RAPPER Chris Brown footed a £160,240 booze bill during a wild night out in London.
The US star — on bail for assault — partied with his entourage in the capital ahead of his trial next year.
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Rapper Chris Brown footed a staggering booze bill during a wild night out in LondonCredit: GettyBrown’s bill included five bottles of Cristal Magnum aT £2,900 eachA receipt from Brown’s wild night showed the total bill of more than £160,000Credit:
One session involved at least four bottles of £2,900-a-time Louis Roederer Cristal Magnum Champagne at the Selene nightclub, which promises “the epitome of ultimate pleasure”.
Days later, the West End club posted the anonymous megabucks receipt on social media.
Some of those who partied with him — including models and other rappers — have revealed Chris footed the bill.
His entourage also posted the receipt alongside shots of a private jet and luxury hotel suites from his ten-day visit, after he flew in on October 18.
Diane Ladd, the Oscar-nominated actor who received acclaim for her work in films including “Rambling Rose,” “Wild at Heart” and “Alice Doesn’t Live Here Anymore,” has died. She was 89.
Oscar winner Laura Dern, Ladd’s daughter with Oscar-nominated actor Bruce Dern, announced her mother’s death in a statement shared Monday. “My amazing hero and my profound gift of a mother, Diane Ladd, passed with me beside her this morning, at her home in Ojai,” Dern wrote. A cause of death was not revealed.
“She was the greatest daughter, mother, grandmother, actress, artist and empathetic spirit that only dreams could have seemingly created,” “Marriage Story” star Dern said in her statement. “We were blessed to have her.”
This summer, Netflix’s animated hit “KPop Demon Hunters” might have created the most popular K-pop girl group in America. And seemingly the only people unaware of that distinction are its members.
“Is that what it is?,” asks Rei Ami, who with fellow artists Ejae and Audrey Nuna forms the film’s fictional trio Huntr/x. “Is that what it’s being labeled as?”
The stats are behind them: “Golden,” a contender for the Oscar for original song, hit No. 1 on the Billboard Hot 100 for more than eight consecutive weeks, with three other numbers earning a place in the Top 10. As a result, the film’s soundtrack hit No. 1 on the Billboard 200 and recently went platinum. With success has come an array of other opportunities as well. The group have since made a cameo on “Saturday Night Live” and performed on “The Tonight Show Starring Jimmy Fallon.”
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But as Ejae points out, theirs has not been the usual route to K-pop stardom. A former K-pop trainee herself, she notes that many hopefuls spend years developing their craft and chemistry with future group members. “We were all individually our own person. They had their music career, and I have my career as a songwriter,” she says. “[Becoming a K-pop group] later is unheard of with K-pop training. You do it when they’re kids, before anything [can develop], so they can shape them together, whereas we’re our own individuals coming together. Having this synergy is incredibly rare.”
That’s what singing in the most-watched Netflix film of all time will do for you. Premiering in August, “KPop Demon Hunters” propelled the members of Huntr/x — all of them already established in the industry, Nuna and Ami as artists and Ejae, who recently released her first solo single, as a songwriter for K-pop groups — into a new intensity of spotlight. (Ejae also wrote several tracks for the film, including “Golden,” with co-writers Mark Sonnenblick, Ido, 24 and Teddy.)
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1.Rei Ami is the singing voice for Zoey.2.Ejae is the singing voice for Rumi.3.Audrey Nuna is the singing voice for Mira.(Justin Jun Lee / For The Times)
“We were thrown together, basically,” says Nuna. “I’ve seen photos of us and I [thought], ‘Damn, we look like we were perfectly calculated to be in this group.’ The balance is nuts. But to think how serendipitous it was that this happened — we didn’t audition in rooms or go through multiple rounds of pairings to find each other… It just speaks to the beauty of the universe and how things go and when things just happen.”
In fact, the singers did not even meet until nearly five months ago, on the carpet at the film’s premiere. They recorded their parts separately with executive music director Ian Eisendrath, who then worked with the music team to edit them all together.
Ami was the last to record her part, which meant she got to hear “This Is What It Sounds Like” in its entirety with all the voices meshed together. The moment recalled the film’s final scene, in which Huntr/x — whose members double as the demon hunters of the title — reunites to fight the main villain to the sounds of the very same song, when “This Is What It Sounds Like” plays.
“I got to hear the song in full and all of our harmonies for the first time,” she recalls. “I was completely moved. I knew in my heart that this was going to be great.”
Still, they never expected the film to become a global phenomenon, resulting in their now chaotic schedules filled with press interviews, panel engagements, media appearances and special performances. Ami smiles, “We’re doing our best.”
Through it all, they’ve hyped each other’s achievements and held hands while expressing their appreciation for each other.
“These women have worked so hard on their journeys individually,” says Ami. “The industry has been so tumultuous, and the amount of pain, struggle, blood, sweat and tears that we’ve individually had to deal with … These two girls are the only ones in the world who will fully understand what I’m going through. I can’t talk to anyone else about this. Only they understand, and I feel so supported and not alone.”
They all clasp hands, with Ami telling the others, “I love you guys.”
And, for all the challenging moments, they are immensely grateful for the chance to fulfill their dreams. They all express their gratitude for the opportunity, as it has always been their dream.
“Literally, a month before the movie came out, I was doubting myself as a songwriter,” Ejae explains. “My goal was to get No. 1 on the Hot 100. I was going to do that — move to California, write so many sessions, and get No. 1. It felt impossible.”
“Those are all things we have on our bucket list,” Ami, right, says of the prospect of performing at the Oscars or Grammys.
(Justin Jun Lee / For The Times)
Ami becomes emotional about the film’s success when she talks about its impact on her career.
“I’m so blessed,” she says, holding back tears. “It’s really introduced me to more fans and new fans. This whole experience has taught me a lot about myself and what I want to do as an artist. My dreams are coming true.”
That hasn’t necessarily been the experience for her groupmates, though. “It takes a very long time [for me] to process and metabolize emotions,” Nuna says of her own lack of waterworks. “I’ve never wanted somebody to cry so much in my life,” Ami chimes in, laughing. “Feel something!”
The “instant chemistry” displayed in their interview was recently on display when the three were asked to perform “Golden” together for “The Tonight Show Starring Jimmy Fallon” — their first as a group. And the more they rehearsed, the more they cohered. Just like a real K-pop group.
“It’s really wild and weird,” says Nuna. “Honestly, the mesh of our voices just felt so intuitive. It was very organic and easy. The song is not easy, but the mesh and connecting were. It was literally our first time singing together, and I feel like we were hearing overtones in our harmonies and stuff, because they’re just really locked in.”
Awards buzz, for both the Oscars and the Grammys, has come as a surprise to the group, but it leads to questions about reuniting Huntr/x onstage at the biggest pop culture events of the year.
“[Performing at the Oscars or Grammys] would be the biggest deal,” says Ami. “I think we can all relate. That’s probably one of the highest accolades and achievements you can accomplish as an artist, songwriter, and producer. Those are all things we have on our bucket list.”
The trio hasn’t thought far enough ahead about an actual performance on either stage, as they’ve only recently begun rehearsing together.
“Jimmy Fallon will be a good practice,” Ejae laughs. “Good warm-up preparation.”
Indeed, though they have joked about forming a (real-life) K-pop group, all three are busy with individual projects — at least for now.
“If we were to get together, the charts better watch out!” Ami shouts. “You might not ever see another name other than us.”
The village was once a rival to London and an important medieval hub. But a series of unfortunate storms meant much of it was lost to the sea and now lies under the water
The village of Dunwich was once the capital of East Anglia but was lost to storms and floods(Image: Getty Images/iStockphoto)
A tiny village that was once a medieval port and considered the capital of East Anglia is the perfect day out for history buffs or those who love quiet, windswept beaches.
In Anglo-Saxon times, Dunwich on the Suffolk coast was the heart of what was then called the Kingdom of the East Angles. Its international port was considered a rival to London, and the Domesday Book of 1086 revealed it had a population of over 3,000 people. This was a time when London’s population was just 18,000.
However, the town’s fortunes changed in 1286 when a storm surge hit the area, followed by two large weather fronts the next year. This caused major coastal erosion, which led to large parts of the town being submerged underwater. In 1347, it’s thought that 400 homes were swept into the sea, with most of the remains of the town destroyed in 1362 in Saint Marcellus’s flood. Around 25,000 people across Europe lost their lives in the tragic event.
Because of its unique past, Dunwich is often dubbed the ‘lost city of England’ and draws comparisons to the legendary island of Atlantis, which, according to myths, sank under the sea.
Dunwich Museum is a great way to learn about life before the floods. Researchers have mapped out where the old homes and buildings used to stand before they were lost to the sea, and you can see these maps at the museum. There are also many interesting displays about medieval life and artefacts from the time.
Only a few ruins remain from medieval times. One of the most complete buildings is the Greyfriars monastery. This was built around half a mile inland, after the original monastery closer to the coast was lost. The ruins include the grand entrance to the monastery and part of the refectory where the monks would eat.
National Trust’s Dunwich Heath and Beach is an unspoilt spot with some beautiful walking trails. The Heath is full of rare wildlife and birds, and you may be able to spot red deer and otters on your stroll. Dunwich’s wide shingle beach is a popular spot for fishing and paddling in the sea.
Not all ships en route to Dunwich made it safely, and researchers have worked to uncover a large number of shipwrecks off the coast. According to the East Anglian Daily Times, there could be as many as hundreds of ships in a shipwreck graveyard off the coast, many of which sank during World War I when shipping routes were attacked.
Once you’re finished exploring, visit Flora Tea Rooms, a traditional fish and chip restaurant on the beach that also serves British classics such as afternoon tea. The village has one pub, The Ship at Dunwich, a cosy spot with a beer garden and beautiful countryside views. It also has 16 rooms if you decide to stay and enjoy this peaceful village for longer.
Dunwich is also close to the RSPB Minsmere, a coastal nature reserve that includes areas of woodland, reedbeds, grassland, and heathland. Among the unspoilt landscape, you can spot wildlife, from a vast array of coastal birds to Water Voles.
“What a horrible story! What a hideous play!” a theater critic for the Daily Telegraph lamented after the London premiere of “Hedda Gabler” in 1891. Victorian audiences were repelled by Henrik Ibsen’s fatally attractive newlywed who appears to have it all — the fancy house, the doting husband — only to be violently bored.
But writer-director Nia DaCosta (“Candyman,”“The Marvels”) and her star Tessa Thompson understand Hedda down to the pretty poison in her molecules. Their rollicking redo, set from dusk to hangover at a drunken bacchanal, is vibrant and viciously alive. With apologies to Ibsen’s ghost, DaCosta’s tweaks have sharpened its rage. I don’t think that long-dead critic would like this “Hedda” any better. I think it’s divine.
Thompson’s Hedda is a clever, status-conscious snot raised to believe that her sole purpose is to be a rich man’s wife. With no hobbies or career and no interest in motherhood, her only creative outlets are squandering money and machinating the success of her milquetoast husband, middlebrow academic George (Tom Bateman), who has such a flimsy hold on his bride that his last name might as well be attached to hers with Scotch tape. (It’s Tesman and it’s pointedly rarely used.) Hedda doesn’t love George. In fact, she seems to think he’s a whiny little worm. But she’s dead-set on securing him a promotion to afford her expensive tastes.
If Hedda had been born a man, she’d be leading armies into battle like her late father, General Gabler, who spawned her out of wedlock. Instead, she takes out her aggression on civilians. Using her charm offensive, Hedda goads naive spouses to cheat, recovering alcoholics to drink and depressives to wander off into the darkness with a revolver. Some of her havoc is calculated, most of it is out of pique that others are living braver, more fulfilling lives. All of it feels like a cat tipping over water glasses just to see them shatter. Like the nasty seductress of “Dangerous Liaisons,” she’s a warning that frustrated women aren’t merely a hazard to themselves — they’re a menace to the society that made them.
Inspired by her antihero, DaCosta manipulates Ibsen to suit her own goals. She’s updated the play’s setting to 1950s England, a similar-in-spirit era in which well-bred women were kept domesticated. (I can’t wait for someone to do a version among the tradwives of Utah.) From there, DaCosta has smartly tightened the narrative, which used to have a key scene at an off-stage bachelor party to which Hedda was pointedly not invited. “What a pity the fair lady can’t be there, invisible,” Ibsen’s Hedda grumbled at being left home while the men got to carouse.
In DaCosta’s version, the whole drama unfolds during a martini and cocaine-fueled rager at Hedda’s mansion, a party she’s throwing to impress George’s potential new boss, Professor Greenwood (Finbar Lynch), who she hears has a bohemian streak. At her own happening on her own turf, Hedda couldn’t be more visibly in command. She rallies the guests to hurl her former classmate, Thea (Imogen Poots), a wretchedly earnest drip, into a nearby lake and gets the whole room grooving to a dance band’s cover of “It’s Oh So Quiet,” the swinging hit that the Icelandic pop singer Björk would popularize a half-century later. It’s a great song pick with manic crescendos — You blow a fuse, zing boom! The devil cuts loose, zing boom! — that capture Hedda’s feverish mood shifts.
We know this evening will go wrong from the film’s opening shot of Hedda facing down two policemen who keep interrupting her explanation of the last 24 hours. “Where should I start?” she says with smothered exasperation. As we cut back to watch the night unfold, a shot of Hedda surveying the crowd from an upstairs landing feels like she’s looking at a game board — Clue, perhaps? — with a weapon stashed in every room. Which threat is most pressing? The pistols she keeps in a leather box, the precarious crystal chandelier or the lake’s deep waters outside?
Thompson is marvelous in the role. Even the way she chomps a cherry off a cocktail toothpick has menace. I first saw her as the lead in “Romeo and Juliet” at a 99-seat theater in Pasadena when she was barely 20 years old (there’s so much talent in our small stage scene), so it’s a nice reminder that the funny and soulful actor of the “Thor” and “Creed” franchises is also a hell of a good classical performer and a worthy star on her own.
She wears Hedda’s lovely mask with confidence — red lips, lush cheekbones, cool demeanor — and periodically allows it to slip. Editor Jacob Schulsinger often allows Hedda a tiny hesitation before she charges ahead ruining people’s lives, long enough to know that she’s considering the consequences. “Sometimes I can’t help myself, I just do things all of a sudden on a whim,” she admits to the nosy Judge Brack (Nicholas Pinnock), revealing a sliver of weakness. She’s almost (nearly) asking for help. Yet, the judge just wants to maneuver her into bed. How tedious.
DaCosta boldly layers race and sexuality on top of Ibsen’s tale. She’s gender-swapped Hedda’s ex-lover, Eilert, into a lesbian named Eileen (a swaggering Nina Hoss), a brilliant, openly norm-defying author who is George’s job-seeking competition (and the only person Hedda enjoys kissing). If earlier incarnations of Hedda didn’t dare defy social rules when she was white and straight, being Black and queer adds so much additional peril that the script barely needs to say out loud. The new tension is there in just a few whispers, as when Hedda overhears a guest murmur that their hostess is “duskier than I thought she would be.” Hedda doesn’t acknowledge the slight. That would mean admitting vulnerability. She simply starts destroying the speaker in the very next scene.
What’s wiser? Eileen’s determination to face down the boys and be accepted for her full self or Hedda sneaking around and steering everyone’s fates behind the scenes? They can’t team up — they’re doomed to tear each other to shreds. And as much glee as we get watching Hedda’s rampage, it aches to see these two formidable women reduce each other to hysterics (to use the medical diagnosis of the day).
From our 21st century perspective, they both have a right to be mad and they both might be mentally ill. DaCosta doesn’t offer a verdict, but she plunges us so deeply into Hedda’s headspace that we can hear how certain things set her off. Insults hit her with a knife-like hiss of air; fresh schemes get her charging around to Hildur Guðnadóttir’s tumultuous, percussive score.
Costume designer Lindsay Pugh has done incredible work outfitting the film’s central female roles. Hedda wears bullet-like strands of pearls that choke her neck and a jade-colored gown that seems to molder into a festering, jealous shade of green. When her rival, Poot’s Thea, arrives underdressed, Hedda forces her into a hideous frock with fussy bows and an ungainly skirt. Poots, her nose raw and red, her character kicked when she’s down, gamely looks a fright, trusting that moral fiber will expose Hedda’s ugly insecurities.
But Pugh’s stroke of genius is putting Eileen not in some sort of mannish suit but in a bombshell dress that highlights her curves like a primal goddess. It’s pure feminine power — just like the film itself — and when Eileen struts into a room of her all-male colleagues, that dress exposes how fast the tenor can shift from awe to jeers and how little wiggle room she or any woman has for error.
‘Hedda’
Rated: R, for sexual content, language, drug use and brief nudity
ST. PAUL, Minn. — Marco Rossi scored in the fourth round of the shootout and the Minnesota Wild beat the Kings 4-3 on Monday night after giving up a three-goal lead in the third period.
Power-play goals by Jared Spurgeon, Kirill Kaprizov and Matt Boldy gave Minnesota a 3-0 lead late in the first period.
The score remained until the third period when Kevin Fiala, Quinton Byfield scored early and Adrain Kempe late to send the game to overtime.
Fiala banked a rebound off the back of Jesper Wallstedt early in the third and Byfield added a power-play goal less than three minutes later to get the Kings to 3-2.
With an extra attacker, Kempe scored on a rebound with 44.4 seconds left in regulation for the Kings.
Darcy Kuemper stopped 23 shots for the Kings, who again struggled to stay out of the penalty box. Whistled for six infractions Monday, the Kings have been shorthanded 22 times in four games.
Making his season debut and first start since Dec. 21, 2024, Wallstedt made 31 saves for Minnesota. Vladimir Tarasenko had two assists.
Spurgeon scored 14:04 into the game with a shot from the right circle that went through a screen by Vinnie Hinostroza for a 1-0 Wild lead.
With a two-man advantage, Kaprizov scored from the slot just over two minutes later and Boldy skated in from below the right circle and his shot went off the glove of Kuemper at the post to make 3-0 at 16:33.
The Wild are converting on an NHL-best 47.1% of their power-play opportunities. Minnesota has scored eight times in 17 chances, including four goals in Saturday’s 7-4 loss to Columbus.
Kaprizov and Boldy each have a team-high three goals and seven points. Colorado’s Nathan MacKinnon and Martin Necas have a league-best eight points apiece.
No, it’s inconceivable that Philadelphia Phillies’ reliever Orion Kerkering would botch a grounder and throw it away with the season on the line.
Yes, it happened with the bases loaded and the Dodgers scored to steal a National League Division Series clinching 2-1 victory in 11 taut innings Thursday at Dodger Stadium!
Clinched, just in time.
Clinched, when they could have clenched.
Clinched, like a champion.
With their backs quickly approaching the wall, faced with a loss that would return the series to Philadelphia for a deciding Game 5, the Dodgers dug in and lashed out and, at the last possible minute, shoved the talented and favored Philadelphia Phillies out of their path to take a three-games-to-one series win and clear the way toward their second consecutive World Series title.
And they did it with a mad, mindless throw from a frozen, frightened reliever.
Has any postseason series ended with such an error?
It happened in the 11th, after Tommy Edman hit a one-out single to left, then moved to third one out later on a single by Max Muncy. Kiké Hernández walked to load the bases, bringing up the struggling Andy Pages, who entered the day with an .053 playoff average and had gone hitless in four previous at-bats.
He proceeded to hit into his fifth out… except Kerkering muffed the grounder. When the pitcher finally picked up the ball, he still had plenty of time to throw out Pages at first. Instead, he panicked and threw it home, launching it far over catcher JT Realmuto’s head.
Pinch-runner Hyeseong Kim scored the winning run as Kerkering stood stunned on the mound and the Dodgers danced wildly across the field.
How the Dodgers defeated the Phillies in the 11th inning in Game 4 of the NLDS.
They now advance to the National League Championship Series, where they will be heavy favorites against either the Milwaukee Brewers or Chicago Cubs.
A victory in that seven-game set will land them back in the World Series, where they will be even heavier favorites against whatever inferior team the American League can muster.
Yeah, the rest of their journey should be the easy part, the Dodgers already conquering their Goliath equal in a Phillies series that was essentially the World Series.
Remember last fall when they defeated the San Diego Padres in a tense five-game fight before cruising to the title? This was that. This was the two best teams in baseball. This was the Dodgers once again swallowing all the pressure and refusing to relent.
After a breathtaking six-inning scoreless pitching duel between the Dodgers’ Tyler Glasnow and the Phillies’ Cristopher Sanchez, the Phillies struck first in the seventh with a single, an error by reliever Emmet Sheehan, and a double by Nick Castellanos.
The Dodgers countered in the bottom of the seventh with two walks and a single followed by a bases-loaded walk drawn by Mookie Betts against closer Jhoan Duran.
This set the stage for the Error Heard ‘Round The World. This set the stage for what should absolutely be a second consecutive World Series championship.
Before these playoffs there was a lot of talk about the Dodgers’ late-season struggles that were symbolized by that blown no-hitter in Baltimore. They had no bullpen depth. They had no offensive patience. They were headed for another early October exit.
At least, that’s what outsiders thought. That’s not what the veteran, pressure-proof Dodgers thought.
“I think it boils down to the guys we have in the clubhouse,” said Max Muncy earlier this week. “We have a lot of experience, a lot of really good players. We’ve been there before. We accomplished it.”
Turns out, nobody knew the Dodgers like the players wearing the uniform.
“We knew who we are as a team all year long,” said Muncy. “Even though we weren’t playing up to it at certain points, we trusted who we were. Like I said, we knew who we were in the clubhouse, not one person faulted in there, even in the rough times.”
They were impressive in the four games against the Phillies. Here’s predicting they’re going to get even better before the month ends.
“I still think there’s another gear in there,” said Muncy. “I don’t think we fully reached where we can be at. And that’s not saying we are, and that’s not saying we aren’t. But I still think there’s a whole other level in there we haven’t reached yet.”
The Times’ Bill Shaikin quickly asked, “What would tell you you’ve reached it?”
