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Metro
3 days ago
- Entertainment
- Metro
EastEnders legend who appeared in most iconic moment 'returning after 20 years'
There have been countless surprise returns to EastEnders over the past few months, and it appears another one may be just around the corner. Show legend Michelle Ryan is reportedly set to return to her role as Zoe Slater after 20 years, according to The Sun. A source told the publication: 'Bosses have repeatedly reached out to Michelle over the years, but the timing has never been quite right. 'People are still talking about her character, so it's a real coup to bring her back. 'She feels like now is the perfect moment — and there was an exciting script on the table.' EastEnders had no comment to make when approached by Metro. Zoe Slater was involved in one of EastEnders' biggest storylines when she found out that Kat Slater (Jessie Wallace) wasn't her sister, but her mother. She left the Albert Square after becoming entangled in Dirty Den's murder. Earlier this year, actress Michelle gave fans hope that a return to Albert Square may be on the cards when she posted a throwback picture to Instagram. Sharing some character headshots, she wrote: 'I was just sent these two photos from the square that were taken when I was 17/18, that's early 2000's! They were actually never used for cards to be signed (although I'm being told that some people have them, I didn't realise). 'Wishing everyone on the square a very Happy 40th Birthday! What an achievement for a show to run for that long! 'Many great memories. Congratulations to everyone.' Soundtracking the post with Blondie's Call Me, she added: 'Don't read into the song chosen, it's playing in the cafe.' She also raised excitement when she shared pictures alongside Little Mo Slater legend Kacey Ainsworth. Replying to comments asking her to return to Walford, Michelle pointed out that the decision was down to the producers. With mum Kat set to get engaged to soulmate Alfie Moon (Shane Richie) in upcoming scenes, could Zoe be set to crash the wedding? Actress Jessie Wallace is keen to see the return happen, calling for Michelle to come back on the We Started Here podcast. More Trending 'I'd love it if she came back,' she said, adding: 'I think it would be great for Kat and Zoe. 'I think it would be brilliant if she just turned up and went, 'Hello, Mum!'' View More » Stacey Slater star and podcast host Lacey Turner revealed that the idea had given her goosebumps, before asking: 'Can we make that happen?'
The Spinoff
12-05-2025
- Entertainment
- The Spinoff
Review: Atomic 2.0 was just what we needed
The local femme rock supergroup, reviewed in two cities. Alex Casey in Christchurch I peeped the posters for last year's Atomic concert and was thrilled by the novelty concept: some of the most talented women in New Zealand music, rocking out to the likes of Blondie, Hole, Alanis Morissette and Patti Smith for a whole night? Love a tribute band, love seeing a women-heavy lineup, love the chance to see gaggles of Christchurch ladies dressed up in their finest leather and leopard. When I made it along to the very first night of Atomic 2.0 at the Isaac Theatre Royal last week, the crowd did not disappoint. Among the typical uniform of Christchurch puffer jackets, there were people wafting about in long Stevie Nicks robes and beads, plenty of tight black jeans and thick eyeliner, and that's before we even get onto the outfits on stage. Vera Ellen's red leather pants! Boh Runga's velour jumpsuit! Dianne Swann's shaggy blonde mop! The ensemble group comprising Atomic 2.0 was made up of musical director Julia Deans (Fur Patrol) Boh Runga (stellar*), Dianne Swann (When the Cat's Away), Vera Ellen, and Jazmine Mary, backed by Karen Hu (drums), Rebel Reid (guitar), Mareea Paterson (bass), and Ladyhawke's Ilayda Tunali (keys). Swann immediately demanded everyone get up and out their seats, and by the second song ('Call Me' by Blondie) the aisles were full of people boogying. The hits came thick and fast, with songs from The Pretenders, The Cranberries, Patti Smith and even a tribute to Shona Laing. Helmed by Julia Deans in Courtney Love cosplay, there was an air of joyous chaos to the whole thing. 'Undies? No undies?' Deans asked the whooping crowd while hiking her skirt up (later, when she sat down on the stage, a cackling crowd member stood in front to cover her crotch, just in case). With a few false starts and flubs, it had the energy of a shambolic talent show – just one where the contestants happen to be the most talented people in the country. A huge highlight of the night was when guitarist Rebel Reid took the microphone to sing 'Cherry Bomb' by The Runaways. 'This is the biggest crowd I've ever sung in front of,' Reid muttered shyly, before basically ripping the roof straight off the Royal with a belting cover. It was difficult not to well up when Boh Runga stood back in wonder with her glittering water bottle to let the crowd sing most of 'Nothing Compares 2 U'. Vera Ellen strutting around the stage like Mick Jagger to 'I'm Just a Girl' by No Doubt was also an appropriate serve of fierce and silly for the current moment. Atomic 2.0 was a hugely fun night out, but it did leave me pondering a (potentially tedious) thought, especially during New Zealand Music Month. Is it a bleak sign of the times that these musicians can only fill a room this big with their powers combined and an arsenal of nostalgia covers? How many of the people in the audience would go and see them performing their own songs? Maybe the Venn diagram is two separate circles. Maybe it doesn't matter at all. Maybe nothing compares 2 seeing a bunch of women making bank and rocking tf out. Claire Mabey in Wellington I want whoever is in charge of these things to send me back as any one of the women in Atomic. I haven't seen anything so cool in ages and don't expect to top Julia Deans and Vera Ellen guitar battling in this lifetime. Or Boh Runga's black leather pants, or Dianne Swann's VOICE. My god! What a revelation. I am ashamed I didn't know more about Swann before this night of rock Wellington crowd was a woman-strong mob featuring a lot of grey hair and tight pants. My friend and I arrived in the nick of time and I felt immediately young which was a pleasant sensation given I'd eaten too many fried potatoes at Damascus just minutes before, and am not young. The show got immediately underway and I remembered why I have long harboured a crush on Julia Deans. Why is she not Dame Julia Deans yet? Even from way in the back of the stalls she exudes such energy and obvious love for her art and craft, and for the women on stage and for the songs that have inspired them. Deans is the musical director of this genius concept: cover bangers and get a whole opera house full of mostly women singing, dancing and screaming out 'You deserve equal pay!' The supergroup opened with Joan Jett and the Blackhearts' 'I Hate Myself for Loving You' which reminded me just how magnificent Boh Runga is. The pipes, the style, the presence! A massive highlight was Runga singing 'Nothing Compares 2 U' by the late Sinead O'Connor, who Runga said was one of her favourite artists of all time. It was a stunning rendition – deeply felt. There was a lot of love for Wellington's own Vera Ellen in the room. It was Ellen who roused the Wellington crowd by saying 'You know you're allowed to sing along and dance, eh? Christchurch did.' Then she launched into Blondie's 'Heart of Glass' and the gun shy horde stood up and surged forward, joining Julia Deans who'd jumped off the stage to boogie on the floor with the fans. Shout out to the group of women who wore cowboy hats with neon lights – beautiful work. For me, Dianne Swann and Jazmine Mary were revelations. Swann sounds exactly like Marianne Faithfull and pierced my very heart with Faithfull's ' The Ballad of Lucy Jordan '; and her version of Patti Smith's 'Gloria' was wild. Jazmine Mary absolutely nailed 'Zombie' by the Cranberries. I was hoarse by the end of it and had only just enough voice left to belt out 'You Outta Know' by Alanis Morrisette (sung by Deans who also did so good to Courtney Love with 'Celebrity Skin' by Hole). Vera Ellen shone in the second half of the show ('welcome to the 90s segment,' quipped Deans) with 'I'm Just a Girl' by No Doubt (Gwen Stefani really was something back in the day) and with Sheryl Crow's evergreen 'If It Makes You Happy'. It was a night of excellence – the musicians were incredible: Karen Hu was sublime on drums, Rebel Reid epitomised rock goddess on guitar, Mareea Paterson's bass entered directly to the bloodstream, and Ilayda Tunali was phenomenal on keys. Eilish Wilson on saxophone was tremendous – what an instrument, what a shirt, what a player. Going by Alex's review it sounds like this show was tighter than the Christchurch version: Atomic 2.0 Wellington was slick, it was joyful and the musicianship really shone out. After an encore of Florence & The Machine's 'Dog Days Are Over' sung by Runga, a thousand elated bodies poured out of the Opera House into the rain, impervious to the damp and refreshed by rock. Can't wait for Atomic 3.0.
Yahoo
07-05-2025
- Entertainment
- Yahoo
Timothée Chalamet Goes Red Carpet Official With Kylie Jenner as He Accepts David Awards Honor: ‘I Feel a Deep Connection' to Italian Cinema
Yahoo is using AI to generate takeaways from this article. This means the info may not always match what's in the article. Reporting mistakes helps us improve the experience. Yahoo is using AI to generate takeaways from this article. This means the info may not always match what's in the article. Reporting mistakes helps us improve the experience. Yahoo is using AI to generate takeaways from this article. This means the info may not always match what's in the article. Reporting mistakes helps us improve the experience. Generate Key Takeaways Timothée Chalamet underlined the impact of Luca Guadagnino's 'Call Me by Your Name' on his career as he received Italy's David Award for Cinematic Excellence during the event's 70th edition on Wednesday evening at Rome's Cinecittá studios. 'Luca is probably the most important person in my career,' said Chalamet, who attended Italy's top film award show with girlfriend Kylie Jenner — marking the first time they've walked a red carpet together despite being linked for two years — and his father Marc Chalamet. When Chalamet earned his first best actor nomination in 2017 for Guadagnino's 'Call Me' at 22, he was the third-youngest nominee ever in that category. More from Variety 'I started out as a 20-year-old kid from New York who was having a hard time breaking out in the American film industry,' Chalamet said. 'My career happened overnight thanks to Luca Guadagnino and the chance he took on me playing in an Italian movie.' 'I have no familial bloodline that runs through Italy. I'm not related to anyone here, but I feel a deep connection to the cinema community here,' he added. 'If I hadn't pursued my dream of acting, I probably would have broken Francesco Totti's scoring record,' Chalamet continued, referring to the former captain of AS Roma soccer club, of which he is an ardent fan. 'Timothée Chalamet's European origins and American background make him one of the most unpredictable and talented protagonists of international cinema today, capable of being both an auteur performer and a star generating trends and styles,' said Piera Detassis, president and artistic director of the Academy of Italian Cinema. Among the frontrunners for this year's David di Donatello awards are Paolo Sorrentino's 'Parthenope,' Andrea Segre's 'The Great Ambition,' Maura Delpero's 'Vermiglio,' and Valeria Golino's 'The Art of Joy.' Best of Variety Sign up for Variety's Newsletter. For the latest news, follow us on Facebook, Twitter, and Instagram.
MTV Lebanon
08-04-2025
- Entertainment
- MTV Lebanon
Clem Burke, multifaceted drummer of iconic rock group Blondie, has died
Clem Burke, whose versatile drumming propelled the iconic rock group Blondie during its decades performing everything from new-wave punk to disco-infused tunes, has died. He was 70. The band said in a statement on its website Monday that he died from cancer but no additional details were provided. 'Clem was not just a drummer; he was the heartbeat of Blondie,' the band said in a statement. 'His talent, energy, and passion for music were unmatched, and his contributions to our sound and success are immeasurable.' The self-proclaimed 'rock & roll survivalist' started playing the drums when he was 14 in his school orchestra but was kicked out for playing too loud, according to Blondie's website. In the 1970's, he answered a band's ad in the Village Voice seeking a 'freak energy' rock drummer, kicking off his decades-long career with lead singer Debbie Harry and the rest of his Blondie bandmates. The band recorded its first album in 1976 and by the following year was touring with such icons as Iggy Pop and David Bowie. It became known as the most commercially successful band to emerge from a fertile New York rock scene that also produced Talking Heads and the Ramones. In 2006 Burke and the other original members of Blondie were inducted into the Rock & Roll Hall of Fame after selling more than 42 million records, according to Blondie's website. During the late 1970s and early '80s, the band had eight Top 40 hits, including four No. 1s: 'Heart of Glass,' 'Call Me,' 'The Tide Is High' and 'Rapture,' which is regarded as the first No. 1 hit to feature rap. There's also a five-track 1975 album demo that includes 'Platinum Blonde,' a sort of band mission statement. But Burke's mark was especially solidified with his rapid, powerful drumming at the start of 'Dreaming' in 1979. In 2022, after unearthing a New Wave treasure trove of reel-to-reel tapes, cassettes and records, the band created the box set 'Blondie: Against the Odds, 1974-1982,' with 124 tracks and 36 previously unissued recordings, demos, outtakes and remixed versions of Blondie's initial six studio albums. Burke reflected on the discovery in an Associated Press article: 'We never would have thought that we would still be here today. Looking back at our archives, it's pretty amazing.' The Rock & Roll Hall of Fame described Burke in a post Monday on the social platform X as 'a versatile and distinctive drummer who played exactly what each song required – and, when called for, let loose with blistering punk rock energy.'
Boston Globe
08-04-2025
- Entertainment
- Boston Globe
Clem Burke, versatile, hard-driving drummer for Blondie, dies at 70
He can be heard tumbling forth with a rapid disco beat in the intro to "Call Me" (1980), only to switch to a tropical lilt on the reggae-inflected "The Tide Is High" (1980). Like other post-punk bands that slid into the New Wave movement — the Cars, Devo — Blondie was known as much for its image as for its substance. The band's album covers and press photos often featured Harry, with her angular face and wispy blonde hair, framed by her four male bandmates, usually in black suits and skinny ties. Get Starting Point A guide through the most important stories of the morning, delivered Monday through Friday. Enter Email Sign Up Punk-pop band Blondie, in 1977. From left: bassist Gary Valentine, Mr. Burke, singer Deborah Harry, guitarist Chris Stein, and keyboardist Jimmy Destri. Anonymous Advertisement Mr. Burke stood out with his boyish cheeks and vertiginous mop of hair. But he and the band were about more than their sharp looks: In one survey, Rolling Stone ranked him the 61st greatest drummer of all time. 'The American roots of rock 'n' roll — Chuck Berry, Eddie Cochrane — that was the foundation of what I loved from an early age,' Mr. Burke told Mixdown magazine last year. 'It just spiraled from there.' Advertisement He played on all 11 of Blondie's studio albums, six recorded between 1976 and 1982 and the rest after the band restarted in 1997. The son of a professional drummer, Mr. Burke was already well known around the various music scenes of Lower Manhattan when, in 1974, he answered a want ad in The Village Voice placed by two musicians, Harry and guitarist Chris Stein, looking for a drummer for their new band, Blondie. Mr. Burke showed up for an interview wearing the shirt component of a sailor suit, a tribute to a look once sported by his idol, Keith Moon of the Who. The three bonded over their shared admiration for acts such as David Bowie, Iggy Pop, and the Velvet Underground. They soon added Gary Valentine on bass and Jimmy Destri on keyboards. Within a year, the band was playing regularly at storied East Village venues Max's Kansas City and CBGB, a musical archipelago where other bands in the punk, post-punk, and New Wave movements found a home. Blondie embraced all three genres, while breaking into the mainstream with radio- and dance-floor-friendly tracks like "Heart of Glass" (1979) and "Rapture" (1980), both of which reached No. 1 on the Billboard charts. Thanks in part to Mr. Burke's infectious beats, the songs managed to embody a genre, and range beyond it, as well: 'Heart of Glass' is both pop and disco, while 'Rapture' borrowed heavily from a new style, hip-hop, that was taking shape in the Bronx. "Our records were always all over the place," he told The Sarasota Herald-Tribune in 2004. "I always admired bands that didn't stick to one particular style." Clement Anthony Bozewski was born Nov. 24, 1954, in Bayonne, N.J. His father, Clement J. Bozewski, played in clubs around northern New Jersey, and his mother, Antoinette (Terracciano) Bozewski, managed the home. Advertisement Clem learned to drum from his father and played in school bands growing up. By his late teenage years he was crossing the Hudson River into New York, where he performed in a variety of rock bands before meeting Harry and Stein. He styled himself as something of a throwback to the rock-star drummers of the 1960s, including Ringo Starr, John Bonham of Led Zeppelin and Moon, who were known as much for their charisma onstage as for their virtuosity behind their kits. Moon was his north star. Mr. Burke was just going onstage in 1978 when he learned that Moon had died, at 32; when the set was done, he kicked his drums into the crowd, shouting, 'That's for Keith Moon — the greatest drummer in the world!' After a marathon run of six albums in just over six years, Blondie went on hiatus in 1982. Over the next 15 years, Mr. Burke became an A-list session drummer, working with Bowie, Eurythmics, Bob Dylan, and Pete Townshend. He played on classic songs including 'I Love Rock 'n' Roll,' by Joan Jett and the Blackhearts, and in 1987 he played two shows with the Ramones. Like the rest of the band, he chose a stage name: Elvis Ramone. Mr. Burke also formed or joined a long series of bands, including Chequered Past, the International Swingers, and the Plimsouls. Information on survivors was not immediately available. After Blondie reunited, the band released its seventh album, 'No Exit,' in 1999. This time the band was more heavily identified with Harry and Stein, and Valentine and Destri left after a few years, but Mr. Burke stayed on through the most recent album, 'Pollinator' (2017). Advertisement "Everybody around me seemed to think that becoming 'a rock star' was unobtainable, but I never felt that way," he told Modern Drummer magazine in 1985. "I felt that this was how I was going to be able to escape my working-class existence. I was on a quest to find the perfect lead singer. I always say that when I met Debbie, I sort of found my Mick Jagger." This article originally appeared in
