While Americans are nearing the end of Donald Trump’s term as United States President, some are going so far as to have him removed from Home Alone 2, including its star Macaulay Culkin.
Trump had a brief cameo in the 1992 sequel Home Alone 2, where Macaulay Culkin’s Kevin McAllister asks Trump, ‘where the lobby is’ and he replies, ‘Down the hall and to the left.’
Fans are now calling for Trump’s removal in the film, which has gained support from Culkin himself, as he revealed on Twitter.
One fan didn’t even ask permission, using some crude editing skills to remove both Trump’s likeness and voice from the cameo, so Culkin’s Kevin seemingly just asks where the lobby is to no one at all.
The original tweet, from Twitter user @maxschramp, went viral, with over 17K retweets and 101K likes, with Culkin chiming in, ‘Bravo.’
Another fan asked for a, ‘petition to digitally replace trump in ‘home alone 2’ with 40-year-old macaulay culkin,’ which Culkin replied, ‘Sold.’
Culkin is by far not the only person who wants to see the 45th President of the United States removed from the holiday classic.
Many have been taking to Twitter demanding Trump be removed, and there has also been a petition started at Change.org, but with a unique twist.
Kevin Broberg started the petition in November, asking Disney to not only remove Trump from the film, but replace him with President-Elect Joe Biden.
‘Home Alone 2 is tarnished. It has a racist stain on it in the shape of Donald J Trump. I petition that he be edited out of the film and replaced with Joe Biden,’ Broberg said.
‘Nothing ruins holiday cheer like a sexist, xenophobic, race-baiting bigot. For the sake of future generations, Trump must be replaced,’ he added.
The petition only has 185 signatures thus far, though if this or any other fan-based movements succeed, they won’t be the first to remove Trump from the film.
Last year, Donald Trump Jr. learned that his father’s cameo had been cut from the Canadian version broadcast on the Canadian Broadcasting Corporation.
Trump Jr. called the move, ‘pathetic,’ while his father tweeted, ‘I guess Justin Trudeau doesn’t much like my making him pay up on NATO or Trade! The movie will never be the same! (just kidding).’
It was later confirmed by CBC executive Chuck Thompson that the cameo was ‘edited for time,’ and that version has aired on CBC since 2014.
Adarsh Gourav is electrifying in the screen adaptation of Aravind Adiga’s bestseller The White Tiger — and he certainly suffered for his art.
Gourav plays Balram, an underdog, born to serve India’s idle rich, who clambers up a greasy, murderous pole. But when he went undercover in a village, to see what Balram’s early years might have been like, he contracted food poisoning. Very different, he said, from his own upbringing with bankers for parents.
As we chatted on Zoom — Gourav from his apartment in Mumbai — he still looked very thin.
He said: ‘I slept comfortably in a bed, but there were mosquitoes; and I felt sick for the first six days, and lost a lot of weight.
‘My cheekbones had sunken — and I realised: this is how Balram should look,’ he said of the ‘illness accident’ that inadvertently helped him prepare for the film, which streams on Netflix from today.
The director Ramin Bahrani, who worked with his close friend Adiga on the screenplay, said of Gourav’s performance. ‘He’s got a power about him.’
And he’s right — he reminded me of a young Marlon Brando with lots of raw energy.
Gourav defended Balram’s journey into darkness, as he goes from servant to master. ‘He’s a dreamer who doesn’t have the opportunity to dream. It gets very tricky when you’re playing a character like that. You’ve got to understand the human side of him,’ he told me.
To get further under Balram’s skin, the actor sought work on a street food stall. ‘I had to get a job without having to show my identity card,’ he told me.
His success gave him confidence. And working with experienced co-stars Priyanka Chopra (‘she’s a huge star in India’) and Rajkummar Rao, who play the couple he steps on to gain freedom, was another bonus.
‘Priyanka’s one of the sweetest, most humble people!’ he said, his face lighting up. However, he didn’t get to hang out with her.
‘I was in almost every scene, shooting every day,’ he said. And on his rare days off, he slept.
Gourav started out studying classical Indian music, but in his teens switched to metal.
‘My parents are flexible and gentle people and adapt to things as fast as I do, so they were happy with my change of choice of music,’ he said.
To spare them pain, he and his bandmates rented a jam room, to rehearse their songs (heavily influenced by new age Australian heavy metal, he explained helpfully).
Now, though, he’s determined to pursue a career as an actor — and has just been signed up by top-level Hollywood agents and management.
‘I’ll live out of a suitcase,’ he insisted, should his triumph in The White Tiger lead to other major parts. ‘I’ve always desired to work across boundaries — and not just in India. I don’t see why language is a barrier in the 21st century.
‘The language of film is universal and it doesn’t matter what country you come from.
‘The old Indian doctor stereotypes are a thing of the past,’ he said. ‘Indians don’t play doctors who shake their head any more. We can play doctors who are just doctors, you know?
‘It’s about character, not ethnicity.’
Following the knockout success of Leicester Curve’s production of Sunset Boulevard — streamed to an at-home audience in 45 countries — Chris Stafford and Nikolai Foster, the theatre’s chief executive and artistic director respectively, are to use the same high-end HD filming techniques on The Color Purple.
The musical will stream from February 16 through March 7, with 2,000 free tickets available for NHS staff.
Those with tickets for the in-theatre production, that was to have opened in March, will be contacted by the box office.
Because of rights issues, the filmed stream will only be available this time to audiences in the UK and Ireland.
T’Shan Williams, who played the main part of Celie when the Curve and Birmingham co-production ran back in 2019, returns to the role.
Other returning cast members include Geoff Aymer, KM Drew Boateng, Owen Chaponda, Perola Congo, Danielle Kassarate, Anelisa Lamola, Rosemary Annabella Nkrumah, Jochebel Ohene MacCarthy, Landi Oshinowo and Jo Servi.
However, Carly Mercedes Dyer will take on the part of glamorous Shug Avery, who befriends Celie and helps give her the courage to seek her freedom from the bullying men in her life.
Director Tinuke Craig’s raise-the-roof production, which I was lucky enough to catch, is based on Alice Walker’s prize-winning novel, not the unwatchable film adaptation made by Steven Spielberg.
Cynthia Erivo starred in London’s first production of the musical at the Menier Chocolate Factory. That transferred to Broadway — and won Erivo a Tony Award, opening the door to a screen career that has so far garnered her an Oscar nomination.
I spoke to Stafford and Foster on Tuesday and was struck by their fierce commitment (a quality I see in theatre professionals up and down the country at the moment) to their local community.
‘We are our national theatres, in our towns and our cities,’ said Stafford of the U.K.’s regional venues.
Emily Redpath made the leap from clowning around to performing Shakespeare on screen.
The 24-year-old actress stars opposite Olivier award-winning actor Sam Tutty in a new version of Romeo And Juliet filmed under tight covid safety measures, which meant that she and Tutty had just one day to do their love scenes.
Directed by Nick Evans, the film (as first reported in this column), was shot with green screen technology.
Theatrical knight Derek Jacobi has just completed filming his scenes as The Narrator, which tech wizard and producer Ryan Metcalfe will edit into the picture (streaming during Valentine’s Week).
‘We had plastic screens in front of us for rehearsals,’ Emily recalled. Some scenes between her and Tutty were shot without the pair actually being together.
‘But we got tested and isolated from the others for one day, because you can’t have Romeo and Juliet without touching, without a kiss.’
Group scenes were created digitally. One features a crowd of 15 — but all the actors were shot individually, and later interpolated into the film.
Redpath, who was raised in London and Somerset, studied theatre and performance at Queen Mary University in East London and was a keen member of its theatre company.
She studied the art of clowning, and explored the methods of Commedia Dell’Arte — taking a show to the Edinburgh Fringe, where part of the act included serenading the audience while sitting on their laps.
Another gig was a cereal affair called Po*n Flakes. ‘Clowning gives you the freedom to mess up,’ she laughed, ‘and realise it’s OK. It definitely gave me confidence.’
She’d avoided studying Shakespeare at school, and so had never read Romeo And Juliet until she started working on her audition tape. ‘When I was younger, I wanted to do Medea,’ she told me. But she took to Shakespeare once she dug deep into Juliet.
‘She’s a bold, impassioned character — though she’s also a bit of a stroppy teenager,’ she said. ‘That’s why she finds Romeo so exciting. He’s wrong, but he’s right.’
Working with Tutty was fun, too; particularly when they were actually together in the same frame. ‘We looked at each other close up and he was like: “Oh, you’ve got brown eyes!”’
Redpath had seen Dear Evan Hansen, the musical in which Tutty plays the title character, way back before the pandemic, and long before they knew each other. ‘Sam’s understudy was on, and I didn’t see him,’ she said. ‘But I’d love to go back when he’s playing again. After all, he’s been my Romeo.’
Other roles are in Romeo And Juliet are played by: Brandon Bassir as Mercutio, Daniel Bowerbank as Benvolio, Jonny Labey as Paris, Sylvester Akinrolabu as Tybalt, Helen Anker as Capulet, Marc Ozall as Montague, Lucy Tregear as Nurse, Vinta Morgan as Friar, Jessica Murrain as Prince, Timmy Driscoll as Sam, Tats Nyazika as Gregory, Iskandar Eaton as Abe and Ollie Tennant as Balthasar.
The film will be streamed privately by Metcalf Gordon Productions on www.romeojuliet2021.com from February 13-20. Tickets are available from 10am today at www.romeojuliet2021.com/tickets; with a portion of sales going to Acting For Others.
The Crown's Olivia Colman and Emma Corrin are among five of the show's castmembers to receive Critics Choice Awards nominations this year.
Olivia, 46, who plays Queen Elizabeth II in the hit Netflix show, has been nominated for Best Actress in a Drama Series, putting her up against co-star Emma, 25, who won acclaim for her portrayal of the late Princess Diana.
With the show earning a nod for Best Drama Series, Josh O'Connor (Prince Charles) received a Best Actor in a Drama Series nomination, while Tobias Menzies (Prince Philip) and Gillian Anderson (Margaret Thatcher) are up for supporting awards.
In all, the show emerged as the clear leader of the pack when the nominations were announced on Monday, with six nods received.
The awards show, which is set take place on March 7th, will see several other Brits up for awards, including Michaela Coel, who won acclaim for her series I May Destroy You (Best Actress in a Limited Series of Movie Made for Television).
Also among those up for coveted prizes are Tracey Ullman for Mrs. America (Best Supporting Actress in a Limited Series or Movie Made for Television), Nicholas Hoult for The Great (Best Actor in a Comedy Series), and Hugh Grant for The Undoing (Best Actor in a Limited Series or Movie Made for Television).
John Boyega received a nod for Small Axe (Best Actor in a Limited Series or Movie Made for Television), as did Cynthia Erivo for The Outsider (Best Supporting Actress in a Drama Series), who will be up against Wunmi Mosaku (Lovecraft Country).
Elsewhere, Schitt’s Creek received five nominations including Best Comedy Series as well as Best Actor in a Comedy Series for Eugene Levy and Best Actress in a Comedy Series for Catherine O'Hara as well as Best Supporting Actor and Actress in a Comedy Series for its stars Daniel Levy and Annie Murphy, respectively.
Normal People received a nod for Best Limited Series, with nods for its lead actor and actress, Paul Mescal and Daisy Edgar-Jones.
American-born, London-based Anya Taylor-Joy's acclaimed efforts in Netflix show The Queen’s Gambit have earned her a Best Actress in a Limited Series or Movie Made for Television nod.
Kelly Clarkson received a nomination for Best Talk Show alongside the likes of Late Night with Seth Meyers, The Late Show with Stephen Colbert and Jada Pinkett Smith's Red Table Talk.
Critics Choice Association's CEO, Joey Berlin, said in a statement: 'We are so thrilled to be celebrating the incredible work that was released during this extended season.
In a year when the need for entertainment was undeniable, the industry rallied to deliver beautiful series that delighted us, educated us, challenged us, and most importantly, brought us all together.'
Meanwhile, it was recently revealed that Emma Corrin was originally hired by the production team to help audition actresses vying to portray Camilla Parker Bowles.
Emma has won acclaimed for her portrayal of the late Princess Diana in season four of the hit Netflix drama, but casting directors didn't originally see her as the person for the role until they watched her play against auditioning actresses.
Emmy-winning casting director Robert Sterne has revealed to Elle that the tense lunch between Princess Diana and Emerald Fennell's Camilla was used as an audition scene for the latter role, with Emma only serving as a stand-in reader as Diana.
Sterne explained: 'I usually read in all these meetings, but we decided because it was this major scene that we would get somebody to come in [for Diana]. We asked Emma to come in, not thinking about casting Diana at this point.
'But as she was reading with these Camillas, all the directors and the showrunner were looking more at her and not at the people playing Camilla—who will remain nameless, of course.
'When we got to thinking about Diana a year later, there she was in my notes.'
The revelation comes after Kent-born Emma said she 'understands' calls by the Culture Secretary to include a disclaimer on the newest series.
The actress insisted the series doesn't require a warning as fans are aware the drama is 'very clearly' a 'dramatised version of events.'
It comes following calls from Oliver Dowden to state that The Crown is clearly a work of fiction, but Netflix has insisted the series is billed as a drama meaning a disclaimer isn't needed.
Emma spoke out on the disclaimer row in an interview with Variety for their iHeart Radio podcast The Big Ticket, saying: 'It is very clearly a dramatised version of events.'
The actress echoed her co-star Josh O'Connor's claims that viewers are well aware the series is a work of fiction.
She added: 'This is fictitious in the same way people don’t mistake Succession for what actually happened with the Murdochs.
'I also understand [the request] comes from a place of sensitivity and protectiveness of the Royal Family and Diana.'
Emma made her debut in The Crown's fourth series, playing a younger version of Princess Diana, as the show documented her turbulent marriage to Prince Charles.
Last month, her co-star Josh blasted the Culture Secretary's 'outrageous' comments that a disclaimer should be added, claiming he feels 'let down' by the government.
He told the Los Angeles Times' The Envelope podcast: 'We were slightly let down by our culture secretary, whose job it is to encourage culture.
'In my opinion, it's pretty outrageous that he came out and said what he said. Particularly in this time when he knows that the arts are struggling and they're on their knees, I think it's a bit of a low blow.
The actor said viewers are aware The Crown is a work of fiction. 'My personal view is that audiences understand,' he added.
'You have to show them the respect and understand that they're intelligent enough to see it for what it is, which is pure fiction.'
Previously, Netflix said it had 'no plans - and sees no need' to add a disclaimer, following claims they hadn't done enough to make it clear The Crown was fiction.
But Culture Secretary Dowden told ITV's Good Morning Britain: 'Well first of all the actor, and by the way there's a range of views expressed by different actors on The Crown which you will have seen, it's worth nothing that he got his first break at The Old Vic which has got £600,000 in grants as part of the cultural recovery fund.
'But the point I'm making and I stand by is that if your viewers are watching a show on the BBC or ITV, they can see at the beginning if it says that it's historical fiction, it will say at the beginning ''this is a work of fiction based on fact'', and it's a clear warning.
'All I was saying in relation to The Crown is they should do the same thing. I have great affection for The Crown, it's produced in my constituency, it's beautifully produced, but I think it's perfectly reasonable to put that warning on.
'Otherwise I fear particularly for a generation that didn't live through the events we're now seeing in series four, they could mistake it for fact, and we accept that risk elsewhere and put the warning on and I think the same should apply to Netflix.'
Helena Bonham Carter, who portrayed Princess Margaret in seasons three and four, previously said the show has a 'moral responsibility' to make it clear to viewers it is a drama and not historical fact.
In an interview recorded for The Crown's official podcast after filming on season four finished earlier this year, Helena, 54, discussed the differences between 'our version' and the 'real version.'
Creator of The Crown, Peter Morgan, had previously appeared on the show's official podcast to defend his right to creative licence.
However, Earl Spencer, Diana's brother, has indicated his support for a disclaimer being added.
He previously told ITV's Lorraine: 'I think it would help The Crown an enormous amount if, at the beginning of each episode, it stated that: 'This isn't true but it is based around some real events'.'
He added: 'I worry people do think that this is gospel and that's unfair.'
The 26th Annual Critics Choice Awards, hosted by Taye Digg, will take place on March 7th.
Bella Hadid looked out of this world as she posed topless and covered in body paint for a new editorial, called The Girl Who Fell to Earth, in V magazine's spring issue.
The 24-year-old supermodel was nearly unrecognizable under prosthetics and layers of head-to-toe silver paint as she posed with a 'custom molded headpiece' of herself.
'I love to make art with my earthlings,' she captioned a slideshow of snaps of herself modeling a number of eye-catching looks, including a dazzling Burberry gown.
After sporting a number of high fashion looks as she was photographed in the financial district of lower Manhattan, Hadid also stripped down to just a mesh black thong from Savage X Fenty, a pair of Bulgari earrings and Giuseppe Zanotti heels at a studio.
In footage, shared on the fashion magazine's Instagram, the catwalk queen oozed confidence as she bared her incredibly toned figure and used her right hand to cover her bare chest.
Additionally, Bella slipped into a silver sequined suit with a white blouse and black tie as she was fully transformed into a sci-fi fantasy.
Another more business-inspired ensemble featured the beauty in a black and grey pinstripe blazer, tie and thigh-high boots.
For the leggy look, she sat on a bench in front of a river as the sun shone brightly behind her and she looked down with her eyes shut.
Among the many of her 37.8 million Instagram followers, who praised the star's striking images, her mother, Yolanda, lovingly commented two red heart emojis.
Meanwhile, fellow model Lily Aldridge wrote: ' Wowwwwww.'
For one look, she reached toward they sky and stared off into the distance in a plunging black bodysuit.
During the shoot, Bella rocked a bold and exaggerated winged eyeliner and a short choppy wig with blunt bangs, styled by Lucas Wilson.
Bella also shared a sketch of 'the vision' behind her extraterrestrial makeup, which was applied by Sam Visser and Izzi Galindo.