; and, above all, his constant connection with the audience via an invisible thread that tugged gently at their attention throughout was masterly. I can see a connection to how to play Orpheus, who as a lone character on the stage is so inside of himself, and the subtle way in which actors such as Rylance communicate their thoughts with such transparency. Helping me on this journey is the breathtaking performing arts company Circa together with its artistic director Yaron Lifschitz. At the time of writing I have yet to meet them and my experience of this production has been limited to watching a dress-rehearsal video (the staging premiered in Australia in 2019). But it is not often that I find myself gasping out loud at so many moments of heart-stopping wonder as the acrobats climb, tumble, fall, stretch, dance and cover the stage in a kind of physical expression of the inner machinations of Orpheus's mind. At certain points, I will be literally standing on the shoulders of these giants and pushing my own boundaries of my stage experience to date. Gluck's opera combined the beauty of singing with the poise and refinement of ballet and there's no lack of gracefulness in Circa's often audacious schemes. Indeed, at all times it looks and feels human; I can imagine the excitement Gluck's Viennese audience would have felt in seeing this new and energetic style when I watch Circa. The story transforms from a psychological drama into a living and breathing organism around the two central singers. The Australian soprano Samantha Clarke, in a twist on tradition, performs both the roles of Eurydice and Amore (Cupid) in director Yaron Liftschitz's interpretation. When a great opera tells a story well, as Gluck's Orpheus and Eurydice does, it becomes a piece we can bring back time and time again. And in the hands of an imaginative director, surprises emerge that cast new light on the music in ways you never imagined. I have been lucky enough to be a part of Barrie Kosky's hit production of Handel's Saul at Glyndebourne this summer, and what I have learned from it is that when you challenge expectations, and do so with vivid imagination and a sprinkling of audacity fuelled with integrity and commitment, you are more than likely to make people sit up and engage. In Orpheus and Eurydice, Gluck, Calzabigi and Guadagni knew this too. Orpheus and Eurydice (with the Scottish Chamber Orchestra and chorus of Scottish Opera) is at Edinburgh Playhouse from 13-16 August, part of the Edinburgh international festival
Metro
an hour ago
- Metro
English singer cancels concert after 'falling ill' just hours before show
An English singer has been forced to pull the plug on a gig after 'falling ill' just hours before he was due on stage. Rag'n'Bone Man – real name Rory Charles Graham – first rose to fame in 2016 with his single Human, with the album of the same name then becoming the fastest selling debut album by a male in the UK for the decade. Soon after the 40-year-old from Eastbourne was named the British breakthrough act at the Brit Awards and won another Brit for the best British single for his break-out track. He's since released two more albums and while the singer has been performing across Europe over the summer, he's had to cancel his latest show – which had been scheduled tonight in Lithuania. A statement posted on his Instagram today explained: 'Show cancellation today. We're deeply sorry to let you know that today's concert in Kaunas has been cancelled as Rag'n'Bone Man has unfortunately fallen ill. He is currently seeking medical care and we wish him a speedy recovery. 'We know many of you were looking forward to the show and may have travelled or made special plans, we truly appreciate your understanding at this time. 'Rory will be so upset to have to cancel this show and will be working hard to schedule a show in Lithuania soon.' The post was also captioned: 'Today's concert in Kaunas has been cancelled due to Rag'n'Bone Man unfortunately falling ill. For ticket refunds, please contact your ticket distributor/the point of ticket sale from which you purchased.' The musician is next set to perform in Poland at the Bittersweet Festival in Poznań later this week. He was quickly met with messages of support from fans, who wished him a speedy recovery. 'We were about to leave home and drive to Kaunas when I got the email, very sad news but Rory's health is more important. Get better,' Sandra wrote. 'Take care and we're waiting for you,' Zax shared. 'Wishing u a speedy recovery man,' Helena added. In an interview with Clash last year, he spoke about his love of touring. More Trending 'I think I just enjoy doing loads! I take on as much as possible to make this work,' he said. 'It is exhausting… but I love playing live. So, if you have to get up early, do the gruelling parts, then that's just the way it has to be, I guess. 'I've always loved it, and I still love it now – I don't feel any different than I did 10 years ago, to be honest.' Got a story? If you've got a celebrity story, video or pictures get in touch with the entertainment team by emailing us celebtips@ calling 020 3615 2145 or by visiting our Submit Stuff page – we'd love to hear from you. MORE: Jennifer Lopez expertly handles unwanted visitor that crawls up her neck mid-concert MORE: My Chemical Romance announce massive 2026 UK stadium shows for world tour MORE: Rapper stops concert to scold mother for 'irresponsible' act with baby
Scottish Sun
3 hours ago
- Scottish Sun
Love Island in new fix row as it's revealed ITV boss personally hand-picked Toni for show – before £50k win
Click to share on X/Twitter (Opens in new window) Click to share on Facebook (Opens in new window) LOVE Island has been thrown into a fresh fix row after it was revealed winner Toni Laites was handpicked for the show by the executive producer. Toni, 25, and boyfriend Cach Mercer were crowned the winners of the most recent series of Love Island, scooping the £50,000 prize. Sign up for the Entertainment newsletter Sign up 3 Olivia revealed Love Island winner Toni was hand-picked for the show Credit: WireImage 3 Toni scooped the £50k prize with boyfriend Cach Credit: Shutterstock 3 Olivia told how executive producer Mike met Toni in Vegas before she was signed for the show Credit: Instagram Iconic show star Olivia Attwood met with them and fellow finalists Shakira Khan, Harry Cooksley, Yasmin Pettet and Jamie Rhodes following the final and has spilled the tea. During the latest episode of her Sunday Roast podcast with Pete Wicks, Olivia, 34, said: 'You know Mike Spencer, the producer? 'He found Toni in Vegas, she was a cabana girl - he was on his honeymoon. 'He met her, got chatting with her and told her, 'you'd be amazing on Love Island'. That's how she got on [the show].' Opening up about US beauty Toni's plans for the future, Olivia continued: 'I said to her, 'what are you going to do? When was the last time you went home?' 'She said, 'I haven't been home for months, I don't know what to do'. Because she's now got this boyfriend who's English. 'If I was her, I'd want to make the most of it and stay here for a bit.' Toni and Cach scored 33% of the public vote to win the show. Since shooting to fame on Love Island in 2017, Olivia has carved out a hugely successful TV career. She hosts ITV documentaries Getting Filthy Rich and The Price of Perfection and recently made her debut as a main presenter on This Morning. And Pete couldn't resist asking: 'Are you threatened?' Love Island's Shakira and Toni share a passionate snog on boozy night out But Olivia simply replied: 'No. They're just babies, they're fresh into it.' Toni revealed her plans for the future while speaking to The Sun this week. She said: "I am here [London] for god-knows how long at this point. "I feel like I'm definitely gonna have to find somewhere to live."
