Latest news with #Fergie
USA Today
14-07-2025
- Entertainment
- USA Today
Ingrid Andress update: What happened after drunk 2024 HR Derby national anthem
The Home Run Derby is tonight, which means it's time to reflect on past derbies and the moments we remember most. And when it comes to last year's contest, not many things stand out more than the scene before the derby even started -- when Ingrid Andress sung one of the worst renditions of the national anthem we can remember. The 33-year-old country singer's off-key version of the anthem had fans comparing her to Fergie, something she later apologized for, saying she was drunk and was going to check herself into a facility for help. Thankfully, Andress seems to be doing a lot better now. In February, she redeemed herself by singing the national anthem at a Colorado Rockies game (the Instagram post of that moment was her first social media activity since the apology). She released a song called Footprints in March. And last month, she gave Glamour a first-person account of what happened in the lead-up to the derby and the immediate aftermath. INGRID ANDRESS: 4 facts about the country star "I'm very open about going to rehab, because I think it's a privilege to be able to go. Sometimes there's such a taboo about it, like 'Oh, that person's broken,' but it felt like an emotional hospital for processing emotions and doing trauma work, and learning to care about how you feel again and what your coping mechanisms are. It was a bit of a relief too—I wasn't allowed to have my phone, which was helpful because I basically went straight from the anthem to rehab." And there you have it. Everything seems to be about music again for the four-time Grammy nominee.
The Sun
12-07-2025
- Entertainment
- The Sun
Prince Andrew is not off the hook despite FBI dropping probe into his Epstein links, victims' lawyer warns
PRINCE Andrew's reputation is damaged beyond repair and he will never be able to engineer a return to public life, according to one of Britain's top PR gurus. Brand and culture expert Nick Ede, who runs East of Eden PR agency, called the shamed royal 'deluded' for thinking he could ever return to royal duties and urged him to give up and 'enjoy his life' in exile. It follows the release of Scoop - a Netflix movie based on the 2019 interview he gave to Newsnight. Nick said: 'There is no way back for him. 'I think you know this perpetual idea that he could still be back. Nobody cares. He hasn't got fans. 'There's nobody out there who's going 'We want to see Prince Andrew', not one single person. I think he has to realise that. But I think it's going to take a long, long time for him to actually understand. It's very deluded. "In my opinion, the best thing that he could do is just enjoy his life. He's got gorgeous daughters. He has a great relationship with Fergie, he has a lovely house. 'Just live a quiet life.' Reflecting on the interview five years ago - the fallout of which saw Andrew step back from royal duties "for the foreseeable future" - Nick compared the fallout to Frost vs Nixon and said he would have urged him not to do it. He said: ' If I had been advising him, I would say, go quiet, be quiet, just go to ground. You know you're a prince. Enjoy the life that you lead, but do not open this can of worms, because that's what it is. ' There was no admission that a relationship with somebody like Epstein was terribly toxic. There was no idea that there were loads of victims of trafficking whose lives were completely ruined by Epstein. He didn't seem to think that the association he had with that man was anything but positive. 'I think his worst gaffe was obviously being in that interview and agreeing to it in the first place, for not realising that he's actually going to be interviewed by a very, very good journalist who is going to ask him questions which he might not like. 'But I think what this has done is really shown how archaic Prince Andrew is in his opinions and thoughts. "Read the room. He's never read a room at all.'
USA Today
11-07-2025
- Entertainment
- USA Today
The controversial Orioles' national anthem performance actually rocked
I think the Orioles have officially hit rock bottom The Baltimore Orioles caught some fans by surprise during a rendition of "The Star-Spangled Banner" by electronic musician Dan Deacon. Perhaps the folks at Camden Yards should have given those attending the Thursday afternoon inter-league game, which was the first of a double-header against the New York Mets, some notice. This performance of the national anthem might not sound like what they are used to hearing at the ballpark. An obvious change of pace compared to expectations and not necessarily the same cup of tea that everyone was looking for while at the stadium, Deacon's version got a mixed reaction from those who watched it live and online: Some on social media said that the Orioles have "officially hit rock bottom" when the video was posted. Other outlets like Jomboy said that the performance was "certainly something" and that isn't exactly a resounding review, either. Here is the thing, though: Once you get over the initial shock that this isn't your mother's idea of what the song sounds like, it's actually fantastic. Dan Deacon is an American hero around these parts 🇺🇸 Deacon is a critically-acclaimed, Baltimore-based musician who has turned heads with his experimental music since 2003. He originally appeared on the morning show of a local NBC affiliate in Georgia two decades ago with a comparably unexpected eyebrow raiser. It's kind of his whole thing! More: The 5 worst national anthems in sports history, from Ingrid Andress to Fergie to Carl Lewis But just because it's different doesn't mean it's bad. We aren't talking about Fergie, who did something genuinely bizarre in 2011 at the NBA All-Star Game. Maybe this wasn't exactly hitting the same notes that Broadway star Kristin Chenoweth reached during the 2025 NBA Finals. Deacon, however, is a legend in his own right and deserves praise not ridicule for trying something a bit different. Not for nothing: The Orioles beat the Mets in both games of the double-header. Orioles are undefeated since Dan Deacon did the Star Spangled Banner Remember, the parents of rock-and-roll fans weren't happy when Jimi Hendrix famously tried his hand at the song, either. Now, it's regarded as one of the best covers to exist of any song ever. Sure, maybe Dean isn't Hendrix. Perhaps this stab at it was a little weird, strange, and (as Consequence of Sound described) haunting. But maybe that's fitting for a song representing the country, which sometimes feels a bit unusual to live in as well.
Yahoo
10-07-2025
- Entertainment
- Yahoo
‘Too Much' Review: Lena Dunham Returns with a Brash, Big-Hearted, and Oddly Conventional Rom-Com
'Too Much' opens on a slew of red flags. The very first shot is of London's Tower Bridge, accompanied by Fergie's 2006 song, 'London Bridge.' Walking over said bridge is our lead, Jess (Meg Stalter), whose stylish star turn (zebra-stripe winter coat, star-laden vintage bookbag) is marred by her extraneous voiceover. That's two big warning signs in the opening seconds of Lena Dunham's first TV series since 'Camping,' and they're promptly followed up by a third: when Jess imagines herself as the different kinds of women known to thrive in the United Kingdom: Jane Austen-era heroines who are hopelessly in love; hardened police detectives 'who use [their] trauma to solve grisly crimes'; and turn-of-the-century sex workers who will go down in the history books as one of Jack the Ripper's victims. Thankfully, the majority of these storytelling crutches dwindle as 'Too Much' settles in. The soundtrack shifts toward lighter indie rock and away from brain-numbing redundancies, while the story treats those imaginary genre sketches like an accidental off-ramp left in the rearview. But the voiceover continues. Not only does it continue, it intensifies, along with the surrounding events. As they slowly swirl into a tornado of personal excess, Jess learns an important fact of perception: One person's red flags may just be flags to someone else — unheeded warnings that, in time, prove to be utterly unnecessary. You can see them and run for shelter, sure, or you can simply see where the breeze takes you. More from IndieWire Jason Momoa Unites a People in Apple's 'Chief of War' Trailer 'It's Always Sunny's' Version of the 'Abbott Elementary' Crossover Delivers an Exceptional Payoff 'Too Much' will certainly inspire a few Netflix subscribers to retreat to the stock solace of 'Emily in Paris' or 'Nobody Wants This,' but like the algorithmically calculated intro it soon subverts, Dunham's latest pulls off a tricky balancing act: giving audiences what we expect from a TV rom-com, as well as what we don't always get. The familiar aspects are surprising, if only because Dunham's semi-autobiographical series is from, you know, the creator of 'Girls' — a landmark HBO comedy hailed for bucking conventions, expectations, and whatever else you wanted to throw at it. Co-created with her husband, Luis Felber, 'Too Much' fits snugly within those confines, following a young Brooklyn producer, Jess, who moves to London and falls in love with an aspiring musician named Felix (Will Sharpe). The premiere episode sets up its love story rather quickly, from Jess' grievous break-up with Zev (Michael Zegen, well-versed with the despised ex as the former Mr. Maisel), who she dated for seven years, to her job opportunity in London, where she'll oversee a commercial directed by an acclaimed yet pretentious filmmaker (a beautifully sleazy Andrew Scott). Despite her eagerness to embrace life across the pond, Jess can't leave her baggage behind. Shortly before she flees overseas, she breaks into Zev's house in the middle of the night to demand he apologize for their grievous break-up 'in blood.' Luckily, she's all talk — Jess has never met an awkward silence she can't fill with an inappropriate comment, even when (as is often the case) she's the one who brought about the initial awkwardness — but that loquacity becomes its own problem. Jess cannot stop talking to Wendy, Zev's model-hot new girlfriend (played by the actual model, Emily Ratajkowski). She hate-watches Wendy's influencer videos about fashion or hears her voice in her head and then slinks off to a bathroom or quiet corner to yell at Wendy in the style of Gen-Z: via video. Jess' videos (which she posts to a private Instagram feed) form the basis for her aforementioned voiceover. She 'talks to Wendy' all the time — at home, at work, when she's out with her friends or in the middle of a date — and she's only getting angrier, despite a pretty good start to her time in London town, from her job to her friends to her love life. Her co-workers conveniently share her tendency to over-share, whether it's Boss (Leo Reich), an absurdly cocky assistant who brags about his 'acclaimed PDF novel'; Kim (Janicza Bravo), a narcissist and fellow New Yorker who's so in love with England she claims not to remember her time in the U.S.; and Jonno (Richard E. Grant), Jess' actual boss who throws cocaine-fueled dance parties in Notting Hill — for his employees. To say they're a like-minded group is an understatement (and their overlapping romantic issues only double down on Dunham's struggle to imagine characters outside her own bubble), but the lively group supports Jess' journey just fine (and Grant is a particular treat, along with Naomi Watts as his desperate housewife). Jess' family, whom she leaves behind in Long Island but who pop in via FaceTime and flashbacks, is also an invaluable treat. Rita Wilson (as Jess' mom, Lois), Rhea Pearlman (Grandma Dottie), and Dunham, as the recently dumped Nora, all make it clear where Jess comes from — and why she should be proud of what she now calls 'an intergenerational 'Grey Gardens' hell of single women.' Better still, on her first night abroad, Jess meets Felix. (Yes, on the first night! My god!) He's performing in a local pub, she likes his music, and idle chat leads to serious feelings. His unflappable composure pairs well with her constant flapping — when she gets extra worked up, Jess tends to wave her arms around — and they bond over their mutual attraction (Dunham addresses any doubts over their shared desirability in a single, pointedly dismissive conversation), senses of humor (they both make each other laugh in moments where only someone who really 'gets you' can), and pop culture passions. (Although her indifference toward 'Paddington' would be a dealbreaker if not for Felix's personification of Paddington-esque nicecore.) Sure, Jess has been rightly accused of 'giving crazy' and 'giving psychotic,' and yes, Felix is technically an unemployed, recovering addict with a troubling amount of ex-girlfriends (who are now 'friends'). But like any traditional tale of courtship, their love transcends reason, and Dunham's deft dialogue makes it easy to believe their connection. (She wrote or co-wrote every episode and directed all but one.) The 10-episode limited series is loudly and proudly a piece of genre, conforming to expectations to the extent I knew what would happen before the next half-hour began. But how and why, as always, are vastly more important than what, and once you settle in, it becomes clear the sound structure and familiar story are there to support a character — and creator — whose uninhibited inclinations could upend a less disciplined narrative. Jess, after all, is barely hanging on. When praised by Kim for keeping her composure amid such tumultuous life changes, Jess says, 'I'm just trying to do what I can to survive.' Her standard bubbly tone is flattened. Her oft-animated body language comes to a halt. It's a rare moment of blunt, unembellished vulnerability — the only side Jess is reluctant to show others — and it illustrates so much of what makes 'Too Much' work: Without Jess' persistent vigor, the 'com' in this rom-com would disappear. Without her unusual openness, the 'rom' might not foster much feeling. And without Stalter's talent for masking Jess' fears through recklessness — while still lining that recklessness with genuine excitement for the unknown — the series and its central character would be little more than two parts of the same mess. Instead, Jess yearns to live as she is, sans reproach, whether that bucks the status quo or embraces its comforts, and the same can be said for 'Too Much,' an immensely endearing saga that isn't afraid to lead with its big heart. Committing to the conventional and unconventional at once may irk viewers who see the former as a concession made by the latter, just as Jess' titular too-much-ness may put off judgey viewers. The pacing isn't always smooth, and a few character arcs lose their tether to the Earth, but Dunham delivers enough salient insights about self-acceptance and sharp jokes about, well, everything to elevate her third TV series above many of the medium's typical love stories. It's not the 'voice of a generation' work some may have been hoping for, but that's not who Dunham set out to be; that was Hannah Horvath, and while the 'Girls' star may have plenty of harsh words for the traditional side of her creator's new streaming rom-com, I also think she'd end up savoring more of it than she'd ever admit. 'Too Much' premieres Thursday, July 10 on Netflix. All 10 episodes will be released at once. Best of IndieWire The 25 Best Alfred Hitchcock Movies, Ranked Every IndieWire TV Review from 2020, Ranked by Grade from Best to Worst
Extra.ie
10-07-2025
- Entertainment
- Extra.ie
Fergie releases new video for 2006 smash hit ‘London Bridge'
American pop singer Fergie just released a new video for her hit song 'London Bridge' in partnership with the new Netflix series Too Much. Fergie's original video came out in 2006 and created a pop culture mix-up as the video was shot on Tower Bridge, not London Bridge. Creator of Too Much, Lena Dunham, said that ''London Bridge' was the only song to start this show,'' so they asked Fergie to recreate the music video. The video features Fergie and the show's lead actor, Megan Stalter. This time, however, it was filmed on the real London Bridge. '[What] isn't 'too much' about filming a video for a song you already have a video for?' said Fergie. Too Much is a romantic comedy that follows Jessica (played by Megan Stalter), a New Yorker who moves to London after a breakup. While there, she meets Felix and tries to navigate love in London. 'As an American girl who once had her own adventures in London while filming the video for 'London Bridge,' I instantly felt a connection to this project,' said Fergie. 'Being that the series was … about an American girl navigating her own London experience — my creative soul couldn't say no.'
