Paul

THE bodyguard who inspired the Minder TV character Terry McCann has died aged 75, it was revealed last night.

Michael “Danny” Francis was a former boxer and one-time drug dealer.

The Londoner guarded stars including Paul McCartney, Cher and members of Led Zeppelin and Kiss.

McCann — played by the late Dennis Waterman in the 1980s — was based on his combination of brawn and charm.

Millions of ITV viewers loved the fictional bodyguard and his wheeler-dealer boss Arthur Daley — the late George Cole.

Gary Webster, 61, and Lex Shrapnel, 46, later played other minders in reboots of the hit show.

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Waterman wrote of Francis in his autobiography: “If push came to shove, boy could he sort things out.”

Francis is survived by his wife June — who he married in 1970 — and their three children.

The show was set in working-class west London and was largely responsible for introducing the word “minder” into British slang.

Minder brought London’s criminal underworld to millions.

Waterman left the role in 1989 after his seventh series

He even sang the theme tune for the iconic telly show.

William Shakespeare wouldn’t be wowed by this domestic drama about his home life back in Stratford-upon-Avon. Where’s the action? The wit? The wordplay?

The great playwright’s skill is hard to match. Instead, “Hamnet,” directed by Oscar winner Chloé Zhao (“Nomadland”), uses our curiosity about the Bard to spin a soggy story about love and grief with enough tears to flood the river Thames. Co-written by Zhao and Maggie O’Farrell, this tonally faithful adaptation of O’Farrell’s florid 2020 novel of the same name stars Paul Mescal as Will — the name he goes by here — and Jessie Buckley as his wife, Agnes, pronounced Ahn-yes, although the real person was more commonly called Anne Hathaway. The 16th century’s fondness for treating Agnes/Anne and Hamnet/Hamlet as interchangeable versions of the same name is part of the plot and must be endured.

The tale is set during the years that Will launched his career in London, missed being at the deathbed of one of his children and funneled his guilt and sorrow into theater’s most prestigious ghost story. Mostly, however, we’re stuck at home with Agnes, who spends half the film weeping.

“There are many different ways to cry,” wrote O’Farrell, whose book goes on to list several variations. (The novel is overripe with descriptors, rarely using one word when a paragraph will do.) Buckley’s wet and wild performance shows us each of them — “the sudden outpouring of tears, the deep racking sobs, the soundless and endless leaking of water from the eyes’’ — plus a few others I’ll call the disgorged caterwaul, the furious scrunch and the chuckle swallowed into a choke. “Hamnet” is my least favorite of Buckley’s showcase roles (I loved “The Lost Daughter”), but the dampness of it has pundits wagering she’ll finally get her Academy Award.

Christopher Marlowe truthers aside, William Shakespeare was an actual person who, historical records concur, married a pregnant woman eight years his senior and had three kids: Susanna, the eldest, and twins Judith and Hamnet. (They’re played, respectively, by Bodhi Rae Breathnach, Olivia Lynes and Jacobi Jupe.) Nearly everything else ever written about the family is conjecture spun from the scraps of information that exist, such as Shakespeare’s will leaving nothing to his wife other than “his second-best bed.”

Previous fictions have deemed Agnes a cradle robber or a shrew or the Bard’s secret co-writer. Zhao’s script goes one further: This Agnes is a witch. Not merely in the slanderous meaning, as in a difficult woman (although she’s also that). Buckley’s Agnes is actually magic. She can predict someone’s destiny by squeezing their hand, the party trick Christopher Walken did in “The Dead Zone.” Sometimes she’s wrong, sometimes she fights fate with everything she’s got, yet her faith in her foresight is rarely shaken. Her husband, who would later write witches and sorcerers and soothsayers into “Macbeth,” “The Tempest” and “Julius Caesar,” is taxed by her psychic gifts. He grumbles that it’s hard to open up to someone who can already “divine your secrets at a glance.”

Her ability to see through time and space has somehow made Agnes transparent too. Joy, confusion, fascination and despair take over her entire face instantaneously, turning Buckley’s performance into an acting exercise of being raw and present. (The crooked smile that signifies her unvarnished realness gets wearying.) The plotting doesn’t have any subterranean levels either, trusting solely in its primal display of sweat, hormones and heartbreak. This period piece almost seems to believe Agnes is inventing each emotion.

Will, a tutor, is trapped inside teaching Latin the first time he spots his future bride romping around in the grass with a hawk on her arm. Cinematographer Łukasz Żal frames the scene in a pane of window glass so that Agnes’ reflection ripples across Will’s yearning face, contrasting the earthy enchantress with the indoor bookworm. These oddballs have little in common besides their defiance of village norms and their families’ mutual disapproval. “I’d rather you went to sea than marry this wench,” Will’s mother, Mary (Emily Watson), hisses. (Her gradual thaw is genuinely affecting.)

Meanwhile, Agnes’ most supportive sibling, a farmer named Bartholomew (Joe Alwyn), can’t fathom what Will has to offer. “Why marry a pasty-faced scholar?” he asks. “What use is he?”

Their flirtation — especially Mescal’s dumb, happy, horny grin — makes Shakespeare feel freshly relatable. Perhaps his Ye Olde Tinder profile read: “Aspiring playwright seeks older woman, pagan preferred.” At times in “Hamnet,” 1582, the year of their marriage, could pass for a millennium earlier, a rustic era where neither has anything more pressing to do than canoodle under the trees. Later on, their partnership feels more contemporary, a frustrated writer hitting the bottle while his missus supports but doesn’t understand his work.

That the greatest dramatist of the last 500 years is married to someone wholly incurious about his art is, in itself, a tragedy. There’s a scene in which you wonder not only if has Agnes never seen one of his plays, but if she even knows what a play is. Our credulity would snap if Mescal’s Shakespeare was the slick talker that his early biographer John Aubrey described as “very good company, of a very redie and pleasant smoothe Witt.” But this stammering, rather dull chap doesn’t come across as a genius. He must save it all for his quill.

This isn’t Mescal’s fault. The book’s version of him is pretty much the same, perhaps because O’Farrell doesn’t reveal that this fictional grieving character is Shakespeare until the last page. (Although the title is a gimmicky clue.) At least Zhao adds scenes that show him workshopping his material. The kids prance around the yard quoting “Macbeth” a decade before he’ll stage it and Mescal gets to recite a “Hamlet” soliloquy as a little treat. I enjoyed the unremarked-upon tension of Will returning home from London with a hip haircut and an earring.

The texture of the film is impressive. Żal’s camera swivels around their home, soaking it in like a documentary. Whenever the film goes outside, he and Zhao make you feel the mystical power of the dirt and leaves. The forest rumbles with so much energy that it sounds like living next to a freeway. To keep things feeling authentic, co-editors Affonso Gonçalves and Zhao keep in flukes that other filmmakers might consider flubs, like an insect dive-bombing one of the actor’s eyelashes. The spell of “Hamnet’s” naturalism rarely breaks, save for a couple nice flourishes, like a shadow puppet depiction of the plague and a shot of the underworld as seen through a black lace curtain, a literalization of going beyond the veil.

Meanwhile, the score by the talented Max Richter is made of soft, pleasant little piano plinks and one major if beautiful mistake: a climactic needle-drop of his 2004 masterpiece “On the Nature of Daylight.” That soul-stirring number is one of the loveliest compositions of the modern era, so good at making an audience sigh that it’s been used two dozen times already, including in “Arrival,” “The Handmaid’s Tale,” “Shutter Island” and “The Last of Us.” As soon those violins kick up here, you’re shoved out of the 16th century and feel less moved than shamelessly manipulated.

“Hamnet’s” sweetest note is 12-year-old Jacobi Jupe playing the actual Hamnet. The script hangs on our immediate devotion to the boy and he stands up to the challenge. Unlike most child actors — and unlike his on-screen parents — he never overplays his big scenes. His stoicism is wrenching. Also terrific is his real-life older brother, Noah Jupe, as the play-within-a-film’s onstage Hamlet. In a rehearsal, this young actor seems dreadful. Zhao has him whiff it so that Mescal can say the lines again, louder. But on the play’s opening night, he’s a sensation.

Shakespeare didn’t invent “Hamlet” from whole cloth. He adapted it from a Norse yarn that had been around for centuries, and Lord knows if he was more inspired by his own child or by another successful version of “Hamlet” that played London a decade before. In our century, it’s been reworked for the screen more than 50 times, and mouthed by everyone from Ethan Hawke and Danny Devito to Shelley Long.

Yet I would have been happy watching the older Jupe do the whole thing again for this lively Globe Theatre crowd, the first to discover how Shakespeare’s version will end. As this Hamlet collapses, the audience reaches their arms toward the fallen prince. The actor draws strength from the groundlings and they, in turn, find solace in his pain. That stunning image alone single-handedly captures everything this movie has struggled to say (or sob) about the catharsis of art.

Ex-Juventus and France star midfielder made his return to football, suiting up for Monaco in first game in more than two years after drug ban.

Paul Pogba described his emotional Monaco debut as a moment of relief and gratitude on Saturday, after the French midfielder returned to the pitch for the first time in more than two years following a doping ban.

The former Juventus and Manchester United player, who joined the Ligue 1 side on a free transfer in June, had not played a competitive match since September 2023.

Pogba received a four-year ban in February 2024 after testing positive for the banned substance DHEA, which boosts testosterone levels. The suspension was cut to 18 months after an appeal at the Court of Arbitration for Sport.

The 32-year-old, who was nearing a return last month before suffering a right ankle injury, came on in the 85th minute of Monaco’s 4-1 defeat by Rennes at Roazhon Park and was met with a standing ovation.

“Seeing the crowd rise and applaud, I never imagined that would happen,” Pogba told reporters. “I’m relieved to be playing football again, the thing I love most in the world.

“But there’s still work to do to get back to full fitness and be able to play 90 minutes… If I don’t perform well at Monaco, I can forget about the French national team.

“I believe in myself and in my qualities, and since I knew I had done nothing wrong and it was not my fault, I never lost hope.”

Pogba, who has made 91 appearances for France, played a starring role in his nation’s 2018 FIFA World Cup victory. Knee and hamstring injuries, as well as knee surgery, prevented him from playing for France at the 2022 World Cup in Qatar.

CHARLOTTE, N.C. — James Harden made 10 three-pointers and scored a season-high 55 points, and the Clippers beat the Charlotte Hornets 131-116 on Saturday hours after 12-time All-Star point guard Chris Paul released a video on social media hinting at retirement after the season ends.

Ivica Zubac contributed 18 points, nine rebounds and six assists for the Clippers, who snapped a three-game losing streak.

Rookie Kon Knueppel had 26 points to lead the Hornets, who have lost five in a row. Brandon Miller returned from a 13-game absence because of a shoulder injury and finished with 21 points.

Harden erupted for 27 points in the opening quarter, making five three-pointers while helping the Clippers build a 14-point first-half lead and erase a fast start by the Hornets, who made seven of eight shots to open the game.

Charlotte pulled to within 74-72 in the third quarter, but the momentum changed when LaMelo Ball exited the game after committing his fourth foul.

With Hornets center Ryan Kalkbrenner leaving the game early with an ankle injury, the Clippers leaned on Zubac’s size advantage over Moussa Diabate in the third quarter, resulting in back-to-back dunks.

Then came Harden’s signature moment, as he drilled his eighth three-pointer on a step-back jumper over two defenders, drawing a foul on Diabate for a four-point play.

Harden’s 55-point outing was the 11th-highest scoring game of his career. His career high is 61 points.

Paul, who grew in Winston-Salem, N.C., and played at Wake Forest, finished what is expected to be his final game in his home state with eight assists. Paul showed his mastery of finding the open man in the second half by connecting with Brook Lopez for three open three-pointers.

The Hornets, who have been besieged by early season injuries, lost two more players against the Clippers. Kalkbrenner (left ankle soreness) and veteran guard Pat Connaughton (right calf soreness) exited the game in the first half and did not return.

Up next

Both teams are on the road Sunday night, with the Clippers visiting Cleveland and the Hornets at Atlanta.

Briton Anthony Joshua said he will “stamp all over” Jake Paul and “break” the American as the pair came face-to-face to promote next month’s heavyweight fight.

Former two-time unified heavyweight champion Joshua meets YouTuber-turned-boxer Paul – in what is, on paper, a mammoth mismatch – at Miami’s Kaseya Center on 19 December.

“I’m going to break his face and break his body up. I’m here to prove I’m the better fighter,” Joshua, 35, said.

“I’ll stamp all over him. That’s a fighter’s mentality.

“I’m going to really want to hurt him. That’s what I want to do.”

Despite those words, a relaxed Joshua and social media star Paul – usually known for his theatrics – exchanged pleasantries and kept it respectful with each other.

Paul instead targeted former Joshua opponent Francis Ngannou and called him “a joke” after the Cameroonian declined a fight offer.

Joshua, meanwhile, took aim at British rival Tyson Fury – and refused a £1m bet ‘The Gypsy King’ says he will place on a Paul win.

“[Paul] is better than Tyson Fury – he’s actually sitting here. I give him credit for that,” Joshua said.

“I’m just here to fight. I’ll get the job done, collect my cheque and that’s it.”

“PAUL will say to me, ‘There’s only four of us – now sadly two of us – who know what it’s like to be in The Beatles’.” 

So says Giles Martin, producer son of late producer, Sir George Martin, who some call “The Fifth Beatle”. 

For the past 20 years, Giles has been one of the chief keepers of The Beatles flame, involved in myriad releases from the band’s archive. 

For these, he maintains regular contact with those “two” — Paul McCartney and Ringo Starr. 

The latest project to summon his skills is the one which, arguably, gets to the beating heart of The Fab Four more than any other — The Beatles Anthology. 

We’ll hear much more from Giles later but, to set the scene, let’s wind back to 1995 and catch what drummer Ringo has to say with his usual cheery charm. 

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“Now you can hear it from us,” he affirms. “Paul, George and myself — and old footage of John, of course — telling what it felt like to be a Beatle.” 

In 1995, it is 25 years after The Beatles split and 15 since the shocking assassination of John Lennon, and it is time for the world’s most famous band to tell their story. 

Over the previous four years, Macca, Ringo and George Harrison have been busy masterminding Anthology, a wildly ambitious, groundbreaking (you wouldn’t expect anything less) multimedia project. 

By using their own words, film and, of course, their immortal songs, they are in a unique position to reveal all — from the horse’s mouth. 

Here’s their chance to revisit their humble origins in Liverpool, cutting their teeth at the city’s Cavern Club and in the music dives of Hamburg.

They can relive having a first hit single, Love Me Do, Beatlemania, leading the British Invasion of the US, making madcap films like Help! and their eventual retreat from the live arena. 

They can share views on creating their psychedelic masterpiece, Sgt Pepper’s Lonely Hearts Club Band, the spiritual quest which leads them to India, their final studio hurrah, Abbey Road, and the various reasons behind them going their separate ways in 1970. 

This all results in an eight-episode documentary series filled with archive footage and candid interviews, three double albums of demos, alternate takes and snatches of spoken word and, later, an illuminating book. 

Now, in 2025 to mark the project’s 30th anniversary, we are being treated to an additional ninth episode of the series and a fourth volume of music. 

For his part, Giles Martin has created new audio mixes for most of the music featured on film, remastered the original LPs and curated the new album of 36 songs (13 previously unreleased). 

Episode 9 presents unseen glimpses of Paul, George and Ringo coming together in 1994 and ’95 to reflect on life as members of the Fab Four.  

Time, they say, is a great healer and the atmosphere is relaxed and friendly, the three clearly enjoying each other’s company with some of the old banter returning.

We’ve heard from Ringo but what does Macca have to say about it?  

“We decided we might try to do the definitive story of The Beatles, seeing as other people had had a go at it. 

“We thought it might be good from the inside out rather than from the outside in.” 

Harrison, who died aged 58 six years later, gives this telling perspective: “I’m glad it didn’t get made until now.  

The good thing about Anthology is that it’s four of us, even though John’s not here, he is here. He’s represented, he talks — it’s old interviews and stuff.

Paul McCartney

“I think it’s been nice for us and the public just to forget about The Beatles for a while, let the dust settle, and now come back to it with a fresh point of view.” 

And it’s up to the “quiet” Beatle, not so quiet in this setting, to sum up the band’s immortality. 

“We’ll go on and on,” continues Harrison, “on those records and films and videos and books and in people’s memories and minds.  

“The Beatles have just become their own thing now. The Beatles, I think, exist without us.” 

Of course it was all done with a gaping Lennon-shaped hole but Paul, George and Ringo are hugely mindful of their fallen comrade who they clearly miss very much. 

“The good thing about Anthology is that it’s four of us,” says McCartney. “Even though John’s not here, he is here. He’s represented, he talks — it’s old interviews and stuff.” 

Harrison adds: “I feel sorry for John because the Beatles went through a lot of good times but also went through some turbulent times.  

“And, as everybody knows, when we split up, everybody was a bit fed up with each other.  

“But for Ringo, Paul and I, we’ve had the opportunity to have all that go down the river and under the bridge and to get together again in a new light. I feel sorry that John wasn’t able to do that.” 

‘Unfinished business’ 

One of the key elements of Episode 9 is how the three Beatles make new music together under the watchful eye of the Electric Light Orchestra’s Jeff Lynne, a fellow member of the Traveling Wilburys supergroup with Harrison. 

Using Lennon demos from the 1970s, given to them by his partner Yoko Ono, they finish Free As A Bird and Real Love, employing John’s vocals backed by their vibrant new arrangements. 

Quite simply, it’s the nearest thing we’ll ever get to a full Beatles reunion. 

Another song, Now And Then, gets mentioned as “unfinished business” but, as you may remember, it finally saw the light of day in 2023 thanks to technological wizardry. 

Watching Paul, George and Ringo playing and singing along to John’s vocals is captivating, some of the old spark clearly etched on their faces. 

The affable Giles Martin, who I meet in Leicester Square this week and not at his usual stomping ground, Abbey Road Studios, has this take on the Anthology footage. 

“From talking to Paul and knowing him as much as I do, and from talking to Ringo, I know that the other Beatles were the favourite musicians that they ever played with.  

“Forget personalities, it was purely about being in a band — the best band they’d ever been in. 

“After they broke up, and I include my dad in this, they were looking for each other the whole time.  

“That’s the truth of the matter. I know that Paul misses my dad, and I know that Paul misses John.” 

So, in approaching Anthology, he clearly wanted to show how songs evolved. A bit of studio banter, all that kind of stuff

Giles Martin on his father George

This brings Giles to a significant moment during the completion of Now And Then, The Beatles’ final single. 

“I remember doing the string parts, and being with Paul,” he recalls. “He said, ‘That’s George playing the guitar again. Let’s listen to that because I want to respect what he’s doing, because he’s got great ideas’.”  

The original Anthology project wasn’t just a reunion for three Beatles but also for George Martin who came back into the fold to curate the double albums released on three separate dates between late ’95 and late ’96. 

Giles says: “My dad loved The Beatles — and he loved spending more time with them. 

“What I find interesting is the vulnerability on display, my dad included. Because no one else talked to them like that.” 

Being a Beatle or even The Beatles’ revered producer means that, out of respect, us mere mortals are not given to taking the p*ss. Seeing Harrison’s quip to McCartney, “Hello mate, vegetarian leather jacket?”, is a laugh-out-loud moment. 

Paul, with his famously meat-free diet, replies: “Yes it is. And my boots are vegetarian leather boots!” 

There’s a great scene where the band describe putting “uppers” in a teapot to get George Martin and engineer Geoff Emerick to keep going and stay late into the evening for a session at Abbey Road. 

“My dad always denied it but he wouldn’t have known,” says Giles. “It was probably some sort of amphetamine or caffeine. 

“He used to say that, with each passing year, The Beatles started work an hour later.” 

You might imagine that the producer, with his schoolmasterly image and close attention to detail, was a perfectionist. 

But Giles says: “I don’t think he was a perfectionist — although he was upset at me once for not measuring out Pimm’s properly!  

“The music wouldn’t have sounded like it did, fresh and alive, if he had been one. 

“So, in approaching Anthology, he clearly wanted to show how songs evolved. A bit of studio banter, all that kind of stuff.”  

Giles adds that The Beatles were on board with this, seeing it rather like “a trawl through the photographs that don’t make it into the family album”. 

‘Close to John’ 

“A good example is [the early version of] Yellow Submarine with John originally coming up with the idea and singing, ‘In the town where I was born, no one cared, no one cared’. 

“Obviously, that was not right for Ringo to sing so Paul got involved and they changed it, developing it into the Yellow Submarine that children sang in schoolyards.” 

I ask Giles to describe his father’s relationship with each of the four Beatles and he begins with Lennon. 

“He was very close to John to begin with, because John was perceived as leader of the band. 

My dad and Ringo always loved each other. Ringo was an ardent fan and he was also the glue which kept things together.

Giles on his father’s relationship with Ringo Starr

“He was the older one out of Lennon and McCartney and they were like the two favourite children which George felt rather bitter about.”  

On Anthology Vol. 4, you hear the producer calmly encouraging Lennon to sing rehearsals of the White Album song Julia, about his mother who died when he was just 17. Both agree that it’s a “very hard” song to sing. 

Giles maintains that, as The Beatles’ journey progressed, his dad’s dealings with Lennon changed. 

“John wanted things to be immediate, to be rock and roll, but my dad’s process was different. Then it annoyed him when John went with Phil Spector [for Let It Be] and all that multi-layered stuff.” 

If Lennon made wayward comments after the band split up, an encounter just before he died helped heal the wounds.  

Giles says: “In 1980, John contacted my dad, who went to see him at the Dakota Building in New York.  

“Yoko went out, and John admitted he’d said loose-tongued things in the past, when he ‘was high’. 

“John told my dad, ‘I wish we could record everything again, properly this time’. Dad goes, ‘How about Strawberry Fields?’. And he replies, ‘Especially Strawberry Fields!’.  

But they talked about working together again. Then my dad flew back to England and John was shot, yet there was a weird kind of redemption to the whole thing.” 

As for McCartney and George Martin, Giles says: “Paul always maintained a very close relationship with my dad. 

“Towards the end of The Beatles, Paul was the one trying to keep the band going, but with his vision. Then, as we know, he went off to Scotland and decided to make it on his own. 

“But he got back with my dad for Live And Let Die [in 1973] and they had an ongoing friendship.” 

And what about Starr? “My dad and Ringo always loved each other. Ringo was an ardent fan and he was also the glue which kept things together.” 

There’s a wonderful scene in Anthology’s Episode 9 when McCartney and Harrison joke about doing a stadium “mud-wrestling” contest and Ringo interjects with, “I’ll be the ref!”.  

And finally, we arrive at George Martin’s association with George Harrison. 

Giles says: “My dad always felt guilty that he didn’t give George the attention he deserved — but he couldn’t do it all.  

“So George would go off and do his own thing, like Savoy Truffle. He could be quite stubborn and driven, like they all were.” 

But Giles remembers the abiding affection Harrison had for his father, first encountering him at a Simon & Garfunkel concert in 1982 at Wembley Stadium “when I was very young”. 

“I went to the loo and this man said, ‘Are you all right?’. I was a bit embarrassed but I said, ‘Yeah’. 

“When I went back out, he was standing with my parents. It was George. 

“My dad said, ‘This is my son, Giles’. And he said, ‘We just met having a p*ss’. I remember thinking that he was really nice.  

“When my father became ill the first time around, with prostate cancer, George was the one who went to see him and sat by his bed.” 

As we prepare to go our separate ways on this cold November day, I can’t help thinking how Giles Martin has inherited a deep affection for The Beatles from his illustrious father. 

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He’s currently working on the FOUR Sam Mendes-directed biopics, each one presented from a different band member’s point of view. 

Following in the footsteps of Dad, it’s a long and winding road that won’t end any day soon. 

THE BEATLES
Anthology Collection

★★★★★

LIAM Gallagher isn’t a fan of sharing his food – just ask Paul Gascoigne.

The Tottenham and England legend told FourFourTwo about snaffling a steak from the Oasis rocker – and it didn’t end well.

Recalling a run-in during the Nineties, Paul said: “I was in a restaurant and a guy said, ‘Liam Gallagher’s over there’.

“I went up to him, he was sitting on his own having a steak.

“He said, ‘F***ing hell sit down mate, how are you doing? Do you want something to eat?’

“I said, ‘No I’m not hungry, I’ll have a drink though’. He went for the drink and I ate his f***ing steak. He went f***ing off at me, going ‘Where’s my f***ing steak, man?’ I went, ‘I’ve ate the c***t.

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“He said, ‘You c***t, I’ll go and get another one’. But he didn’t.

“He came back around the corner with a fire extinguisher, set it off and absolutely slaughtered us with it.”

Tonight, Liam and his brother Noel will kick off the final leg of their Oasis tour in Buenos Aires.

They will play a second show in Argentina’s capital tomorrow before a concert in Santiago, Chile, on November 19 and their final two shows in Sao Paolo in Brazil on November 22 and 23.

Tay note To 1D idol for sale

A handwritten letter from Taylor Swift to Liam Payne supporting his solo career is going up for auction.

She gave the late One Direction singer the note ahead of his performance at Capital’s 2017 Jingle Bell Ball.

Taylor headlined the annual bash at London’s O2 Arena. Liam, who died in October last year, was also on the bill.

The letter reads: “Liam, long time no see.

“I’m so excited for you, you’re crushing it out there.

“I’m obsessed with Bedroom Floor.

“It’s so cool to see you from afar.

“I’m always cheering you on.

“Good luck tonight!”

Speaking on the red carpet at the event eight years ago, Liam revealed Taylor also sent him a “lovely little hamper of new Reputation gear”.

He added: “She’s got very good handwriting if she did write it.”

British auction house Omega Auctions will sell the letter on December 2.

It is expected to fetch between £5,000 and £10,000.

Gabriella Cilmi is back, 12 years after her last album.

She had a string of hits in the late Noughties with Sweet About Me, Warm This Winter and On A Mission.

The Aussie singer, who is name-checked by Ed Sheeran on his 2011 song You Need Me, I Don’t Need You revealed she has been living in the English countryside and is returning to music.

She said on TikTok: “I’m super-excited to announce I’ve recorded a new record.

“We recorded it under the full Harvest Moon and it was a magical experience, going back to basics, playing live.”

Ellie: My break-up torment

Ellie Goulding has opened up about the breakdown of her marriage to Caspar Jopling.

Speaking about her new song Destiny, Ellie said: “I first heard this track when I had recently separated from my husband.

“This was at a really turbulent time for me because I was trying to navigate what felt like a separation of all separations.”

The singer added to NME: “It was a marriage, not just a relationship.

“I didn’t know what else to do other than make music.”

Ellie and Caspar tied the knot in 2019.

They had their son Arthur in 2021, but sadly separated in 2023.

Emeli Sande was joined by acts including Boy George and Ali Campbell of UB40 at a charity gig for victims of Hurricane Melissa.

They played A Concert For Jamaica, at Koko in Camden, London.

DJ Robbo Ranx praised Jamaicans for standing strong after being battered by the storm.

Much of the island is still without water or electricity.

Aussie accused of Ari scare

I was pleased to learn the brain-dead idiot who almost knocked Ariana Grande flying – when he stormed the Wicked: For Good red carpet premiere in Singapore – has been charged by police.

Australian-born Johnson Wen boasted about meeting the pop star at the event, when in actual fact he scared the living daylights out of Ariana.

Ariana was thankfully protected by the one-woman muscle machine that is Cynthia Erivo.

Wen has been charged with being a public nuisance, which is the understatement of the year.

He is known for his d**kish antics and has previously disrupted a Katy Perry concert and the men’s 100m final at the Paris Olympics last year.

PEATY FEUD TWIST

Adam Peaty’s brother arrested over stag do threats sent to Olympian

CHOC HORROR

‘Disgusting’ price of 750g Quality Street tins are slammed by Tesco shoppers

The jail term for being such a deluded berk is anything up to three months.

Sadly, I doubt being locked up would stop him being less of an idiot in future.

THE CHARTS

Taylor Swift bounces back to the top on both the singles and album charts.

It comes five weeks after the release of The Life Of A Showgirl, and following signed copies of the record going on sale online.

Rosalia has the highest new entry on the album chart, going to No4 with Lux.

Singles

1. The Fate Of Ophelia – Taylor Swift
2. Golden – Huntr/x, Ejae, Audrey Nuna, Rei Ami & Kpop Demon Hunters Cast
3. Where Is My Husband! – Raye
4. Man I Need – Olivia Dean
5. So Easy (To Fall In Love) – Olivia Dean
6. Opalite – Taylor Swift
7. Raindance – Dave & Tems
8. Rein Me In – Sam Fender & Olivia Dean
9. Elizabeth Taylor – Taylor Swift
10. How It’s Done – Golden – Huntr/x, Ejae, Audrey Nuna, Rei Ami & Kpop Demon Hunters Cast

Albums

1. The Life Of A Showgirl – Taylor Swift
2. The Art Of Loving – Olivia Dean
3. West End Girl – Lily Allen
4. Lux – Rosalia
5. Man’s Best Friend – Sabrina Carpenter
6. The Highlights – The Weeknd
7. +-=÷x Tour Collection – Ed Sheeran
8. The Essential – Michael Jackson
9. 50 Years: Don’t Stop – Fleetwood Mac
10. Ego Death At A Bachelorette Party – Hayley Williams

Influencer boxing matches began to garner high viewership with KSI’s first boxing fight against Joe Weller in 2018 and have become more common over time, with fighters boasting lofty reputations increasingly willing to be involved because of the money on offer.

At the same time, boxing’s reputation has taken a hit because of difficulties arranging fights at the highest level and the influx of money from Saudi Arabia, which has become a prominent player in the professional arena.

Some believe that influencer fights attract new fans and are helping safeguard the future of the sport, while others argue they render it a laughing stock.

“Jake Paul has done a lot of good for boxing, especially women’s boxing,” Crolla says. “He is putting on some big nights and bringing new people into the sport.

“I worked the fight he had with Tommy Fury and so many young kids were coming up to me saying ‘you were at the fight!’, and they didn’t even recognise me from my own career.”

But the benefits of big names like Paul taking to the ring come at the cost of heritage and history.

“It does make a mockery of the sport,” Price concedes. “I watched Rod Stewart’s son get knocked out the other day – these things do turn it into a joke.

“The sport has got this far without things like that going on, so I don’t think it’s needed for boxing to survive.

“But the fact there is a tiny percentage chance an influencer is going to knock somebody out is what makes lots of these people tune in. It’s a new generation of fight fans and, like it or loathe it, views matter.

“The old school fighter who got his head down, worked hard and did his talking in the ring is sadly a dying breed.”

Promoter Eddie Hearn says reports of a deal being agreed for a fight between Anthony Joshua and Jake Paul have “jumped the gun” but admits there is a chance the pair could meet in the ring before the end of the year.

READ MORE: Joshua v Paul? Hearn says ‘maybe’ with camps in talks

“It’s f— World War III out there,” says Gilberto Martinez Jr. as he skateboards while holding on to a car partway through Paul Thomas Anderson’s acclaimed crime drama “One Battle After Another,” about a group of revolutionaries being hunted by the U.S. government.

Driving the vehicle is Sensei Sergio St. Carlos (Benicio del Toro), who enlists the help of Mexican American “vato skateboarders,” the neighborhood watch, to guide his friend Bob (Leonardo DiCaprio), as he tries to escape the authorities during a chaotic protest when a sanctuary city comes under attack.

Gliding through tight indoor spaces and nimbly jumping across rooftops under the night’s sky, the courageous skating quartet is composed of El Paso natives cast locally: Martinez (34), Luis Trejo (30), Elijah Joseph Sambrano (27) and Julian Corral (29). That Anderson included them in this searingly political narrative as a heroic force felt validating.

“As skateboarders we’ve kind of always been the underdogs, seen as the outcast or the rebels,” says Martinez during a recent video interview with the whole squad gathered. “But in a way we’re showing freedom, we’re not trying to be put in a box, we express ourselves through this skateboard. We’re trying to give hope to other kids like us.”

Their skill set on the board landed them the part, but their presence influenced the production beyond their screen time.

“We all speak Spanish, and we were helping them on set to translate a lot of the things that they needed,” Martinez said.

Martinez and Trejo, who’ve been “homies” for a decade, learned about the opportunity from a mutual friend, Mark Martinez, involved in the El Paso film industry. Sambrano found out from a bartender pal, while Corral got word from the owner of the tattoo shop where he works. The four of them knew each other from hanging around the border town.

The group first met with casting director Cassandra Kulukundis, who read them their lines and asked them to recite them back to test their memorization skills.

“She pulled out her iPhone and we just started skating around her and giving her the lines,” Martinez recalls. “That’s pretty much what she showed Paul. And that’s when he was like, ‘These are our guys.’” [Laughs].

Though they had heard rumors that DiCaprio and Del Toro were in town, they couldn’t know for certain. “I was like, ‘It’s not true,’ just so I would not be so nervous about it,” Martinez said. It was only after signing nondisclosure agreements that they were made fully aware of the artists involved.

“They took us up to Sensei’s apartment to get an idea of the perimeter and what everything looks like,” says Martinez. “That’s when we first saw P.T.A. with his Adidas shoes and we were like, ‘Whoa.’”

Shot over the course of 11 days, their scenes took place in downtown El Paso, just a few minutes from Ciudad Juarez, Mexico, on the other side of the border. “Every single day was just magic,” says Trejo, who is also a musician. “This movie made us feel like we’re part of something on a big scale. It blew our minds that each of us had his own purpose in it.”

The “vato skateboarders,” as the production referred to them, recall speaking with stunt coordinator Brian Machleit ahead of their scenes. “He was very honest with us and said we needed to take this seriously,” Martinez says. “We really focused, and we weren’t playing around.” They practiced their stunts during the daytime, so that they could be prepared for shooting at night.

Anderson, they say, asks for multiple takes — often around 10 — changing his direction to have plenty of options to choose from when editing.

“Paul is always experimenting,” Trejo said. “He’s like a scientist, and he’s doing his poetry.”

Martinez revealed that his big moment, when he skates holding onto Sensei’s vehicle, transformed as they filmed it.

“My direction at first was to do it scared towards Sensei, like asustado,” he said. “After watching the dailies, Anderson came in with new notes.

“Paul’s like, ‘Hey Gil, this sounds like a zombie apocalypse. It’s not a zombie apocalypse, it’s a riot. Pretend like you’re going to go grab a beer and drink it on a rooftop, and then just say some s— like, ‘It’s f— World War III out here.’ And I was like, ‘Yeah, I like that. That sounds more me.’”

To personalize his close-up, Martinez had a suggestion of his own. “I was like, ‘Can I add some Spanish?’”

“Paul really let us use our lingo,” Martinez adds. “Leo was like, ‘Hey, how do I say ‘brothers’?’ And we told him, ‘Carnalitos,’”

In the film, DiCaprio’s Bob refers to the skaters as such.

Throughout the conversation, the group often refers to DiCaprio and Del Toro by their characters’ names: Bob and Sensei. Sharing the screen with A-listers they’ve grown up watching on screen was shocking at first, but then grew to feel a genuine closeness.

“I’d freak out when I got home,” Martinez said. “But on set, the first couple days you had to show them that you were like a brother to them. You can’t be like, ‘Hey man, we got to take a picture.’ It was more like, ‘We’re here to do our job.’ I never called him Leo. I always called him Bob. We just stayed in character. And then he’d be like, ‘What’s up bros?’”

Corral recalls a day when his foot hurt, and the production sent him to rest for a bit on his own. “Next thing you know, they put the other vatos in there and then they put Leonardo in there and we are just like, ‘How should we break the ice?’” Corral says. “And he did. He is like, ‘So what’s good around here to eat?’”

A musician like Trejo, and once involved with El Paso Kids-N-Co, a nonprofit community theater, Sambrano recalled sharing a moment with Del Toro.

“Benicio was like, ‘You play music? What kind of music is it? And I was like, ‘Alternative.’ And he said, ‘Oh, like the Mars Volta.’ And I thought, ‘Oh he knows of the culture, the Mars Volta is from El Paso.’”

Sambrano explains they were allowed to wear their own clothes on set. Early on, he happened to be wearing a T-shirt he got from Goodwill emblazoned with the image of the late wrestler Eddie Guerrero, also an El Paso native, and his nickname, “Latino Heat.”

“They were bouncing off each other, improvising,” Sambrano says. “And that’s when Benicio was like, ‘What if I just say Latino Heat?’ And then they were like, ‘OK, that’s the shirt he’s going to wear.’”

For the “vato skateboarders,” seeing their hometown depicted at the forefront of the resistance in such a high-profile film has strengthened their pride. “We’re from a frontera, a border city, and I’ve lived here my whole life. The community is amazing, people are friendly,” Sambrano said. “And seeing them highlight that is pretty awesome.”

And it’s not lost on them that immigration, and the relationship between the U.S. and Mexico, especially in a place like El Paso, are key subjects in Anderson’s film.

“Paul did do justice to how real life is in a comedic way so that maybe it reaches a different type of audience that is not tapped into these situations,” Trejo said. “The movie touches on things that a lot of people are afraid to talk about. They are afraid to get too political.”

The four skaters watched “One Battle After Another” for the first time at a cast and crew screening in El Paso at the Plaza Theater. “It was really special to watch it in a historic building in El Paso,” Martinez Jr. says. “And having our friends and family there to watch it a week before the movie came out was a beautiful moment for all of us.”

The friends wish to continue acting, and they already have other projects lined up, thanks in part to Jacob Cena, a location assistant on “One Battle After Another,” who is pushing them to seize this breakthrough.

For now, however, they’ve been diligently studying Anderson’s work. “We got pretty obsessed; these are all his movies,” says Martinez Jr. with a smile holding up a stack of the director’s movies on physical media.

NEW YORK — Paul Tagliabue, who helped bring labor peace and riches to the NFL during his 17 years as commissioner but was criticized for not taking stronger action on concussions, died Sunday from heart failure. He was 84.

NFL spokesman Brian McCarthy said Tagliabue’s family informed the league of his death in Chevy Chase, Maryland.

Tagliabue, who had developed Parkinson’s disease, was commissioner after Pete Rozelle from 1989 to 2006. He was elected to the Pro Football Hall of Fame as part of a special centennial class in 2020. Current Commissioner Roger Goodell succeeded Tagliabue.

“Paul was the ultimate steward of the game — tall in stature, humble in presence and decisive in his loyalty to the NFL,” Goodell said in a statement. “I am forever grateful and proud to have Paul as my friend and mentor. I cherished the innumerable hours we spent together where he helped shape me as an executive but also as a man, husband and father.”

Tagliabue oversaw a myriad of new stadiums and negotiated television contracts that added billions of dollars to the league’s bank account. Under him, there were no labor stoppages.

During his time, Los Angeles lost two teams and Cleveland another, migrating to Baltimore before being replaced by an expansion franchise.

Tagliabue implemented a policy on substance abuse that was considered the strongest in all major sports. He also established the “Rooney Rule,” in which all teams with coaching vacancies must interview minority candidates. It has since been expanded to include front-office and league executive positions.

When he took office in 1989, the NFL had just gotten its first Black head coach of the modern era. By the time Tagliabue stepped down in 2006, there were seven minority head coaches in the league.

In one of his pivotal moments, Tagliabue called off NFL games the weekend after the terrorist attacks of Sept. 11, 2001. It was one of the few times the public compared him favorably to Rozelle, who proceeded with the games the Sunday after John Kennedy was assassinated in 1963. A key presidential aide had advised Rozelle that the NFL should play, a decision that was one of the commissioner’s great regrets.

Tagliabue certainly had his detractors, notably over concussions. The issue has plagued the NFL for decades, though team owners had a major role in the lack of progress in dealing with head trauma.

In 2017, Tagliabue apologized for remarks he made decades ago about concussions in football, acknowledging he didn’t have the proper data at the time in 1994. He called concussions “one of those pack-journalism issues” and contended the number of concussions “is relatively small; the problem is the journalist issue.”

“Obviously,” he said on Talk of Fame Network, “I do regret those remarks. Looking back, it was not sensible language to use to express my thoughts at the time. My language was intemperate, and it led to serious misunderstanding.

“My intention at the time was to make a point which could have been made fairly simply: that there was a need for better data. There was a need for more reliable information about concussions and uniformity in terms of how they were being defined in terms of severity.”

While concussion recognition, research and treatment lagged for much of Tagliabue’s tenure, his work on the labor front was exemplary.

As one of his first decisions, Tagliabue reached out to the players’ union, then run by Gene Upshaw, a Hall of Fame player and former star for Al Davis’ Raiders. Tagliabue had insisted he be directly involved in all labor negotiations, basically rendering useless the Management Council of club executives that had handled such duties for nearly two decades.

It was a wise decision.

“When Paul was named commissioner after that seven-month search in 1989, that’s when the league got back on track,” said Joe Browne, who spent 50 years as an NFL executive and was a confidant of Rozelle and Tagliabue.

“Paul had insisted during his negotiations for the position that final control over matters such as labor and all commercial business dealings had to rest in the commissioner’s office. The owners agreed and that was a large step forward toward the tremendous rebound we had as a league — an expanded league — in the ’90s and beyond.”

Tagliabue forged a solid relationship with Upshaw. In breaking with the contentious dealings between the league and the NFL Players Association, Tagliabue and Upshaw kept negotiations respectful and centered on what would benefit both sides. Compromise was key, Upshaw always said — although the union often was criticized for being too accommodating.

Tagliabue had been the NFL’s Washington lawyer, a partner in the prestigious firm of Covington and Burling. He was chosen as commissioner in October 1989 over New Orleans general manager Jim Finks after a bitter fight highlighting the differences between the NFL’s old guard and newer owners.

Yet during his reign as commissioner, which ended in the spring of 2006 after pushing through a highly contested labor agreement, he managed to unite those divided owners and, in fact, relied more on the old-timers who supported him than on Jerry Jones and many of the younger owners.

Tagliabue was born on Nov. 24, 1940, in Jersey City, New Jersey. He was the 6-foot-5 captain of the basketball team at Georgetown and graduated in 1962 as one of the school’s leading rebounders at the time — his career average later listed just below that of Patrick Ewing. He was president of his class and a Rhodes scholar finalist. Three years later, he graduated from NYU Law School and subsequently worked as a lawyer in the Defense Department before joining Covington & Burling.

He eventually took over the NFL account, establishing a close relationship with Rozelle and other NFL officials during a series of legal actions in the 1970s and 1980s.

Tagliabue was reserved by nature and it sometimes led to coolness with the media, which had embraced Rozelle, an affable former public relations man. Even after he left office, Tagliabue did not measure up in that regard with Goodell, who began his NFL career in the public relations department.

But after 9/11, Tagliabue showed a different side, particularly toward league employees who had lost loved ones in the attacks. He accompanied Ed Tighe, an NFL Management Council lawyer whose wife died that day, to Mass at St. Patrick’s Cathedral, a few blocks from the NFL office.

Art Shell, a Hall of Fame player, became the NFL’s first modern-day Black head coach with the Raiders. He got to see Tagliabue up close and thought him utterly suited for his job.

“After my coaching career was over, I had the privilege of working directly with Paul in the league office,” Shell said, “His philosophy on almost every issue was, ‘If it’s broke, fix it. And if it’s not broke, fix it anyway.’

“He always challenged us to find better ways of doing things. Paul never lost sight of his responsibility to do what was right for the game. He was the perfect choice as NFL commissioner.”

Tagliabue is survived by his wife Chandler, son Drew, and daughter Emily.

Wilner and Maaddi write for the Associated Press.

Sad news for Bad Company fans.

Paul Rodgers, one of the original members of the English rock supergroup, announced Tuesday that he will miss the Rock & Roll Hall of Fame induction ceremony Saturday where Bad Company will be honored as part of the 2025 class.

“My hope was to be at the Rock & Rock Hall of Fame Induction Ceremony and to perform for the fans, but at this time I have to prioritize my health,” Rodgers wrote in a statement posted to Bad Company’s Instagram page. The singer had planned to reunite with former bandmate and drummer Simon Kirke on stage to perform a couple songs at the ceremony.

While Rodgers did not elaborate on his health in the statement, in 2023 he told CBS News that he had suffered two major strokes in 2016 and 2019, as well as 11 minor strokes, which had temporarily stripped him of his ability to speak.

“I have no problem singing, it’s the stress of everything else,” Rodgers’ statement continued. “Simon along with some outstanding musicians will be stepping in for me — guaranteed to rock.”

Best known for hits such as “Can’t Get Enough,” “Feel Like Makin’ Love,” “Ready for Love” and, of course, “Bad Company,” the hard rock group formed in London in 1973. In addition to Rodgers and Kirke, who had played together in the rock band Free, Bad Company’s original members included guitarist Mick Ralphs and bassist Boz Burrell.

The band initially disbanded in 1982 but over the years reunited to record or tour, though not always with the same lineup. Rodgers and Kirke are Bad Company’s only surviving original members — Burrell died in 2006, followed by Ralphs this June.

In addition to Bad Company, the 2025 Rock & Roll Hall of Fame inductees include Chubby Checker, Joe Cocker, Cyndi Lauper, OutKast, Soundgarden and the White Stripes in the performer category. Additional inductees Salt-N-Pepa, Warren Zevon, Thom Bell, Nicky Hopkins and Carol Kaye will all be honored either for musical influence or excellence, while Lenny Waronker is the recipient of the Ahmet Ertegun Award for lifetime achievement.