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BBC Strictly Come Dancing star Tom Skinner's life – criminal past to JD Vance barbeque

BBC Strictly Come Dancing star Tom Skinner's life – criminal past to JD Vance barbeque

Daily Mirror3 days ago
Tom Skinner is one of the latest stars to be announced for the 2022 series of Strictly Come Dancing, but the former The Apprentice star's journey to the ballroom has been anything but ordinary
Former The Apprentice candidate Tom Skinner has been confirmed as one of the latest celebrities joining the sparkling Strictly Come Dancing dancefloor, though his path to the BBC ballroom has been far from conventional.

The 32 year old Essex-born businessman, now renowned for his thriving pillow and mattress empire, initially rose to prominence on the 2019 series of The Apprentice. His vibrant personality, mischievous Essex wit, and tireless determination endeared him to audiences, despite his departure from Sir Alan Sugar's boardroom in week nine.

However, prior to his television appearances, commercial achievements, and celebrity status, Skinner's life took a dramatically different direction. In 2016, at just 24 years old, he as convicted for handling stolen merchandise valued at nearly £40,000 after purchasing 4,992 tubes of Body Shop cleansing gel and having 2,000 diazepam tablets from what he subsequently acknowledged was an "unreliable source". It comes after Strictly Come Dancing's Gorka Marquez pulls out of show.

He was later sentenced and his conviction has since been spent and Skinner has since maintained he's a "changed man". He told the Daily Mail in a previous interview: "Many years ago before I had my business, I was young and naive and bought stock from someone I didn't know", reports the Daily Star.
"I wasn't aware the stock was stolen and paid the consequences for the mistake I made. That is now well in my past, I've had a string of successful companies since then. I am a changed man."
After news of Tom's past broke just before his stint on The Apprentice in 2019 aired, a BBC spokesperson said: "DBS checks are done for all The Apprentice candidates by the production company ahead of filming.
"A spent conviction is not disclosed under the Rehabilitation of Offenders Act. Spent convictions are designed to help people move on in life and not be excluded from opportunities to help further their careers."
Tom went on to appear on the BBC show and, since his TV appearance, his career has flourished in remarkable ways.

Renowned for his candid videos on social media platform X, Skinner's posts about business, politics, and everyday life have garnered hundreds of thousands of followers. His social media presence has since sparked an extraordinary friendship with US Vice President JD Vance, Donald Trump's running mate.
Vance has shown support for the businessman on X after Tom claimed he received death threats and "vile comments about my children" after he posted a series of tweets in which he said "something's gone wrong" in the UK and said "there is nothing wrong with being proud of where you're from".

After tweeting about the online abuse, the Vice President tweeted a cartoon image of a South Park character looking dishevelled while sat at a computer to Tom and wrote: "Hang in there, my friend. Remember that 90 percent of people attacking your family look like this." Tom replied to the tweet with: "Thank you JD. Bosh".
Days after the online exchange between the pair, Tom revealed on Twitter the pair had met up. He wrote: "When the Vice President of the USA invites ya for a BBQ an beers, you say yes. Unreal night with JD and his friends n family. He was a proper gent. Lots of laughs and some fantastic food. A brilliant night, one to tell the grand kids about mate. Bosh."

Tom then shared a selfie of the smiling pair on X and added: "Here is a pic of Me and Vice President @JDVance towards the end of the night after a few beers I'm overdressed in my suit, but when the VP invites you to a BBQ, you don't risk turning up in shorts an flip-flops Cracking night in the beautiful English countryside with JD, his friends and family. Once in a lifetime. Bosh".
Skinner has also used his own story to inspire others with learning difficulties to pursue big opportunities as he has dyslexia.
He admitted: "I can't even fill out a form, but it didn't matter. The Apprentice changed my life. If you're thinking of applying for something, do it, one million percent."
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Fake Or Fortune drama as art collector takes a gamble and turns down HUGE sum for his 'lost masterpiece' painting
Fake Or Fortune drama as art collector takes a gamble and turns down HUGE sum for his 'lost masterpiece' painting

Daily Mail​

time18 minutes ago

  • Daily Mail​

Fake Or Fortune drama as art collector takes a gamble and turns down HUGE sum for his 'lost masterpiece' painting

An art collector is set to cause some 'high drama' on BBC show Fake Or Fortune? as he turns down a huge sum of money for his 'lost masterpiece painting'. Artist David Taylor originally purchased the oil canvas for £2000 for its appearance alone before experts later identified it as the missing artwork by 20th century Canadian impressionist Helen McNicoll. However, David raises plenty of eyebrows when he rejects the whopping offer of £300,000 from a private collector and instead decides to take a gamble at auction, reports The Mirror. The painting in question, called The Bean Harvest, had been 'missing' for 110 years, having last been spotted at an exhibition at London 's Royal Academy in 1915. David appeared on the BBC programme last year, where presenters Fiona Bruce and Philip Mould helped him prove the painting's authenticity. Helen McNicoll's signature was only discovered when David removed the artwork - which depicts a woman picking beans in a field - from the frame, with art dealer Phillip then estimating it to be worth between £150,000-£200,000. Helen McNicoll, who went deaf from the age of two, is one of Canada's most celebrated artists and known for her impressionist representations of rural landscapes. Her flourishing career was cut short in 1915 when she died aged 35 following complications from diabetes. When the hosts later revisited David, he was keen to sell, with billionaire philanthropist and private collector Pierre Lassonde - who is a major collector of McNicoll's work - showing a keen interest in the art. Canadian Pierre flew to London to see the painting in person before going on to offer David £300k for the masterpiece. He said of the work: 'For a painting that has been missing for 110 years, I think it's fantastic... I wouldn't mind adding one more piece to my collection.' However, David went on to reject the offer and decided to try his luck at Sotheby's auction house in London, with the hopes that the cash from the sale would help fund the purchase of a bungalow which he needed for health reasons. The results of this auction is set to be seen in an upcoming episode of Fake Or Fortune. Commenting on David's actions, host Fiona remarked: 'There's some high drama with this picture', states the publication. The Bean Harvest artwork went on view at London's Sotheby's in November 2024, with viewers set to see in an upcoming episode whether David's gamble has paid off While Lincoln-based artist David noted: 'I needed to sell it. I couldn't insure a £300,000 painting so I had to do something with it. 'Sotheby's were there and they said: "we have got a sale coming up", so I thought that tis was perfect. I am hoping for a record price.' A source told The Mirror: 'Who'd guessed that Fake Or Fortune? would end up like David Dickenson's Real Deal? Owner rejects a huge offer and tries his luck at auction, it's gripping stuff.' An insider added: 'Viewers are left waiting until the very last minutes of the show to find out whether he is a big winner - or a big loser.' The results of the auction will be aired on Fake Or Fortune: What Happened Next on Monday 25 August at 6.30pm on BBC One and BBC iPlayer.

4 Edinburgh International Festival shows with master storytelling
4 Edinburgh International Festival shows with master storytelling

The National

time43 minutes ago

  • The National

4 Edinburgh International Festival shows with master storytelling

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Here he encounters Guillaume's older brother, Francis, a man who – in Iano Salomão's remarkable, multi-layered performance – hides his profound crisis of masculinity behind a veneer of appalling brutishness. Francis makes it menacingly clear that Tom is to hide his relationship with Guillaume from the family matriarch, Agathe (Denise Del Vecchio), who continues to believe the longstanding lie that her city-dwelling son had a long-term girlfriend who speaks no Portuguese. In the play that ensues, Tom's grief combines in complex, sometimes disturbing ways with his relations with both Francis and Agathe. The cosmopolitan protagonist is beguiled by his first encounters with the land and with farm animals. The recounting of a past event, in which Francis sought to ensure that his brother's homosexuality remained hidden, has the horrifying veracity of a Greek tragedy. Director Portella's stage – an expansive, largely empty space on which the actors perform amid increasing quantities of red soil and water – is brilliantly (and disquietingly) visceral and symbolic. Played by a universally superb cast (which includes Camila Nhary as the mythical girlfriend, 'Hellen'), boasting wonderfully atmospheric use of music, sound and lighting, this production is unforgettably powerful. Indeed, it is a work that would have been more than worthy of inclusion in the programme of the Edinburgh International Festival (EIF). READ MORE: I tried to go to 10 Fringe shows in one day. Here's what happened Another outstanding stage work that is on the EIF programme is Mary, Queen Of Scots (Festival Theatre, ends today; then touring until October 18). The latest offering from Scottish Ballet, the piece is co-created by choreographer Sophie Laplane and director James Bonas, with an astonishing original score by New York-based composers Mikael Karlsson and Michael P Atkinson. At the outset, we see the striking image of the older Queen Elizabeth I (danced by the extraordinary Charlotta Öfverholm), unwigged, undressed and exposed to the snow. She is exposed, too, to her memories of the regicide she ordered against her own cousin, Mary Stuart. It is a moment of such aesthetic boldness and originality that one knows instinctively that the ballet to come is going to be something extremely special. So it proves to be as the well-worn story of Mary's tempestuous life and momentous death is unfurled in choreography, music and extraordinary design (by Soutra Gilmour) that are simultaneously breathtakingly audacious and perfectly complementary. Roseanna Leney – who dances Mary in a fabulous black velvet dress – embodies the Scottish queen with, by turns, great sensuality, joy, fear, defiance and, ultimately, dignity. The conflicting and dangerous passions of the relations between Mary, her second husband, Lord Darnley (the excellent Evan Loudon) and the Italian courtier David Rizzio (the equally impressive Javier Andreu) are depicted in movement that is, paradoxically, both gorgeous and raw. The work plays out in the constant presence of both Öfverholm's older Elizabeth and the pot-stirring, fluorescent green-clad Jester (who is given a magnificently spritely and sinister performance by Kayla-Maree Tarantolo). In a masterstroke of decidedly un-Trumpian, cross-gender casting, the younger Elizabeth is played by Harvey Littlefield, who captures the grandeur, the vulnerability and, ultimately, the anguished uncertainty of the 'Virgin Queen'. The story is told in choreography and design that delight and surprise in their constantly inventive, highly stylised representations both of Renaissance fashions and modern ballet. For example, Mary's nemesis – Elizabeth's influential spymaster Francis Walsingham (Thomas Edwards on terrifying form) – commands a small army of sinister, fly-headed minions. Gilmour's beautiful-yet-utilitarian sets are primed to host memorably effective shadows and projections (by Anouar Brissel). In particular, the ingenious and menacing appearance of a giant spider is bleakly premonitory. In Karlsson and Atkinson's glorious musical score, Mary's finest hours are partnered by beautiful, energetic music that is carried along by the sound of distinctly Scottish fiddles. Other moments are magnificently cinematic, evoking, by turns, the dramatic momentum of Michael Nyman and the swirling energy of Philip Glass. The music – which is played marvellously by the orchestra under conductor Martin Yates – is a perfectly integrated part of this ballet. However, such is its brilliance, that one leaves the theatre wanting to hear it again. This is a truly triumphant, world-class ballet and one that – in its depiction of the Mary, Queen of Scots story – deserves to take its place alongside Schiller's great play and Donizetti's famous opera. We move from a political cataclysm in Scottish and English history to our current age of catastrophe in Khalid Abdalla's Nowhere (Traverse, until August 24). An actor, filmmaker, producer, political activist and, now, theatre creator, Abdalla, who was born in Glasgow, self-defines as Scots-Egyptian (he spent his early life in Scotland – including, he shows us, at least one occasion on which he wore a kilt – before moving to England). The son and grandson of Egyptian political dissidents, he was in Egypt during the revolution of 2011. His self-recorded footage from, and reflections upon, those historic events forms the foundation of the show. Abdalla is a master storyteller, integrating memoir, documentary theatre and, latterly, emotive, hard-worn polemic. 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READ MORE: Fringe reviews: Florence, One Man Poe, Zoe Coombs Marr and more Abdalla's complex-yet-accessible narrative leads us, with depressing inevitability, to the broken world we inhabit today and, particularly, to the ongoing and unforgivable genocide in Gaza. When, in his closing monologue, he speaks – with tremendous passion, humanity and good sense – to this gargantuan, current-day disaster, he has more than earned the right to do so. Finally to The Nature Of Forgetting (Pleasance Courtyard, until August 23), a work of physical theatre by English company Theatre Re which, sadly, does not deliver on its significant promise. Contemplating the situation of Tom, a 55-year-old man suffering with early onset dementia, this piece seemed bound to evoke the deep personal agony (both for the sufferer and his loved ones) and the vividness of the man's long-term memory. 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The company prefers, instead, to go for softer options, such as – for prolonged sections of the show – the dubious comedy of adults playing school children. At times the music reflects this kind theatrical soft soaping, not least when it sounds like Phil Collins-era Genesis. This is an accomplished piece in performative terms, for sure, but one that fails to hit the emotional mark.

Sally Rooney vows to use royalties to support Palestine Action despite terror ban
Sally Rooney vows to use royalties to support Palestine Action despite terror ban

The Independent

timean hour ago

  • The Independent

Sally Rooney vows to use royalties to support Palestine Action despite terror ban

Novelist Sally Rooney has vowed to continue supporting Palestine Action 'in whatever way I can' using royalties from BBC adaptations of her books. The Normal People author, 34, publicly reaffirmed her support for the direct-action group, which was designated a proscribed terrorist organisation by the Home Office last month. It means showing support for the group is illegal under the Terrorism Act in the UK, punishable by a maximum of 14 years in prison. In an impassioned piece published in the Irish Times, the writer hit out at the arrest of more than 500 'brave individuals' holding placards declaring 'I oppose genocide, I support Palestine Action' in London's Parliament Square last weekend. 'In this context I feel obliged to state once more that – like the hundreds of protesters arrested last weekend – I too support Palestine Action,' she wrote. 'If this makes me a 'supporter of terror' under UK law, so be it. My books, at least for now, are still published in Britain, and are widely available in bookshops and even supermarkets. 'In recent years the UK's state broadcaster has also televised two fine adaptations of my novels, and therefore regularly pays me residual fees. 'I want to be clear that I intend to use these proceeds of my work, as well as my public platform generally, to go on supporting Palestine Action and direct action against genocide in whatever way I can.' She said she would happily publish the same statement in a UK paper, but noted that would now be illegal. Ms Rooney accused the British government stripping its citizens of basic rights and freedoms 'in order to protect its relationship with Israel'. 'The ramifications for cultural and intellectual life in the UK – where the eminent poet Alice Oswald has already been arrested, and an increasing number of artists and writers can no longer safely travel to Britain to speak in public – are and will be profound,' she added. Ms Oswald, 58, who won the TS Eliot prize in 2002 and was professor of poetry at the University of Oxford, was among those detained in central London last week. Afterwards, she said her motivation for taking part included the very personal experience of giving online poetry classes regularly to young people and children in Gaza. Half of the protesters arrested and now facing potentially life-changing terror convictions were over 60, Metropolitan Police figures show. Home secretary Yvette Cooper this weekend defended the decision to ban Palestine Action, insisting it is more than 'a regular protest group'. Ms Cooper said counterterrorism intelligence showed the organisation passed the tests to be proscribed under the 2000 Terrorism Act with 'disturbing information' about future attacks. 'Protecting public safety and national security are at the very heart of the job I do,' she wrote in The Observer. 'Were there to be further serious attacks or injuries, the government would rightly be condemned for not acting sooner to keep people safe.' Protesters have vowed to continue defying the ban as Huda Ammori, the group's founder, brings a legal challenge to the High Court in November.

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