truth

SHE is one of the most recognisable women in music – but what does it take for some people to be convinced Avril Lavigne is not who she says she is?

The punk-pop icon rose to international stardom in the Noughties – but as her popularity peaked, a strange and startling rumour was also gaining traction in the shadows.

The theory is as puzzling as it is disturbing – a dead Avril, a body double named Melissa and a supposed Hollywood cover-up – and like the catchiest pop song, it refuses to leave.

Born in 1984 in Canada and raised in a strict Christian household in sleepy Napanee, Ontario, Avril grew up in a small town of roughly 5,000 where her parents closely monitored her music choices.

But the precocious teenager was already plotting her escape, writing poems, learning guitar and gravitating towards the town’s grunge scene before her singing talent caught the eye of her first manager at a 1999 bookstore performance, aged just 14

With her parents’ blessing, she quit school and headed to New York with her brother, where she worked with a professional producer before landing a two-album deal worth around $1.25million at just 16.

Avril’s 2002 album debut saw her rise to fame go stratospheric. However it also contained the germ of the conspiracy theory that would go on to haunt her for years.

The album, titled Let Go, would later be believed by theorists to be a symbolic reference to her being replaced by another lookalike young woman.

Adding fuel to the conspiracy was the star’s grief following her grandfather’s death in 2003 – which believers would later say was the final chapter in the “original Avril” story. They claim that grief was so overwhelming, tragic Avril took her own life.

The bizarre theory appears to have first appeared nine years later when in 2011, a Brazilian fan page called Avril Está Morta – meaning Avril is Dead – launched the morbid rumour into the world.

It claimed the eyeliner-clad star was no longer alive – and had been replaced by an eerily similar young woman.

For years, internet sleuths have remained convinced that the Sk8er Boi singer died by suicide shortly after achieving mainstream fame, allegedly overwhelmed by her grief and the pressures that came with becoming a global pop star.

But the story doesn’t end with her supposed death.

Her record label at the time, desperate to protect its lucrative investment, allegedly concealed the tragedy and brought in an actress named Melissa Vandella to replace Avril.

The theory claims Avril’s then-label, Arista Records, buried her death and installed Melissa in her place to keep the lucrative hitmaker churning out music. The Sun has contacted Arista Records for comment.

Melissa, believers say, looked sufficiently like the singer to fool the world – allowing the machinery of Avril’s career to keep moving while the real star was supposedly gone.

While deeply distressing, at that time the macabre theory was at least only circulating on the fringes of the internet.

That was until American journalists at BuzzFeed tweeted about the Brazilian blog and the obscure rumour was thrust into mainstream music folklore.

In 2017, a viral thread racked up hundreds of thousands of retweets, exposing millions of social media users to the supposed Avril “clone” theory.

The chilling truth behind this morbid phenomenon says more about those spreading it than its star subject.

Experts say these theories can often come from people who are seeking a purpose in life.

They will find and obsess over even the most minor changes in the life of another person – often a high-profile celeb – to feel as though they have achieved something.

Daniel Joll, an assistant Professor in Social Psychology at the University of Nottingham, tells The Sun: “Conspiracy theories are a fertile ground for people feeling uncertainty in life.

“When they find something they can be a part of and investigate, it makes them feel like they’re almost becoming a journalist and that makes them feel important.

“This is also about people wanting to be unique by saying something or being a part of something that is out of the ordinary.”

Conspiracy theorists began comparing photographs from the beginning of Avril’s career with images taken after the rumours started, searching for proof that the woman in front of the cameras was not the same person.

Online truth-seekers even saw that she once wrote “Melissa” on her hand in a photoshoot.

To believers, it was practically a confession hiding in plain sight.

But that is where the theory’s elaborate house of cards begins to wobble.

The “Melissa” photograph was later explained as part of a promotional photoshoot in which Lavigne wrote supporters’ names on her skin and on paper.

Theorists still argue this was either an intentional leak by the body double signalling her true identity, or an insidiously dropped clue by her record label.

It is catnip for the internet: just outrageous enough to be dismissed, yet just plausible enough to make you wonder whether there might be something hiding beneath the surface.

Avril is far from the first celebrity to become the subject of a completely unverified cloning conspiracy theory.

One of the most famous examples dates back to 1969, when fans became convinced Beatles legend Paul McCartney had died in a car crash and been secretly replaced by a lookalike.

The theory exploded after The Beatles released Abbey Road, with fans scouring songs and album artwork for supposed clues.

Some even believed John Lennon could be heard saying “I buried Paul” in Strawberry Fields Forever.

John later said the line was actually “cranberry sauce”, while McCartney himself dismissed the rumours in a November 1969 interview with Life magazine.

Fans have also claimed Tupac Shakur faked his death, while a 2020 music video featuring a deepfake of the rapper reignited speculation.

What is key to giving these theories life is that they are outrageous enough to grip people while remaining vaguely believable.

Prof Jolley adds: “The reason why people are so stuck on Avril is because the theory is plausible.

“When there is the slightest chance of plausibility, people will cling onto it and keep going and keep digging.

“This one feels plausible because it could be true. The possibility of truth can tickle people’s fancy.”

Every perceived alteration became another piece of their puzzle.

Early Avril had become synonymous with the scruffy skater-punk image that helped make her famous, often appearing in baggy trousers and neckties.

Suddenly snaps of the eyeliner smeared rock queen appeared to have had been wiped off the internet.

Her trademark middle finger was tucked away, while the loose tie slung over a shirt – once part of her pop-punk armour – had been consigned to fashion history.

The woman who emerged afterwards looked markedly more polished, with skirts and dresses replacing the tomboyish uniform and pink make-up softening the rebellious image.

Some went as far as being convinced that the shady puppet masters of the Illuminati had cloned Avril and replaced her with an actual laboratory-grown clone rather than a hired lookalike. Bizarre, right?

The Illuminati, believers claim, is an elite society that frequently targets the world’s biggest pop stars and turns them into puppets of their secret cabal.

The new bubble-gum pink pop girl was allegedly spotted glitching during red-carpet interviews where she paused, blinked rapidly, and answered questions flatly.

Believers refer to these as “clone glitches” or memory-wipe side effects.

Theorists started using photo overlay tools to track subtle shifts in Avril’s facial symmetry, jawline angle, and earlobe detachment.

The theory claimed bones do not radically change shape after adolescence; therefore, differences in the bridge of her nose and her jaw structure prove a physical imposter.

Professor Jolley adds: “These theories are made up to captivate our attention.

“I believe clones are just an intriguing application.”

And then came the clue conspiracy theorists found hardest to scribble away: Avril’s handwriting.

To believers, the change was more than a few wonky letters.

They began placing samples of Lavigne’s handwriting from different periods side by and poring over the shapes, slants and flourishes as though they were forensic investigators examining a ransom note.

Every loop, every letter and every flick of the wrist became potential evidence.

Conspiracy theorists claiming that the handwriting before and after the alleged switch looked fundamentally different.

Then, Under My Skin, Avril’s second album released in 2004, became another supposed treasure trove for believers hunting for hidden messages.

Slipped Away is also repeatedly cited as evidence, with its lyrics about someone disappearing and life changing forever interpreted as a veiled admission of Avril’s supposed death.

My Happy Ending has also been dragged into the theory, with fans searching its lyrics for signs of guilt, grief or a woman struggling beneath an identity that was never hers.

Appearing on Call Her Daddy podcast with host, Alex Cooper, Avril directly addressed the long-running internet theory and laughed it off calling it “dumb”.

The host, half joking and half serious, asked her: “So, is your name Avril Lavigne or Melissa Vandella?” The singer wasn’t too bothered and replied: “Obviously I’m Avril Lavigne.” Obviously…

The 39-year-old went on: “On one end, everyone’s like, ‘You look the exact same. You haven’t aged a day.’ But then other people are like, there’s a conspiracy theory that I’m not me.

“Honestly, it’s not that bad. It could be worse, right?” Lavigne laughingly admitted. “I feel like I got a good one. I don’t feel like it’s negative. It’s nothing creepy.”

Cooper told the star: “What’s crazy is you haven’t aged. I’m staring at you. And, like, I’m picturing you with your auburn hair. And I’m like, oh my God. You literally look the same from when you were younger.”

It’s all fun and games turning freckles into “evidence” – counting spots on an arm as though a decade of sun exposure somehow comes with a cloning certificate.

But behind the bizarre conspiracy theories was a very real battle. Lavigne, who was diagnosed with Lyme disease in 2013, later described that period as the “worst time of my life”.

The Sun has reached out to Avril Lavigne’s management and past and current record labels for comment.

SHE’S long been known as one of Towie’s most fiery personalities, but Ella Rae Wise has now broken her silence on a fresh fallout with a co-star – and revealed exactly what’s going on behind the scenes with an ex she once couldn’t be in the same room as.

Speaking to The Sun, the 26-year-old lifted the lid on the real story behind her rocky relationship with former best friend Dani Imbert, addressed another friendship that has quietly crumbled away from the cameras, and explained what it’s actually like filming alongside ex Dan Edgar these days.

When it comes to Dani, Ella insists there was never one big bust-up, but rather a realisation that the loyalty she was giving out wasn’t being returned. 

She said: “I would just say we decided not to be friends anymore. I don’t really know why on her behalf, but for me people always scream loyalty, but when the shoe is on the other foot, loyalty probably isn’t that strong towards me. 

“But I’m the one that needs to be seen to have loyalty everywhere and cut my nose off to spite my face. With this specific friendship, she was okay doing what she wanted to do behind my back with people who didn’t like me. 

“So, it wasn’t a mirrored friendship. It was one-sided is how I feel. With time going on, I think I prepared myself for this… I could see it coming.”

Ella and Dani first became close after Dani joined the show in 2021, quickly forming an inseparable trio alongside Junaid Ahmed that dominated cast trips, nights out and red carpet appearances for the best part of two years. 

Cracks first appeared in early 2023 when Dani admitted on camera to lying to Ella about a secret kiss with co-star Roman Hackett, but the real turning point came later that year during a cast trip to Cyprus, when Ella fell ill and says she was left feeling completely “frozen out“ by both Dani and Junaid. 

Matters were made worse when Dani and Junaid began socialising with Chloe Brockett – Ella’s long-running nemesis on the show – something Ella viewed as the ultimate betrayal, accusing Dani during fiery on-screen rows of being spineless and easily led by Junaid.

The pair did appear to patch things up by March 2024, but Ella admits the relationship never really recovered, and their apparent truce hasn’t lasted. 

In a teaser shared on Towie’s socials with Ella and her co-star Jodie Wells, Ella reflected on a moment where she found herself defending Dani in her absence, saying: “I defended her in a room she wasn’t in with Jonnie… why was I being so nice?” 

Jodie pointed out that Ella had been “really defending Dani… which is really nice considering she wasn’t being that much of a friend to you at that time,” before asking where things stand between them now. 

Ella replied: “I’d say the friendship is probably quite non-existent. I didn’t ever think I’d be in this position with Dani. We’ve fell out before and we always made a pact that we wouldn’t fall out again.”

But it seems the girls have gone back on their word, with Ella adding: “I don’t see where the friendship can go,” while Jodie suggested: “Maybe you’ve outgrown each other.” 

Asked by The Sun whether she and Dani have fallen out again, Ella made her feelings clear, admitting there’s little chance of a reunion this time round. 

The pair have now settled into two firmly separate camps within the cast, with Dani remaining closely aligned with Freddie Bentley, while Ella sticks by her pal Harry Derbidge.

The two groups manage to film together during big cast scenes and parties, but rarely mix on a personal level.

Dani isn’t the only co-star Ella has fallen silent with, though.

She also confirmed she and former best friend Freddie are no longer on speaking terms, telling us bluntly: “No. I’m alright with it, though. I don’t feel any type of way about it.”

Ella and Freddie were close pals long before Freddie officially joined the show and, when he did make his debut, he wasted no time stepping up as one of Ella’s fiercest defenders on screen, backing her throughout her dramatic falling out with Dani and Junaid. 

The two became practically inseparable, filming together constantly and championing one another in the media, but their bond hit a wall during a Towie Christmas special when an explosive row – fuelled by shifting group loyalties and Ella’s closeness with Harry Derbidge, who already had history with Freddie, triggered a complete breakdown in their friendship. 

Freddie later confirmed on GK Barry’s podcast Saving Grace last year that the pair were “not friends” anymore, and while the two briefly appeared to patch things up during a cast trip to Vietnam earlier this year, secondary drama involving Saffron Lempriere and Elma Pazar reignited old tensions, with a frustrated Freddie quitting the trip early and flying home. 

Freddie has since buried the hatchet with Harry but, as Ella’s own words confirm, his friendship with her shows no sign of being repaired heading into the new series.

Dani and Freddie are far from the only names on Ella’s list, either – the star has built up something of a reputation over the years for falling out with those closest to her. 

Her rivalry with Chloe Brockett remains one of her longest-running and most explosive, with the pair’s friendship collapsing not long after they joined the show together in 2019 when Ella began dating Chloe’s ex, Harry Lee – a feud that has seen the two repeatedly clash on camera ever since, each branding the other insincere. 

Her fallout with Junaid also stemmed from that same Cyprus trip, with Ella accusing him of being controlling and toxic and of deliberately turning mutual friends against her. 

Meanwhile her relationship with Amber Turner has been fraught since 2022, when Ella claimed Amber’s then-boyfriend (and her now-ex) Dan Edgar behaved inappropriately towards her on a night out. The feud reignited in 2024 once Amber and Dan split and Ella and Dan struck up a holiday fling of their own while filming in Bali.

Which brings us to the one relationship that, remarkably, appears to be going in a positive direction. 

Despite that turbulent history, Ella insists she and Dan have found a way to move past their issues, telling us: “We’re literally amicable, polite to each other, keep it moving. And it’s easy because we’re in the same group. 

“The boys banter it and break up the awkwardness. It’s been fine. This series has really been a good series for me. I’m feeling comfortable around everyone.”

It’s a far cry from the tension that once defined their dynamic, after Ella and Dan’s relationship first hit headlines in Bali following his split from Amber.

Things later boiled over during the cast trip to Vietnam for season 36 when Courtney Green accused Dan of “flirting” with Ella and being disrespectful to his then girlfriend Chloe Lewis. 

But with their wider friendship group having shifted considerably since then, the pair have settled into a far calmer footing – something Dan himself has previously credited to their mutual closeness with Jodie Wells and James “Diags” Bennewith.

As for her own life away from the group dramas, Ella tells us this series has marked a real turning point in how she feels in herself. 

She said: “It’s been fun. It’s been nice to do different things and have happy moments. This series is so different. So much better. 

“The change is probably how I feel in myself. I think I needed to focus on how I feel in myself to be able to get over things. So, I did that, and yeah, I’m over it!” 

She added that rebuilding her confidence has come from learning to love herself again and leaning on easier, less intense friendships, saying: “I think it’s more finding love for yourself again. That comes in time, doesn’t it… And the friends you have around you. That’s changed.

“I have a lot more easy-going friendships. They’re not hard work. We don’t have to be attached to each other 24/7. We’ve all got our own lives. It’s been good.”

Ella’s newfound sense of stability comes as she’s also settled into a new romance away from the cast, having gone public with new boyfriend Ricky, 34, in early August while on holiday with mutual pals Lorri Haines and Ferne McCann. 

The pair were pictured kissing at Marbella’s luxury Don Carlos Hotel and even sparked marriage rumours after Ella was spotted wearing a gold band.

TOWIE continues on Sunday and Monday every week on ITV2 & ITVX.

Rachel Cusk is not a people pleaser. The prolific, award-winning British author’s novels are often plotless, discursive and frustratingly obtuse. Yet Cusk has found a large fan base for her work, mainly because she is a deft excavator of the human psyche, a writer who can articulate emotional states with uncanny precision and insight.

On a formal level, Cusk’s new book, “Life Of M,” closely adheres to the rigorously calibrated approach that has been so successful for her across 11 novels. In classic Cusk fashion, “Life of M” unfolds from the inside out. It is resolutely internal and hermetic, told from the point of view of a highly observant and self-conscious narrator. When Cusk writes that a character’s smile “had a sweetness that almost seemed to reproach those who looked at it for their dim and suspicious view of life,” it’s that “almost” which saves the line from sinking of its own weight, one of Cusk’s nuanced brushstrokes that give her prose lift and bounce.

“Life of M” is a two-hander. The primary driver of the narrative is an unnamed writer who has approached a famous actor — the M of the title — with the proposition of ghosting her autobiography. This is the extent of Cusk’s setup. The novel is about as stark and stripped of biographical details as a Samuel Beckett story. Cusk is far more interested in how the writer’s identity is unmoored by the actor, and how the world bends to M’s will and thus changes its shape in her presence: “Standing in the street, I realized that I could not be myself around M. She was friendly, generous, disarmingly modest, yet everything I did or said in her company was false. It was as if I was acting, while M came across as authentic and real.”

Author Rachel Cusk

(Siemon Scamell-Katz)

Interspersed between these scenes are chapters that shift time and tone. They appear at first to be the writer’s own story, reflections on the past and life apart from M; the “we” in these sections might be referring to siblings or partners. But they are too strange to be memoiristic: “In the evening we flower; like strange nocturnal plants we put out our display.” Then: “Even if we spend the evening at home this feeling of integration, or our interior and our exterior fusing together, occurs.” Are we in M’s head? Is the collective pronoun meant to be a proxy for her private and public selves? These sections are the least effective parts of Cusk’s book, as they are frustratingly indeterminate and hazy.

As the writer and the actor spend time together, and the narrator tries to pry open some small window into M’s psyche, the process of gathering material is constantly being thwarted by M’s casual instructability. It seems M has perfected the art of using candor as a carapace, so that the image of her authentic self recedes the more Cusk’s writer spends time with her. M is not governed by the usual impulses of the civilian; she has no use for love or hate, desire or abnegation. “Acting involved pretending to be other people, whose own emotional states —such as she understood them — could preoccupy her for a time,” writes Cusk. “Once they were completed, she was as locked out of these recordings as the millions of other eyes that watched them.”

M and the writer move through highly mediated spaces that amplify certain features and downgrade others, a kind of edited, hyperreal landscape. M researches a part in a mansion that has been meticulously art-directed to resemble the house of a family who in fact never lived there. Cusk describes these spaces in great detail, as if they were fetish objects. The mansion’s interior is “not heavy or dark,” she writes, “rather it is light and mellow and the panels have finely carved patterns around their edges.” It is the seduction of surfaces Cusk is exploring here, the ways we are taken in by so much that is chimerical: lavish interiors, actors, our own doubled selves.

Cusk has previously explored this gap between truth and signifiers of truth in her “Outline” trilogy. But “Life of M” feels different, perhaps because the world feels far different than it did eight years ago, when “Kudos,” the last book in the trilogy, was published. Now that we have fallen straight through the looking glass of the internet, that gap has narrowed to the extent that we are having far greater difficulty discerning reality from its uncanny simulations. Sadly, we are complicit in this occluding of authentic experience. Millions of us toggle so frequently between our real lives and the well-curated fantasyland of our social media personas that it’s scrambled our neural pathways. We are living the double consciousness of public figures no less readily than a celebrity like M. The notion of a “complete inversion of internal and external that fame brings about” is no longer exclusive to the famous.

According to internet gossip, Cusk’s M is in fact a shadow portrait of Natalie Portman. And there are strong hints in the text that indicate this might be the case. But to think of this novel solely as a journey to the center of Portman’s mind is not only irrelevant; it cheapens Cusk’s project. What the novelist is getting at here resonates far beyond a single celebrity. This is a short, potent book that has much to say about the spiritual rot of our present culture.

Weingarten is the author of “Thirsty: William Mulholland, California Water and the Real Chinatown.”

SHE’S been an integral part of the Kardashian family’s success for the last decade. 

But recently it seems things between businesswoman and Dragon’s Den star Emma Grede and the KarJenners – especially Khloe, 42 – have cooled off dramatically. 

Emma, 43, and KoKo partnered to launch denim brand Good American back in October 2016, which made a staggering $1million in its first day.

But fast forward ten years, and while Khloe remains an owner of the fashion line today, she’s since expressed she no longer feels the need to be as involved.

“Good American is doing so well, and Good American is strong enough and stable enough to sustain on its own,” she explained during a recent episode of her podcast Khloe in Wonderland.

With Khloe and Emma now spending less time working together their friendship has essentially dissolved, The Sun understands.

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A well-placed insider tells us: “Over time, Khloe just wasn’t as involved – she started cancelling events and not promoting the brand.

“She has a lot on in her personal life, as fans know, but Emma is a businesswoman first and foremost and that just didn’t wash with her. 

“Khloe has so much going on and it just wasn’t a priority in her life. In theory, Khloe is still the founder of Good American but it’s Emma who does the hard work behind the scenes. I don’t think Khloe & Emma are on speaking terms now.”

Earlier this year, Khloe dropped the biggest hint yet she was ‘consciously uncoupling’ from her friendship with Emma when she unfollowed her on Instagram. 

Our source adds: “They are both smart women who realised it was time to part ways professionally, and they had to navigate it carefully so the brand wasn’t damaged as they are both heavily involved.”

After setting up Good American with Khloe, Emma later teamed up with Kim, 45, to work on her shapewear line SKIMS which debuted in 2019. 

And she also joined forces with Kylie Jenner, 29, in 2023 to launch her fashion brand KHY.

But in recent years Emma’s own star has been on the rise. She joined Dragon’s Den in 2024 and she’s been a recurring guest investor on the American version Shark Tank since 2021. 

She launched her podcast Aspire in 2025 and earlier this year released her book Start With Yourself: A New Vision for Work & Life. 

The Sun understands that, while she was initially happy to fade into the background on projects with the Kardashians, Emma is keen for her hard work to be seen these days. 

“As her profile has grown over the last few years, Emma wants her own hard work recognised,” an insider said. “Good American was Emma’s brain child, but it was Khloe’s investment and her profile that made it happen.

“The fall out with Khloe didn’t affect Emma’s relationship with Kim or the rest of the family, they’ve compartmentalised that off, but it’s very much a business-only relationship. 

“Emma is still very involved with Skims, and despite Kim being a mum of four, she’s still extremely hands on and promotes the brand all the time.”

Fans were left convinced that Emma was taking a swipe at Khloe during an interview with Cardi B on her podcast earlier this year. 

Rapper Cardi, 33, said: “Oh my God, please y’all – if you ever want to build something, please choose good partners.

“Not everybody with money [is a] good partner. I’m telling you.”

Sparking speculation that she was taking aim at Khloe, Emma was quick to quip loudly: “Oh yeah, say that again…”

Our source added: “Going their separate ways professionally has not been easy and it has affected Emma and Khloe’s friendship, because it’s hard to move past ending a working partnership and there are grievances on both sides.”

The Sun has reached out to representatives for Khloe and Emma for comment.