US rap star 50 Cent gets crowd dancing as he headlines first night of Trnsmt
Fiddy, part of G-Unit, got people dancing with hits including PIMP and Candy Shop.
He performed with a series of female dancers who wore lingerie and denim shorts.
His set was at one point punctuated with the sound of gunshots.
Napoli footballer and Scotland international Billy Gilmour was spotted in the crowd on Friday evening.
Australian electro-pop act Confidence Man performed a 2000s dance music-inspired set on the King Tut's stage.
The duo opened with Now U Do, and wore what appeared to be bridal-inspired outfits and performed a choreographed dance routine despite the heat.
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Spectator
9 hours ago
- Spectator
The power of BBC's The Narrow Road to the Deep North
It's been a good week for fans of TV dramas that are set partly in Syria, feature poetry-lovers confronting extreme violence, like to keep their viewers in the dark (sometimes literally) and have main characters with Australian accents (sometimes accidentally). But there are also significant differences between the two examples on display – with The Narrow Road to the Deep North the much more sombre and The Veil the considerably more bonkers. Adapted from Richard Flanagan's Booker-winner, The Narrow Road began in Syria in 1941. Through what would prove the programme's characteristic murk, a group of Australian soldiers led by one Dorrigo Evans could just about be seen rescuing a young boy and joshing about the respective size of their penises. Within minutes, however, they were interrupted mid-josh by an explosion that killed one of their comrades and the rescued boy. In the first of the constant time-shifts, it was then 1942, with Dorrigo's wife Ella anxiously awaiting news of him following the Australian troops' surrender to the Japanese. Immediately afterwards came 1989, where the older Dorrigo (Ciaran Hinds) was being interviewed about his wartime experiences by a smug young journalist to whom he explained that people like her think war is only one thing (i.e. wrong) whereas in fact it's many things at once. And with that, we headed to 1940 where the younger Dorrigo (Jacob Elordi) proposed to Ella, before starting an affair with his uncle's wife, Amy: an affair kindled by their shared love of Sappho's poem 'You Burn Me' (full text: 'You burn me'). A couple of minutes – and three years – later he was among the Australian prisoners arriving in the Thai jungle to build a railway… Although the TV adaptation makes a few of the usual inexplicable plot-tweaks, it's essentially faithful to the book – not least in all those time-shifts and the main reason for them. This is that, despite the unbearably vivid scenes of suffering and Japanese cruelty in the jungle, The Narrow Road isn't primarily a war story, but a piercing character study filtered through the memory of old Dorrigo and designed to show how he, too, has ended up many different things at once. He is, for instance, simultaneously guilt-ridden and rather chuffed about his long-ago affair with Amy, grateful to and resentful of Ella, determined not to be haunted by the war and haunted by the war. And it's that last contradiction in particular that lends the show its power, as Dorrigo finds himself unable to do anything so impossibly glib as 'move on'. However much you might wish it, this tough but gripping drama bleakly reminds us, some stuff just won't go away. In recent years, there's been a lot of talk about whether there'll ever be a female James Bond – but in The Veil we sort of get one. Sunday's opening episode even had a pre-credit sequence in which our heroine (Elisabeth Moss) completed her previous mission in an immaculate suit and with a few quips to the baddie, who also became the first of many characters to fix her with a wondering stare and ask, 'Who are you?' At this stage, the viewer's answer to that question was a firm 'search me' – and so it remained as she adopted the name Imogen and headed to a refugee camp in Syria. There, the man from Unicef was soon asking the same thing, especially after she'd overcome several assailants in a fight, having put down her omnipresent cigarette. (Ian Fleming readers might remember the striking sentence in Casino Royale: 'Bond lit his seventieth cigarette of the day.') In another Bondian touch, it also helps that everybody who shoots at her always misses. Very gradually, it became apparent that Imogen is an MI6 agent sent to the camp to find a suspected Isis commander who, this being television, is a woman too. Once she had, though, she naturally went rogue. Charged with driving Adilah to a detention centre, Imogen instead headed to Istanbul while the two women spent their road trip companionably discussing both terrorism and English poetry. After the downtrodden misery of The Handmaid's Tale, you can see why Moss might have wanted to go full-on alpha female. Less understandable is why she didn't spend more on a voice coach – because her English accent is all over the place: sometimes OK; sometimes accurate syllable by syllable yet still somehow sounding like no English person ever has; sometimes flat-out Aussie. The Veil is written by Steven Knight who can be great (Peaky Blinders) and can be dreadful (Great Expectations), but here is mostly somewhat annoying. The dialogue is often corny, the kickass heroine levels feel almost parodic and nothing is remotely plausible. Nonetheless – and this is the properly annoying bit – there's still enough intrigue and mad fun to keep us watching.
Spectator
9 hours ago
- Spectator
I watched it between my fingers: Bring Her Back reviewed
The Australian twins Danny and Michael Philippou started off as YouTubers known for their comically violent shorts – Ronald McDonald Chicken Store Massacre (2014) has accrued 67 million views. They then raised the money to make their first feature. This was the quietly disquieting Talk To Me (2022), which cost $4.5 million and made $92 million. Bring Her Back (they like three-word imperatives, these lads) is their second and it may not be as successful. It stars Sally Hawkins and this isn't, alas, horror at its most fun, inventive and camp. This is horror horror: gory, grisly and one that properly goes for it at the end – which, if you are not a horror nut, can't come soon enough. Even the horror nuts who loved it have been saying things like: 'It's the best film I will never watch again.' I think I may regret seeing it the once. It opens with grainy home-video footage of some occult ritual. A newborn baby lies within a chalk circle, while a dude with a weirdly distended stomach wanders around and a young woman is strung up. What the hell is going on here? All will be explained is the hope. Next we meet Andy (Billy Barratt) and his younger stepsister Piper (Sora Wong), who is legally blind. Their father has just died and as Andy is three months off his 18th birthday he can't yet assume guardianship of Piper, whom he adores. They are therefore dispatched to live with a foster mother, Laura, played by Hawkins. (One minute she's Paddington's lovely mum and the next she's forcing a bereaved, traumatised child to kiss a corpse. It's a rum old business, acting.) Laura has another foster child, a boy, Oliver (Jonah Wren Phillips), who is electively mute and whose eyes sometimes go opaque – and I honestly can't bear to go into what he likes to eat. He's not a well lad, and let's leave it there. One other thing: he will need dental attention come the end, and now we'll definitely leave it there. Hawkins's accent goes to Australia via the East End but she's so deliciously and escalatingly menacing let's not hold it against her. Laura is warm, at first, in her hippy-dippy way, but the fact that she's taxidermised her dead dog is a bit of a clue. And why exactly is there a chalk circle on her drive? She had a daughter the same age as Piper who drowned. She favours Piper and increasingly gaslights Andy while Oliver… we left it there, remember? The visual shocks come thick and fast. There are sights I part-saw through my hands or through the gauze of the T-shirt I pulled up over my head that I'll never part-unsee. The mounting anguish and tension is well handled as Laura's plan becomes clearish. It's obvious whom she longs to bring back, but is this the best way, Laura? Really? The chalk circles recur, as does that grainy footage, but no explanation is ever forthcoming. Who is that dude with the belly? The girl being strung up? I don't want characters to sit at a table and launch into exposition as that would be trying, but at the same time I needed more. If I am going to be put through the mill, there had better be a good reason for it. I was waiting for a clever twist but it never came The film is plainly about grief, and where it can send us. But it's ultimately pretty simplistic. Still, the Philippou brothers know how to scare the bejesus out of you and the performances are all excellent, particularly Hawkins and Wren Phillips – from what I saw.
Daily Record
13 hours ago
- Daily Record
BBC Death in Paradise's 'favourite' detective teased for spin-off appearance as star drops hits
Kris Marshall from BBC's hit show Death in Paradise has teased that he could appear in the show's Australian spin-off Kris Marshall, known for his role as Detective Humphrey Goodman in Death in Paradise, has sparked excitement among fans after hinting at a possible cameo in the show's Australian spin-off, Return to Paradise. Kris originally took over from Ben Miller, who portrayed Richard Poole until his character was dramatically killed off. Kris played Humphrey Goodman from the show's third season through to the end of season six, where he exited the series to pursue a love story with Martha Lloyd, portrayed by Sally Bretton. However, their romantic tale didn't end there, it continued in the spin-off series Beyond Paradise, which follows the couple as they relocated to the Devon countryside to be closer to Martha's family, the Mirror reports. Although he's currently focused on his role in Beyond Paradise, Kris hasn't ruled out making an appearance in Return to Paradise, which has been praised for featuring the franchise's first female lead. The show, already greenlit for a second series, stars Anna Samson as Detective Mackenzie Clarke, bringing a fresh dynamic to the ever-expanding Death in Paradise universe. Speaking with Woman's Day Magazine about a potential crossover, Kris shared: "In the future, I'm definitely not ruling it out, no." He added, with a hint of mystery: "Never say never." If Kris does join the cast of Return to Paradise, he wouldn't be the first detective from the original series to appear. Ardal O'Hanlon, who played DI Jack Mooney, made a guest appearance in the spin-off's debut season. His character returned as Mackenzie's superior from London, and rumours suggest he may return again for the second series of the Aussie drama. The Death in Paradise and Beyond Paradise storylines have crossed before. In Beyond Paradise's first season, fans were delighted to see Humphrey return to the Caribbean with Martha, marking the first on-screen meeting between Humphrey and current DI Neville Parker. Though producers have yet to confirm another crossover, filming for Return to Paradise is already underway and the possibility of Humphrey Goodman appearing has fans buzzing. Adding fuel to the speculation, Kris Marshall was recently spotted in Australia, prompting fans to wonder if a cameo is already in the works for Return to Paradise. One fan speculated on a Facebook fan page: "I wonder what Humph's doing here in Australia? Perhaps a Return to Paradise cameo." Another enthusiast responded, showing just how happy the cross over would make them. They wrote: "That would be spectacularly awesome - DI Goodman in Return to Paradise - with DI Mooney - hope so!". A third chimed in, stating: "Yes, my favourite detective, this needs to happen." For those eager to catch up, Death in Paradise is available for streaming on BBC iPlayer.
