Mystery

THEY’RE two of the nation’s biggest content creators with over 700,000 YouTube subscribers between them.

But Joe Baggs, 29, and GK Barry, 27, are no longer flying the flag for each other’s media careers and their once close friendship appears to be in tatters.

A source told The Sun: “GK and Joe used to be joined at the hip but they have quietly grown apart. They haven’t been seen together publicly since GK left the jungle, and never like each other’s posts on social media.

“Even when GK released her book, which was a big deal for her, there was radio silence from Joe.

“There’s lots of whispers about what went down, some have speculated that Joe was jealous when Grace got her spot in the jungle as he’s always wanted to do that show, while others have rubbished that suggestion and said they just drifted as she got busier.

“What’s really sad is that she always used to be round his family’s house for dinner, went on holiday together and they always posted it on the ‘gram, and now she’s never seen with the Baggs lot. It’s like they just disappeared from each other’s lives.

“Tellingly, Joe’s boyfriend Kane used to seem pretty pally with Grace too, but even he doesn’t comment on her posts anymore, so something sad has definitely gone down.”

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Another source close to Joe insisted, however, that there is no bad blood.

They said: “Joe couldn’t be prouder of everything Grace has achieved since leaving the jungle. The reality is that both of their careers have taken off in different directions and, with increasingly busy work schedules, they simply don’t get to spend as much time together as they once did.

“There’s absolutely no bad blood, they remain friends and continue to champion one another from the sidelines.”

Just this week, however, Joe appeared to give away the lack of closeness between him and Grace, where he revealed fellow podcaster Chloe Burrows is his best pal at the Fellas Studio, where they both record their podcasts.

Interestingly GK also records her hit podcast, Saving Grace, at Fellas, as they are all part of the same podcast company, so the fact that he named Chloe as his work bestie and not Grace has caused a flurry of gossip in their inner circle.

“Joe and GK have lots of mutual friends, and they are all talking about this,” a pal spilled.

“The fact that Joe said this about Chloe on his pod was basically admitting that he and Grace aren’t close anymore, but few fans will have clocked it because they don’t understand they all work out of the same studio.

“Strangely, both GK and Joe are being very tight-lipped, even with their friends, about what went down, which has only made the rumour mill even more frenzied.

“It’s a shame as they were so close and they are very similar, but sadly, right now it’s looking like they aren’t going to be BFFs again anytime soon.”

The Sun has contacted representatives for Joe and GK for comment.

Both YouTubers have been chasing mainstream fame and have had successful years.

GK – real name Grace Keeling – was one of the standout stars on I’m A Celebrity last year and has gone on to establish herself as a Loose Woman. She’s also landed her own weekly show on Radio 1 as the station underwent a major reshuffle to appeal to a young more online-driven audience.

However, listeners of the BBC station criticised her first show and questioned if it was recorded live like her predecessors Matt Edmonson and Mollie King after she failed to interact with the audience.

Meanwhile, Joe is now a panellist on Love Island: Aftersun and hosted an official Britain’s Got Talent spin-off.

Fort Portal, Uganda – When King Oyo Nyimba Kabamba Iguru Rukidi IV of Tooro was buried on September 12, the ceremony unfolded under the shadow of a bitter dispute over who should succeed him.

Prince Edward Rukidi Kijanangoma, a 56-year-old news anchor and editor at Uganda Broadcasting Corporation, had been selected by the royal clan to succeed Oyo. During the burial at the Karambi Royal Tombs in Fort Portal, he formally assumed power by casting nine coffee berries into the king’s grave, part of the traditional handover ritual.

But the succession remains contested.

Oyo’s mother, Queen Mother Best Kemigisa, and his sister, Princess Ruth Komuntale, have opposed Kijanangoma’s selection, saying the late king’s will named a son as his heir.

Oyo never married and was not publicly known to have children. After his death, Tooro’s Prime Minister Calvin Armstrong Rwomiire Akiiki announced that the king had left a son whose identity would be revealed at an appropriate time. The child has not been publicly identified.

Oyo’s family says a 2022 will named a son whom he described as his lawfully recognised biological son as heir to the throne. But Babiito clan elders, who are responsible for guarding the Tooro royal lineage, determining succession and safeguarding the kingdom’s traditions, say Oyo had not introduced the child through the customary process and instead backed Kijanangoma as his successor.

“The will is not a determinant of who is supposed to be a king; it is a document that expresses one’s wish,” said Reverend Father Charles Oyo, a Babiito clan elder. “The Musuuga [Babiito clan leader] is above the will.”

Princess Komuntale has accused the elders of trying to take over the throne.

“King Oyo was a very peaceful man, a very humble man,” she said. “I just don’t want these evil vultures to come and steal what he worked so hard for. I continue to stand with my brother.”

The dispute has divided opinion over who should be regarded as Oyo’s legitimate successor. The Ugandan government also became involved in talks aimed at resolving the dispute before the burial.

The child king

Oyo’s own path to the throne began when he was just three years old.

He became king in 1995 after the death of his father, Patrick David Matthew Kaboyo Olimi III, and was recognised as the world’s youngest reigning monarch.

As a child, Oyo was homeschooled, with the palace serving as his classroom. When he later joined primary school, childhood friends remember him as a kind and warm person.

During school holidays, he sometimes sneaked out of the family’s private residence in Buziga, Kampala, to play football in the neighbourhood.

Martin Odong, a radio journalist and childhood friend, remembers him as “friendly, social and compassionate”.

Oyo would stop football games to check on an injured player, regardless of which side they were playing for, Odong said.

His love of football continued into adulthood. He promoted local tournaments, including the Tooro Kingdom MTN Masaza Cup, which was suspended as his health deteriorated.

Oyo died on August 27, aged 34, in the United States while receiving cancer treatment. His body was returned to Uganda for nine days of mourning before his burial at the Karambi Royal Tombs, which coincided with Empango, the anniversary of his coronation.

At St John’s Cathedral, Queen Mother Best Kemigisa remembered her son as someone who had always protected her.

“He was my shield who always stood for me,” she said.

She recalled praying for his life when she was in hospital.

“When I was in the hospital, I said, ‘God, please leave my son alone; take me first,’” she said. “He [God] decided to take him [King Oyo] first. I said, ‘Why? Because he was closer to You than me.’”

Princess Komuntale described her brother as a “funny person” who “always brightened my day”.

Although he was younger than her, she said, he often behaved like the older sibling and protected her and their mother after their father “left to be with the Lord”.

Father Charles Oyo remembered him as a “handsome king who loved his kingdom so much”.

He said Oyo died just as he was “beginning to demonstrate his abilities and capacity as a king”.

A king without political power

Uganda is a constitutional republic, and its traditional kings have no formal political authority. But the kingdoms retain cultural influence and command loyalty among many of their communities.

Uganda abolished its traditional kingdoms in 1967. They were restored in 1993 under President Yoweri Museveni.

Oyo was guided by regents while he was a child and took on the full responsibilities of the monarchy as an adult.

His unusual position meant he met presidents, royalty and other world leaders from a young age. Among them was former South African President Nelson Mandela, who reportedly wanted to meet the young king during a visit to Uganda. Oyo, however, was more interested in playing with his toys behind the VIP tent.

As an adult, he used the platform of the throne to promote issues beyond the kingdom.

In 2020, he climbed the Rwenzori Mountains to draw attention to climate change and the retreat of the glaciers there.

He also supported a campaign to plant 10 million trees across Tooro over five years.

He promoted healthy living and took part in cancer awareness runs. Komuntale called him her “best workout partner”.

Before his death, Oyo had allocated land and begun fundraising for a paediatric hospital in Kyenjojo district. Clan elders have since appealed to the government to complete the project and establish a specialised cancer facility and an international stadium in his memory.

His final months

Oyo’s illness was kept largely private.

According to his sister, he began experiencing pain in his back and rib cage last year. The family initially thought it might be linked to strenuous exercise or ulcers.

He later travelled to Kenya, where he was diagnosed with angiosarcoma, an aggressive form of cancer, before travelling to Germany for treatment and eventually to the US.

“He told us to keep it private, and we respected that,” Komuntale said.

She said that shortly before his death, Oyo spoke to key workers in Uganda about returning home. He wanted to celebrate Empango, the anniversary of his coronation, with his people.

He never made it home.

For Komuntale, the king remained her younger brother even after he became one of Africa’s most recognisable traditional rulers.

She remembered playing dodgeball with him and his love for his three dogs.

“Even though you were crowned a king, you were still a kid who loved to play,” she said.

“I will keep your legacy, what you loved, and we will talk about you every day.”

SHARON Osbourne has launched a High Court bid to remove her late hubby Ozzy’s long-term accountant as an executor of his will. 

Papers lodged yesterday show the rocker’s widow, 73, issued a claim against Colin Newman under a law used to remove or replace estate representatives. 

Ozzy died in July last year aged 76, weeks after a farewell gig with Black Sabbath in his home city of Birmingham.

His wife and two other executors, her niece Georgina Maszlin and assistant Melinda Varga, now want Mr Newman removed from administering his ex-client’s estimated £100million fortune.  

He had looked after the couple’s finances since before they married in 1982 and is one of the most senior money men in the UK music industry.  

Companies House records show he was a director of Ozzy’s main UK firm, Monowise Ltd, for years before quitting in April. 

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Sharon was appointed director last December, five months after Ozzy’s death, with the firm officially controlled by the “estate of John Michael Osbourne” — Ozzy’s real name.  

Judges can remove an executor for a variety of reasons, including if they have already been involved in the will but then later decide to step away.  

It is not clear if Mr Newman is contesting the application or if he has agreed to stand aside. 

He first met Sharon while working as a junior accountant for her father, notorious rock manager Don Arden.  

He is credited on several of Ozzy’s albums and they were long-term pals.  

The rocker is once said to have burst into his accountant’s Soho office swinging a dead rabbit and spraying blood on the walls.  

Ozzy also slept on a park bench opposite Mr Newman’s house in 1984 instead of going to the hospital where Sharon was about to give birth to their daughter Kelly. 

Mr Newman, 79, also acted as former X Factor judge Sharon’s literary agent. 

He and Sharon’s legal representatives were invited to comment. 

When the 53rd Telluride Film Festival kicks off Friday high in Colorado’s San Juan Mountains, its lineup will span family rupture and sumo wrestling, AIDS and rock stardom, with films touching on astronomy, Rupert Murdoch and extraterrestrial biker gangs — a typically wide-ranging mix for a festival that likes to keep audiences guessing.

For festival director Julie Huntsinger, the films share less a theme than a feeling. “Tenderness is something that I see in a lot of the movies,” she says. “This is a very heartbreaking, tender year.”

Telluride’s intimacy is part of its peculiar power. Smaller and scruffier than the annual film events of Venice, Toronto or New York, the four-day festival has no competition or juried prizes and keeps its lineup secret until the last minute. Celebrities trade red-carpet formality for jeans and flannel, while audiences crisscross town between screenings in a high school auditorium, a Masonic lodge, the county courthouse and half a dozen other spaces pressed into service for the week.

For a festival that can feel this homespun, its awards-season footprint is remarkably large. Last year, five of the 10 eventual best picture Oscar nominees screened there: “Hamnet,” “Bugonia,” “Sentimental Value,” “The Secret Agent” and “Frankenstein.”

This year there are fewer obvious awards heavyweights in the mix, at a time when prestige and independent films have become harder to finance, distribute and sell to audiences. Then again, Telluride has never depended entirely on known quantities; films such as “Slumdog Millionaire” and “Moonlight” arrived with relatively modest expectations and left as major contenders.

“It’s such a quintessential Telluride lineup,” Huntsinger says of this year’s eclectic program. “They kind of always feel that way because they’re so handmade.”

Among the more than 40 films in Telluride’s main program are new works from major directors such as Martin McDonagh, Werner Herzog, Mike Leigh, Danny Boyle and Paweł Pawlikowski. This year’s Silver Medallion tributes — the festival’s signature career honorees — will go to filmmaker Andrew Haigh and actors Sandra Hüller and John Malkovich, who will make his first trip to Telluride.

John Malkovich and Sam Rockwell in Martin McDonagh’s “Wild Horse Nine”

(Diego Araya Corvalan / Searchlight Pictures)

Haigh, whose films include “All of Us Strangers,” “Lean on Pete” and “45 Years,” returns with “A Long Winter,” adapted from a Colm Tóibín novella and relocated from the Pyrenees to the American Rockies in the 1950s. Ebon Moss-Bachrach, Caitríona Balfe, Kit Connor and Fred Hechinger star as members of a struggling family that begins to unravel after the mother disappears.

Huntsinger calls Haigh deeply humanist. “I don’t know how Andrew is so skilled at getting these performances but that is truly his gift,” she says.

Malkovich comes to Telluride with the dark comedy “Wild Horse Nine,” the latest from McDonagh, writer-director of “The Banshees of Inisherin” and “In Bruges.” Malkovich and Sam Rockwell play veteran CIA operatives who, after helping destabilize Salvador Allende’s government in 1973 Chile, head to Easter Island on a more personal assignment.

“It’s my favorite thing that McDonagh has ever done,” Huntsinger says. “He’s quite incisive. It is a timely film. And Malkovich is extraordinary.”

Hüller returns after a breakout 2023 Telluride, where she brought both “Anatomy of a Fall” and “The Zone of Interest.” She has another two films in the lineup this year: Markus Schleinzer’s “Rose,” in which she plays a woman passing as a male soldier during Europe’s Thirty Years’ War, and Pawlikowski’s “Fatherland” as Erika Mann on a journey back to postwar Germany with her father, the author and Hitler critic Thomas Mann.

Huntsinger seems as taken with Hüller herself as with her artistry — “so much intelligence and compassion for human beings,” she says.

Sandra Hüller and Hanns Zischler in the movie “Fatherland.”

(Agata Grzybowska / Mubi)

Elsewhere, Ira Sachs’ “The Man I Love,” starring Rami Malek, Tom Sturridge and this year’s guest director Rebecca Hall, looks back at New York’s queer creative community during the AIDS crisis. In Simon Stone’s “Elsinore,” Andrew Scott plays “Chariots of Fire” star Ian Charleson, who took on the role of Hamlet at the National Theatre while dying of AIDS. Scott’s performance is already generating early awards-season attention.

Huntsinger hopes audiences won’t overlook Arthur Harari’s “The Unknown,” an uncanny body-swapping drama starring Léa Seydoux that uses its genre premise to explore questions of identity and selfhood. “It is really dense and obtuse but I think it is rewarding and I hope people take up the challenge,” she says.

Telluride has long emphasized nonfiction and this year is no exception. Among the higher-profile entries are “Pete Townshend: Behind Blue Eyes,” a portrait of the Who guitarist and songwriter, and Nanette Burstein’s “Carl Sagan: We Are Made of Star Stuff,” about the astronomer and science communicator. The slate also includes Bryan Fogel’s endurance-sports documentary “The Row”; Pegah Ahangarani’s Iran-focused “Rehearsals for a Revolution”; and Mark Cousins’ 16-hour “The Story of Documentary Film.”

“Everest: The Other Side,” from filmmakers Jimmy Chin and Elizabeth Chai Vasarhelyi, follows mountaineers Hilaree Nelson and Jim Morrison as they prepare to climb Everest’s north face and attempt an unprecedented ski descent. Chin and Vasarhelyi won an Oscar for 2018’s “Free Solo,” their nerve-shredding chronicle of Alex Honnold’s ropeless ascent up El Capitan.

Huntsinger calls the new film “an even more complex, emotional, deep and profound examination of what we call the call of the wild.” After seeing it, she says, she ran into Chin and blurted out, “I’m so glad you’re alive.”

The looming subject of artificial intelligence will also get its own moment in Telluride. A conversation called “The Humanity Dilemma” will examine what the festival calls the “species-level event” of AI’s rise and whether an AI-dominated future is inevitable. “I’m very worried about AI,” Huntsinger says.

For all the films Telluride has announced, the one that might generate the most chatter is still under wraps.

While Telluride routinely reserves “TBA” slots for popular repeat screenings, it has occasionally used them to spring an unannounced title on audiences — as it did last year with “Frankenstein.” This year it has set aside a prime Sunday night slot for just such a surprise: a world premiere involving, Huntsinger says, some “very known names.”

“Do not miss it,” she teases. “You just won’t see this one coming and your jaw will be on the ground for the entire length of the film.” Beyond that, Huntsinger falls back on the festival’s unofficial motto: “Underpromise, overdeliver.”

Inevitably, there will be guessing. One possibility is “The Social Reckoning,” a follow-up to “The Social Network” directed by its Oscar-winning screenwriter Aaron Sorkin. This one’s about Facebook whistleblower Frances Haugen and Wall Street Journal reporter Jeff Horwitz and stars Jeremy Strong, Mikey Madison and Jeremy Allen White. It’s due from Sony on Oct. 9. The film was still undergoing reshoots in mid-July.

Huntsinger volunteers one thing: The mystery film is not Alejandro González Iñárritu’s “Digger,” a gonzo satire starring Tom Cruise, Hüller, Riz Ahmed, John Goodman and Jesse Plemons. She says Iñárritu — whose last film, “Bardo,” had a rocky reception on the 2022 festival circuit — was adamant that the decision wasn’t about avoiding festivals.

“As I understand it, there’s a big twist that he would like audiences to discover as close together as possible,” she says of “Digger,” which premieres in London Sept. 22 before opening Oct. 2.

Two of last year’s biggest Oscar contenders, “Sinners” and “One Battle After Another,” also skipped fall festival launches, raising questions about how essential such festivals — Telluride among them — remain to an awards campaign.

Huntsinger understands why a studio might hesitate to expose a film to scrutiny months before release. “The stain can happen if something gets savaged very far ahead of a release,” she says. “There’s a lot at stake.”

But she isn’t convinced the model is broken. She still believes the smaller, more challenging films Telluride tends to champion have “genuine shots” in the Oscar race.

“Getting selected is the prize,” Huntsinger says.

After all the strategizing and prognosticating, what no one can predict is which films will actually connect once audiences arrive.

“I don’t know what people are going to fall in love with,” Huntsinger says. “People have become like cats rather than dogs. You just never know what they’re going to go for.”