reality

A REALITY telly pal of Jennifer Lopez caught speeding in her £200,000 Bentley has been banned.

Amanda Cronin begged JPs to let her keep her licence as she needed a car to care for her mum — who “won’t accept” taxis.

But magistrates, who heard she already had nine penalty points from speeding offences, were unmoved and gave her three more.

That took her to 12 and an automatic six-month ban under totting-up rules.

Real Housewives of London star Cronin, 57, was caught by a camera doing 24mph in a 20mph zone in Earls Court, West London, last May.

The ex-model, who dated Wham! star Andrew Ridgeley and counts US singer J-Lo as a pal, argued she needed her £200,000 Bentley Continental to drive from her £4million home in Belgravia, central London, to widowed mum Janet’s home near Soberton, Hants.

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She said she regularly ­ferried the 85-year-old to medical appointments.

Cronin told Bromley JPs: “She won’t accept going in taxis.

“My mum will suffer if I’m not able to drive her around.”

Magistrate Jo Caseby said: “You’re a good and attentive daughter but there are solutions which can be put in place.”

Cronin, who divorced millionaire energy mogul Mark Daeche in 2019, also owns a £12million home in London’s Mayfair.

She must pay £334 in a fine and costs.

The first hour of “EPiC: Elvis Presley in Concert” convinces you that the King is the greatest entertainer who ever lived. By the end of it, he’s a god. Director Baz Luhrmann claims he made this Imax documentary so that any poor souls who never got to see the King live can worship him in action. Really, I think Luhrmann is praying that in a thousand years, some alien civilization will discover this footage and build a whole religion around the thrall Elvis’ hip thrusts had over a crowd.

If that future comes to pass, then Luhrmann himself will be elevated as a key disciple. He’s so devoted to Elvis that this is his second tribute in four years, the other being, of course, his 2022 biopic “Elvis,” starring Austin Butler, who was good in the role if not quite iconic. That more traditional film hewed to the genre’s standard rise-and-fall narrative and was dinged mostly because the King’s life represents so many things to so many people — race, class, controlling relationships — that it’s impossible to please everyone or for any actor to fill his blue suede shoes.

“EPiC” sticks to the surer footing of documentary footage: the man himself performing over two dozen tunes — including “That’s All Right,” “Burning Love” and “In the Ghetto” — plus twice that number on the background soundtrack. (I’m not into his gospel hits, but they suit the mood.) A dream concert that’s longer and larger than what fans could have seen in reality, the movie is stitched together primarily from Elvis’ Las Vegas appearances in 1970 and 1972. You can tell which year it is by the amount of rhinestones on his costumes, which become increasingly maximalist.

When Elvis retook the stage in 1969, he hadn’t performed before a live audience in nine years and he’d gotten a little uncool. Beatlemania had dinged his appeal so perilously that editor Jonathan Redmond splices its arrival with images of car crashes and missile attacks. Reporters at that comeback show noted that most of his fans were now — horrors! — over 30, with the exception of a 25-year-old who said he attended out of nostalgia.

Luhrmann quickly sets up the essential framework, then Luhrmann picks up a year after Elvis proved he was still a smash. No longer constrained by moral panic, the Army draft or the decade he spent trapped within the Hollywood industrial complex, this is the King at arguably the high point of his career, right in that sweet spot before his 1973 divorce from Priscilla Presley, after which his mood and health started to flag.

This Elvis comes across confident, breezy, comfortable and funny. In one scene, he jokes about the difficulty of lunging to the ground in a tight jumpsuit (an outfit he adopted because he was nervous of ripping his pants). Later, he switches up the lyrics to “Are You Lonesome Tonight?” to croon, “Do you gaze at your forehead and wish you had hair?”

The camera often seems to be right under his chin, gazing as the sweat on his cheeks and lashes shimmers under the Vegas lights like diamonds. His spell over the crowd feels at once intimate and volcanic. You get the best look at his charisma when Elvis targets his energy at an unsuspecting back-up singer in the middle of “Suspicious Minds.” Slowly striding toward the girl, he hypnotizes her as skillfully as a snake charmer and then, as a punchline, lunges in her direction. She jumps and giggles.

While we become familiar with the faces of his band members, the film doesn’t bother to mention any of their names, not even in the credits. They deserve better, but the film is about how the concert felt, not how it came to fruition. Still, once you get over the contact high of Elvis’ psychedelic neon pink paisley shirt in the rehearsal studio, it’s delightful to see that he gives as much of himself when performing in a small setting as he does in a massive one. He loses himself in thrall to the beat, gyrating his pelvis so fast it resembles a machine gun.

Naturally, there’s a montage of the women in the audience overwhelmed by joy, from a sobbing little girl who won’t let go of his arm to a glamazon in a dangerously low-cut minidress who scoots under the curtain before it closes. The ladies tug on his scarves and toss bras at him, one of which he wears on his head. Surprisingly to modern eyes, when his female fans grab and kiss him, Elvis smooches them back, even after he wades into a sea of his admirers and emerges with the chains on his jumpsuit torn off. If you happen to spot your mother or grandmother in the crowd, well, good for her.

In lieu of mentioning Elvis’ off-stage reality, Luhrmann deepens a song’s effect by cutting to personal photographs that are a little out of context. As Elvis wails the line, “And I miss her,” from his cover ballad about a bad husband, we see a shot of Elvis’ dead mother, Gladys. “Always on My Mind” becomes a brisk yet moving acknowledgment of Priscilla and his infant daughter Lisa Marie. Otherwise, Lurhmann only wants to celebrate the good stuff. There’s no tragedy here. It’s ecstasy minus the agony.

If Elvis was ever cranky, that’s been stripped out. Though we hear him get hound-dogged by nosy questions from the press, the closest Elvis comes to snark is when he sits on a stool to play “Little Sister.” He sings the chorus, then cranks up the tempo a notch and suddenly starts belting the Beatles’ “Get Back,” before smoothly transitioning once more into his own song. Point made: Don’t give those Brits too much credit for revolutionizing rock ‘n’ roll.

Lurhmann’s got his own score to settle. In the Butler version of “Elvis,” he made the case that, as big an artist as Elvis was, he should have been bigger. Colonel Parker, Elvis’s manager, kept his cash cow on a leash, tethering him first to middling B-pictures, then to casinos. The Beatles invaded his country; he never played a single gig in theirs. We never got to find out who Elvis, with his magpie love for all music, might have become if he’d traveled the world and gotten to pick up an ashram sitar.

And while that argument got a little drowned out in the biopic by Tom Hanks’ double-phony put-on accent as Parker, this rapturous salute to the King’s majesty wants to make sure we don’t miss it now. Lurhmann even scores his footage of the Colonel to “The Devil in Disguise.” Hey, every religion needs a heel.

KATIE Price’s new husband Lee Andrews has teased a new reality show with his bride in a bizarre AI video.

The newlyweds – who tied the knot last month after just a week of talking online – are going at lightning speed through their relationship.

And now a new post on Instagram suggests Lee is looking to put things in front of a camera.

In the story titled: “Coming soon: Kate and Lee”, an artificial version of the pair are seen looking loved-up as they zoom through having dinner, and seeing the world landmarks including Rome’s colosseum and Christ the Redeemer.

The post comes just days after it was revealed a TV production company was “fuming” with Katie after throwing their planned documentary with her into chaos.

The three-part documentary was set to air in the spring on Sky, and was created by Louis Theroux’s TV production company Mindhouse.

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A source close to the series told The Sun: “The whole focus of the documentary is meant to be this redemption arc for Katie showing a more serious, thoughtful side to the mum-of-five that people rarely see in her tabloid antics.

“So this latest turn in her life isn’t the kind of publicity they wanted.

“They feel like this out-of-the-blue marriage has thrown a real spanner in the works and totally changes the tone of the show, making the footage they have shot feel really out of date.

“A lot of it was filmed while she was still with JJ and she talked on camera about how much more settled she was with him.

“That all sounds a bit daft in light of what’s transpired recently.”

The insider continued: “She’s also meant to still be filming some new footage, but she’s flown off to Dubai again to be with Lee so it’s all very up in the air.

“It will take a lot of re-editing and they need to shoot some new footage if it will make it on the air for the planned April airdate.”

Katie is currently still in Dubai with Lee – where he lives full time – enjoying a honeymoon together.

Despite not even knowing each other at the beginning of this year, Lee has already shared a tattoo he has of Katie’s name and their wedding day.

The couple met online and got engaged, with Katie walking down the aisle for the fourth time in a secret ceremony when she flew out to meet him.

He’s since posted pictures hinting that they’re trying for a baby, noting “good things come to those who wait”.

Katie is already a mum to five children, but has made no secret of her desire to have another.

Last year, a documentary aired showing Katie’s efforts to go through IVF treatment with ex-fiancé Carl Woods.

Katie Price: Making Babies was filmed when Katie was engaged to Carl , 35 – who was less than impressed with the programme airing two years later.

At the time she was told that she had a less than 1% chance of being able to conceive, but decided to try anyway.

Katie later split from Carl and started dating Married at First Sight star JJ Slater.

They split just weeks before she flew to Dubai to marry Lee.

Currently nominated for multiple Oscars, Chloé Zhao’s “Hamnet” traces how the immeasurable sorrow of losing a child fueled William Shakespeare to write “Hamlet” as a literary effigy to loss. That revered text, which has inspired countless adaptations (“The Lion King” among them), takes on a new form in the hands of Japanese animation master Mamoru Hosoda for his latest fantastical epic, “Scarlet.”

In a career of animated features with thematic heft and deep emotional impact, “Scarlet” may be the director’s most sobering and intense effort to date, not only given the severity of the violence on display, but because it advocates for the sometimes-impossible task of forgiving one’s foes, even when they show no remorse. Here, what’s at stake is one’s very soul. What remains is Hosoda’s investment in parent-child relationships, a recurring subject for him, always explored with compassion for both parties: the child in need of guidance and the parent struggling to be a beacon.

Gender-swapping the play, Hosoda once again centers a heroine (he seems to prefer female protagonists). The 16th century eponymous Danish princess (voiced by Mana Ashida) loses her father, King Amleth (Masachika Ichimura), to a gruesome betrayal. Her unscrupulous, power-hungry uncle Claudius (Kôji Yakusho) murders his own brother to become king. But in his final moments, as Scarlet watches, Amleth pleads a request she cannot hear. Avenging her fallen father — and finding out what he asked for before dying — becomes the young woman’s sole purpose going forward. Rage consumes her.

Hosoda’s body of work consists almost exclusively of movies that take place on two distinct planes, whether those be reality and a digital world (“Summer Wars,” “Belle”) or reality and a magical realm (“Mirai,” “The Boy and the Beast”). “Scarlet” is no different in that regard.

This time, however, he explores an afterlife with its own set of rules. Sensing Scarlet’s resolve to destroy him, Claudius poisons her. Scarlet wakes up in the Otherworld, an endless, arid landscape with an ocean for sky where a dragon roams. The deceased from the past and the present convene here. That’s how Scarlet and Hijiri (Masaki Okada), a paramedic from our present who refuses to believe he’s died, can exist in the same timeline. This purgatory essentially mirrors life: There’s conflict and suffering and if you die again here, you vanish into darkness forever. The goal is to ascend to the Infinite Land, a stand-in for heaven. But Scarlet cares not for eternal peace. She learns that Claudius is here and embarks on a trek to find him and kill him for good.

Hosoda doesn’t dwell on the differences between Scarlet and Hijiri’s realities back in the land of living. Instead, he zeroes in on their clashing worldviews. While Scarlet doesn’t think twice about slaughtering anyone who gets in her way, Hijiri protects life at all costs, so much that one can understand Scarlet’s frustration with him. After a brutal fight, for example, Hijiri bandages her enemies’ wounds with as much care as he does hers.

Multiple battles with Claudius’ henchmen pepper Scarlet and Hijiri’s journey, as does an encounter with the United Nations of this place: a group of wandering nomads from around the world who’ve come together for companionship. Even after death, Hosoda suggests, all people truly hope for is a shoulder to cry on and someone to share their burdens with.

For “Scarlet,” Hosoda ventures into uncharted aesthetic territory. When the narrative is in the Otherworld, fans will immediately notice the look differs from his previous creations. And that’s because Hosoda has opted for photorealistic, computer-generated animation in those sections. The early scenes in Scarlet’s time period are conceived using the more traditional hand-drawn technique.

Still, the characters in the Otherworld, created in CGI, retain qualities of hand-drawn animation, making one hyperaware of the relationship between the figure’s movement and the environment. The mix of visual approaches shocks the eye at first, though it comes to seem fitting.

If probed too closely, Hosoda’s high-concept interpretation of life after death may raise more questions than it can answer (have all of history’s villains been killed in the Otherworld?). But despite any narrative quibbles, the movie deserves praise for its genuine call for compassion. Scarlet’s final encounter with Claudius radiates with the complicated poignancy expected of real, difficult catharsis.

Admittedly, the film’s resolution feels naïve. Scarlet’s good intentions to end wars by way of sheer determination to do what’s right might prove insubstantial in practice. In that regard, “Scarlet” is the prayer of a director who fervently wants to believe in kindness (even for those who don’t deserve it) as the one true road to healing. That’s a tall order these days, especially in this country, but it’s hard to fault Hosoda for the sincere reminder of what could be.

Princess Andre has shared that filming has wrapped on the second series of her ITV2 reality show The Princess Diaries, with the series expected to return in spring

Princess Andre has delivered a significant announcement regarding the future of her ITV2 reality programme. The 18-year-old followed in her famous parents’ footsteps by landing her own ITV series last summer.

The programme documented the teenager’s everyday life, though mum Katie Price was conspicuously missing after she was allegedly prohibited from appearing in any footage for the show. Dad Peter, however, featured prominently alongside her brother Junior.

Princess has now provided an exciting development on the programme, called The Princess Diaries, after it was confirmed for a second run following strong viewing figures.

The teenager has disclosed that production has concluded, with her final day on set taking place yesterday. She posted an image of the show’s clapperboard along with a backstage photograph of her recording her to-camera segments for the series.

Princess wrote: “Last day of filming.” The programme is anticipated to return to television screens during the spring months. Her announcement follows her parents releasing an unusual joint statement in which they detailed their commitment to cease making disparaging remarks about each other online.

Peter and Katie established a legal arrangement whereby both promised to end their public criticism of one another following numerous acrimonious public disputes – an uncommon ceasefire for the frequently feuding former couple.

The Sun learned that Katie had spent months declining Peter’s persistent efforts to broker peace. Sources suggest their children, Junior, 20, and Princess, 18, are the motivation behind her ultimate decision to accept her former husband’s An insider revealed: “Pete’s team have been begging Katie to end this for good for months.”

As far back as November, they were calling Katie and her family to try to end the row. “She was resolute, she wouldn’t make peace with him. It was the children who made her realise she needed to draw a line in the sand. Katie has done this for them.”

Taking to Instagram, they both posted: “Katie Price and Peter Andre have decided to close the door on the past and move forward into a new chapter with positivity and respect. We are both focused on creating a calm and supportive environment for our children.

“We have reached a mutual agreement, both legally and personally confirming that neither of us will speak negatively about the other going forward. This decision reflects a shared commitment to our family and stability.”

The statement continued: “We want to stand united for our children. We are hoping this is a start of a positive relationship. We ask for understanding and support from both the media and the public as we move ahead.”

The unusual move comes just after Katie exploded at her former husband on her weekly podcast, accusing him of keeping her away from their daughter Princess as she launched her own reality TV show and making her look like the ‘baddie’.

Peter hit back by saying he had tried to stay silent for ‘sixteen years’ to ignore ‘repeated lies from my ex-wife and her family’. “That ends today,” he fumed.

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The Grand Canyon is among the most famous natural wonders in the world. A woman who lives at the bottom of it in a remote village with her family has opened up on the reality of life there.

The Grand Canyon is as one of Earth’s most iconic natural wonders, pulling in millions of visitors from across the globe each year. Now, one woman has revealed she actually lives within the canyon itself – a revelation that’s left people both fascinated and amazed.

Situated in north-western Arizona, the Grand Canyon spans an impressive 277 miles and is a vast chasm sculpted by the Colorado River. Its striking layers of ancient red rock enhance its appeal, and it’s been protected as a National Park since 1919.

Tourists flock there in their millions every year to drink in the spectacular views, hiking trails, and even white water rafting adventures. A TikTok user posting under the handle @heyarielnicole recently shared drone footage of the magnificent landmark, accompanied by text which reads: “Today years old when I found out people live in the Grand Canyon.”

In the caption, she added: “I must have skipped school this day because I did not know this lol! Did y’all know people live in the Grand Canyon?”

Her post has since amassed more than 65.5 million views. The comments section erupted with shocked reactions, while others highlighted Shila S Siyuja, a woman who genuinely does call the Grand Canyon home alongside her family.

Shila uses social media to give followers a glimpse into what it’s really like living within one of the world’s most iconic natural landmarks. While she’s blessed with stunning scenery and access to the great outdoors, there are certain challenges that come with the territory.

One of her most popular videos shows Shila and her family undertaking an “eight-mile hike home” after missing their flight back into the canyon.

The family resides in the renowned Supai Village, nestled at the canyon’s base. This isolated settlement can only be reached by an eight-mile hike, helicopter, or mule ride.

Serving as the capital of the Havasupai Tribe, the village is celebrated for its striking turquoise waterfalls and close-knit community. Residents have access to a shop stocking essentials, a post office, a school, and even a café. Shila’s hiking video attracted many comments from captivated TikTok viewers.

One person asked: “So beautiful!! How long did it take?” Another said: “The real American people.”

A third viewer shared: “I got the privilege to visit your home years ago. Thank you.”

Someone else recalled: “Sister and I hiked at night to avoid the heat. Miss this place so much.”

Among Shila’s other widely-viewed videos is footage captured while she and her family embarked on a shopping trip outside the Grand Canyon. In the clip, Shila is shown boarding a helicopter for her journey home. Footage captured from beneath the aircraft reveals their shopping secured in an external sling load, which dangles from the helicopter’s body using a cable and cargo hook.

Shila and her family aren’t the only ones living there, though. More than 2,000 residents also live in the Grand Canyon, based at Grand Canyon Village on the South Rim.

The couple quit their jobs and sold all their belongings so they’d be free to travel the world and on a recent adventure, they decided to book a ‘giant waterslide’ but it was very different to what they expected

A couple booked what they believed to be a “giant waterslide” while abroad on holiday – but the reality of their booking was jaw-dropping. Many people plan adventure holidays or book to go travelling in a bid to see more of the world.

Couple George and Crissa decided to quit their jobs and sell all their belongings so they could jet off on “the journey of a lifetime”. Originally from Tampa in Florida, US, they document their adventures on YouTube and other social media platforms like TikTok and Instagram.

On their YouTube channel, they explained their adventures initially began with the purchase of an RV, which they used to drive across North America for a year. In a recent clip, shared on TikTok, the couple shared their experience of a popular attraction in New Zealand.

New Zealand has long been a bucket list destination for countless people, thanks to its expansive, unspoiled natural scenery that’s seen it branded the “real Middle Earth”, a nod to the part it played in the making of the beloved Lord of the Rings trilogy.

It’s got a rich Maori culture, breathtaking fjords, varied wildlife, decadent and acclaimed wines, and much more. It’s also home to some exciting adventure hotspots and attractions, with George and Cris learning their perception of a “giant waterslide” was different to ZORB’s in Rotorua, NZ.

In a video shared on TikTok, the couple showcased the popular “slide”, which sees people jump into a giant inflatable ball and be pushed down “slides” made from the grassy, green hills.

Over the top of the clip, the couple added text which reads: “POV [point of view]: your husband books a ‘giant waterslide’ then realises that means something very different in New Zealand”.

In the caption, they explained: “Did you know you can roll down a massive hill inside a giant inflatable ball in New Zealand?! ZORB is one of New Zealand’s most iconic bucket list experiences.

“Spinning, bouncing, and laughing your way downhill in a transparent orb. It basically feels like you’re in a hamster ball water slide.”

Of the cost, they revealed they “did the ‘four ride combo’ for NZ$155/US$100 (£72)” but added “there are several other packages” on the ZORB website.

In the comments section, fellow TikTok users were keen to share their thoughts. One person joked: “I can’t explain it… but I know I would drown.”

Another said: “I’ve done this … it’s like being inside a washing machine [crying laughing emoji] very fun even though you feel like you’re gonna drown half the time”.

A third had a different perspective and commented: “I’ve done this and it was the worst experience of my life”.

A fourth said: “Yeah you wouldn’t catch me dead in one of those. I’m actually panicking at the sight of this”.

Someone else shared: “I did this back in 2018 and it was so fun! My life did briefly flash before my eyes though when I got stuck underwater beneath my two friends”.

One TikTok user revealed: “I got so much anxiety doing that, felt sick, was horrible, will never do it again”.

Another added: “Tempted to fly to New Zealand exclusively for this.”