Connect with us

Politics

Monster Season 4: How Netflix’s The Lizzie Borden Story Was Made

Published

on

Ella Beatty as Lizzie Borden in the fourth iteration of Monster

When Lizzie Borden’s father and stepmother were murdered with a hatchet in their Massachusetts home in 1892, the 32-year-old became the prime suspect.

Although Lizzie was later acquitted of her crimes, the case has continued to fascinate people, and is still being discussed more than a century later.

Now, Ryan Murphy and Ian Brennan’s Netflix anthology series, Monster, has brought Lizzie’s gruesome story to the forefront yet again – albeit with some creative license applied.

Starring Ella Beatty alongside Charlie Hunnam and Rebecca Hall, true crime fans have been tuning in to watch the fourth iteration of Monster, which explores themes of female rage and repression, in their droves.

Advertisement

But how did the Monster team go about bringing The Lizzie Borden Story to the small screen in all its gore-filled glory?

Here are 19 behind-the-scenes facts you probably didn’t know about Monster: The Lizzie Borden Story’s creation…

Everyone involved felt like season 4 was the right time for a female lead in Monster

Ella Beatty as Lizzie Borden in the fourth iteration of Monster
Ella Beatty as Lizzie Borden in the fourth iteration of Monster

After seasons following Jeffrey Dahmer, Lyle and Erik Menendez and Ed Gein, Monster’s showrunners felt like it was time for a woman to take centre stage.

“[It] just felt like we owed it,” co-creator Ian Brennan told People in August. “We’d sort of over-indexed on men for the series, and it just felt like this was the right time and the right subject to look at to look squarely at the idea of female rage.”

Advertisement

It didn’t take long for Lizzie Borden to emerge as producers’ top choice when looking at women they could hook a season of Monster on

After the team decided they wanted a woman to lead season four, they soon discovered they had a smaller pool of female killers to select from.

In the end, Ian said that he and his collaborators wound up settling on Lizzie Borden because, while she is “enigmatic as a historical figure” and the case of her family’s murders is infamous, little is really known about the woman herself.

“When we began to dig into the research, I was just immediately taken with how much I felt for her and how much I got why she did what she did,” he recalled.

Advertisement

“There was something that was really, really, very likable about her as a person despite the crime that I think she likely committed because she was sort of a caged animal.”

He added that Lizzie was a “product of a time [when] it was really difficult to be a young woman”.

There was a good reason why Elizabeth Báthory and Aileen Wuornos were also chosen to appear in Monster: The Lizzie Borden Story

Sarah Paulson plays Aileen Wuornos in Monster: The Lizzie Borden Story
Sarah Paulson plays Aileen Wuornos in Monster: The Lizzie Borden Story

The third season of Monster, The Ed Gein Story, jumped back and forth in time, connecting the killer to Nazi Ilsa Koch and the actor Anthony Perkins, who played a character inspired by Ed Gein in Psycho.

Similarly, while the fourth series of Monster centres mostly on Lizzie Borden, it does also feature two notorious female killers from very different eras.

Advertisement

The Lizzie Borden Story links its central figure, who was born in the 1800s, with Countess Elizabeth Báthory, a 16th-century noblewoman nicknamed the Bloody Countess, and Aileen Wuornos, a serial killer who murdered seven men between 1989 and 1990.

Ian felt that incorporating these two women into the story added a “third dimension”, telling People: “It just made it come alive all the more.”

Ella Beatty has also explained why the two unconnected murderers make an appearance in the series.

“The show is exploring a legacy of female rage and reaction to the set of circumstances that they are presented with,” Ella told Tudum, adding that the showrunners were keen to explore how female rage connected Aileen and Lizzie.

Advertisement

“Every season of Monster has been an exercise in understanding the person’s psychology. Are they born or are they made?” she added. “I knew from the beginning that Ryan Murphy and Ian Brennan were really interested in exploring what brings a woman to the point of violence.”

Co-creator Ian also highlighted the idea of female rage when talking about the show’s multi-generational subplots.

“We were able to look at rage, female rage, and women who kill as less of an aberration throughout time than actually a throughline and an aspect of our species and existence in society,” he told The Hollywood Reporter in September.

“The cages that we put women in and the things they will do to get out of those cages was really interesting.”

Advertisement

Sarah Paulson’s performance as Aileen Wuornos had the show’s director in tears on set

Aileen Wuornos is portrayed as a Lizzie Borden obsessive in the new season of Monster
Aileen Wuornos is portrayed as a Lizzie Borden obsessive in the new season of Monster

Regular Ryan Murphy collaborator Sarah Paulson was chosen to star as the real-life serial killer Aileen Wuornos.

“She’s an unbelievable actor who does so much preparation and physical work. It was my first time working with her and I was stunned by what happens when she comes out on set,” director Max Winkler told The Hollywood Reporter.

“My favourite scene that she did – because it really allowed her to improvise a lot – was the scene with her having her final meal,” the director admitted, revealing he cried when watching her perform Aileen’s sentimental last moments. “Just the mixture between protective strength and unbelievable vulnerability,”.

Sarah also already had a working relationship with Ella, having previously acted with her in Branden Jacobs-Jenkins’s play Appropriate, for which she won a Tony Award.

Advertisement

“We met doing a play together three years ago and became very close. She was such a part of the creative process for me from the very beginning,” Ella enthused to Tudum.

The Monster team knew almost immediately when they had found their Lizzie Borden in Ella Beatty

Ella Beatty at the premiere of Monster: The Lizzie Borden Story
Ella Beatty at the premiere of Monster: The Lizzie Borden Story

“We cast a super wide net and nobody could do it until we saw her,” co-showrunner Ian told Tudum.

He added: “They say you can tell within the first five seconds if the actor has the role, and that was completely the case here, after watching very good actresses try.”

Ella Beatty was already hard at work on her characterisation before she’d even been cast

Advertisement

The actor – who is the daughter of Hollywood icons Annette Bening and Warren Beatty – immediately felt connected with Lizzie Borden when the project first came her way.

“I remember making the audition tape and thinking, ‘I understand this person’,” she told Variety.

“When I found out that I had gotten the part, I was over the moon and also really scared. I felt a huge responsibility to the part, to the anthology, to the real person,” she added.

“I think immediately I just wanted to start working on it. How does she move? How does she dream? How does she think? How does she speak? How does she blink?”

Advertisement

There was one key thing Rebecca Hall was keen to avoid when playing Abby Borden

Rebecca Hall's performance as Abby Borden in Monster marks a real departure for the actor
Rebecca Hall’s performance as Abby Borden in Monster marks a real departure for the actor

Little to nothing is known about Abby Borden, other than the fact she was killed by her stepdaughter more than 130 years ago.

Played in Monster by Rebecca Hall, Lizzie’s stepmother is portrayed in the series as deeply unhappy, displaying cruelty toward her stepdaughter and frustration in her marriage.

This characterisation was largely created by the writers, due to how little has been recorded about Abby Borden.

“There’s very little about her out there, and I could already tell from reading the script that Ian Brennan and Ryan Murphy had taken liberties and created a character that they were interested in for this show,” she told Collider. “So I felt like the only thing I could do was do the same thing,”

Advertisement

Rebecca admitted the lack of public information about her character gave her freedom to create something “unique and specific”, deliberately trying not to take inspiration from past depictions of “evil stepmothers” from fairytale lore.

Rebecca Hall was inspired by two Hollywood icons when deciding on her character’s voice

The Golden Globe nominee looked to Bette Davis and Joan Crawford to create Abby’s specific accent.

“When I was thinking about the accent, which I wanted to be not really from anywhere as much as just Abby, I kept thinking about those mid-Atlantic accents that actors created in the 1930s that didn’t actually exist but had this sort of affect of like, ‘I’m extremely posh and elitist’,” she added to Collider.

Advertisement

Monster’s showrunners weren’t ready to ‘say goodbye to’ Charlie Hunnam after season 3 – which is how he wound up being cast as Lizzie Borden’s dad

Charlie Hunnam played Ed Gein in Monster before being cast as Lizzie Borden's father
Charlie Hunnam played Ed Gein in Monster before being cast as Lizzie Borden’s father

“We had such a great time working on the last season. It was just a joy,” Ian told People. “Charlie, you just can’t get enough of it. He’s so lovely and has such a great presence on set, and it just felt like, ‘Oh, this is perfect for him’.”

The showrunner was particularly impressed with Charlie’s range and ability to make any character sympathetic, no matter how evil they were.

“He just rounds out every character with this deep well of sympathy that really filled out what could otherwise be a stereotypical bad dad,” Ian added. “He really filled [the character] out in such beautiful detail.”

Like his co-star Rebecca, Charlie Hunnam felt liberated in playing a character that no one knows about in Monster season 4

Advertisement

While people already knew plenty about Ed Gein before Monster dedicated a season to him, comparably, the same could not be said for Andrew Borden.

However, this proved to be a positive thing for the actor playing him.

“[I was] liberated from the responsibility of playing a historical figure because there’s just not that much known, and so we were able to invent him to a certain degree,” Charlie told People. “It’s a real fertile playground for actors to come into this world.”

While there are no reports of Andrew Borden having had a stutter in real life, this was a trait that felt right to Charlie when he was reading the script.

Advertisement

“There’s one moment in the script that [the writer] wrote in that he sort of has a stutter, but it’s in a moment of sort of emotional duress,” he explained to CBR.

The Sons Of Anarchy actor explained that “that stutter in that voice just started to present itself to me” as he continued “running back” to the script and “exploring it further”.

Although set predominantly in Massachusetts, Monster: The Lizzie Borden Story was filmed in different locations around the globe

Monster was not able to use Lizzie Borden’s real family home as a filming location
Monster was not able to use Lizzie Borden’s real family home as a filming location

The cast and crew of Monster couldn’t film the show inside Lizzie Borden’s real home, as the rumoured haunted house is now a bed and breakfast in Fall River, Massachusetts.

“I couldn’t believe that,” Monster co-showrunner Ian Brennan admitted about the discovery of the house’s new lease of life as a B&B. “It’s stunning.”

Advertisement

As a result, the scenes set in her house were actually filmed on a purpose-made set in Los Angeles.

Meanwhile, the subplot involving Elizabeth Báthory was filmed in a castle in Rome, rather than Báthor Castle, where the countess lived in real life, about 170 miles from Budapest in a town called Nyírbátor.

“We had shot season four, most of it, in LA,” cinematographer Michael Bauman told CBR back in January. “But we have about five weeks of work [in] Rome. There are lots of castles here, and that’s mainly the reason [we filmed there].”

Vicky Krieps’ dual role casting in Monster season 4 was actually a last-minute choice

Advertisement
Vicky Krieps plays two distinct characters in the new season of Monster
Vicky Krieps plays two distinct characters in the new season of Monster

The team behind Monster loved Vicky Krieps so much in The Ed Gein Story, they cast her twice in the follow-up. She appears as both Bridget and Countess Elizabeth Báthory in season four of the anthology.

Vicky was chosen to play the rebellious maid who introduces Lizzie to hair dye and sex toys first.

“The way Ryan thought of it, she’s almost like a Mary Poppins that comes out of nowhere, who can be anyone from any time,” Vicky told Vanity Fair about Bridget. “Ryan said, ‘It’s women-driven, feminist, lesbian, dirty, unapologetic’.”

During filming, the show’s creator then offered her another role, as the bloodthirsty countess in the fantasy flashbacks.

“That was all shot in Italy, so we knew that that would be at the end of the schedule anyway, and we just couldn’t think of who would do it or who seemed right,” Ian explained to Tudum.

Advertisement

“It was Ryan’s idea. He pitched it to her and she loved it. Now it seems like such an obvious choice, but it actually came very late in the process.”

Vicky Krieps and Charlie Hunnam’s existing chemistry from the last iteration of Monster helped them push boundaries during filming of season 4

Monster co-stars Charlie Hunnam and Vicky Krieps reunited in the fourth season of the anthology series
Monster co-stars Charlie Hunnam and Vicky Krieps reunited in the fourth season of the anthology series

The new episodes of Monster reunited co-stars Vicky Krieps and Charlie Hunnam, who both starred in season three as Ilse Koch and Ed Gein.

Having worked together before, Vicky knew she could push Charlie in the scenes they shared.

“[We] joke a lot on set to make it fun or to just push each other in the scenes. Like, how far can we go? What can we do?” she told People at the New York City premiere last month. “We had a fight scene together, and he said, ‘You know, you can really go for it.’”

Advertisement

She recalled: “I’m saying, ‘But I’m really strong.’ He says, ‘That’s fine,’ and he’s really strong, so he doesn’t mind.”

Things escalated even further when Charlie fell to the floor, only for his co-star to spit on him.

“He gets up, he’s like, ‘What? What did you just do? You just spat on me. You can’t do that,’” she recalled.

Season 4 of Monster’s more comedic tone, in comparison to its predecessors, was an intentional choice

Advertisement
The Lizzie Borden Story marks a tonal shift compared to past seasons of Monster
The Lizzie Borden Story marks a tonal shift compared to past seasons of Monster

A miniseries about a young girl acquitted for the hatchet murders of her father and stepmother might not sound like a natural comedy, but Ryan Murphy wanted the tone of season four to be much lighter than Monster’s previous outings.

“I felt like the tone was slightly different from [The Ed Gein Story],” Charlie told Entertainment Weekly. “It was a little more irreverent, a little more sort of bonkers, theatrical, [a] little bit more comedy, tonally than the past season that I had done. So it just felt like a fun opportunity.”

Rebecca saw her role as the villainous stepmother as a chance to unleash her comedic side.

“I’ve never played a true out-and-out villain,” she told Variety. “I just loved on the page how funny she was. It just felt like such an opportunity to be both funny and scary at the same time, which is an interesting tonal challenge.”

Director Max Winkler also confirmed to The Hollywood Reporter that the show is intentionally comedic, which presented its own challenges.

Advertisement

“It was really challenging to make because a lot of it is comedic, with the insane way that people wrote and spoke and had expectations for women in that time period,” the Love Story director explained. “Which is not that long ago…”

He added: “1890 is so laughably insane, and the fact that there’s still some crossover to it today and that half of the internet thinks that we should go back to that way of life? It lends itself to make fun of it.”

Monster is full of blood splatter, and the makeup team went to great lengths to cover Ella Beatty and Vicky Krieps in it

“Sometimes the blood on my face was hand-painted with makeup brushes,” Ella told Tudum. “Sometimes it was literally poured onto me. Sometimes it came from what’s called a blood rig. So every time I would slam an axe onto the blood rig, fake blood would shoot out onto my face and body.”

Advertisement

Describing the process as both “realistic” and “messy”, she also shared a little behind-the-scenes hack for how they removed the blood with “a healthy dose of shaving cream”.

The Lizzie Borden Story could be the bloodiest season of Monster to date
The Lizzie Borden Story could be the bloodiest season of Monster to date

It wasn’t just fake blood that the cast of Monster season 4 had to contend with on set, though

When blood isn’t being splattered in Monster: The Lizzie Borden Story, the cast had puke and diarrhoea to contend with.

Most notably, the episode Strong Kitty is definitely not one for the squeamish – with Abby and Andrew Borden unknowingly sitting down for a meal of spoiled oysters, resulting in them projectile vomiting and running to the bathroom before long.

The crew spent much time and energy creating the gross scene, with director Max recalling to The Wrap: “That was a very messy, difficult day, but I am very pleased with how it turned out.

Advertisement

“Jack Price – our editor on that episode, was incredible in finding the musicality of it all.”

To make that gross scene as realistic as possible, they hooked Rebecca and Charlie up with subtly-disguised tubes, which the prop team filled with a disgusting orange liquid to recreate projectile vomiting.

Unfortunately, the cast found shooting this scene to be a particularly unpleasant experience

Shooting the episode Strong Kitty proved to be an arduous task for everyone involved
Shooting the episode Strong Kitty proved to be an arduous task for everyone involved

“Rebecca has a very hard time being around vomiting and said very early that she is inclined to vomit if she’s around it,” the director explained to The Wrap. “So that was my biggest fear, protecting Rebecca.”

In an interview with The Hollywood Reporter, he added: “Rebecca did one of the bravest things, because it’s a real thing, her thing.

Advertisement

“She was like shaking, so her courage to do that and to trust me… we tried to do it as quickly as possible, and it pays off because she’s so amazing in it. Intricate dinner scenes are always challenging.”

It wasn’t any easier for Charlie, who “ate the oysters that were canned because we needed them to be super big”.

“Charlie was a hero that day, but so was Rebecca,” Max said of his cast during his interview with The Wrap.

Charlie told Entertainment Weekly that he’s “kind of a germaphobe”, making the scene particularly unpleasant to film for him.

Advertisement

“Even if it’s fake vomit, being covered head to toe in vomit and diarrhoea for the day did not seem like a particularly enjoyable experience,” he shared. “And, indeed, it wasn’t.”

Luckily, Rebecca didn’t find it as bad as she was worried it would be.

“It was so funny and preposterous, and nothing was remotely like real vomiting, actually,” she told Entertainment Weekly. “It turned out that my biggest challenge was maintaining a straight face when the camera was on me, because I don’t think I’ve ever laughed more.”

Monster’s creators had long planned how the final episode of The Lizzie Borden Story was going to end

Advertisement
Sarah Paulson and Ella Beatty in Monster: The Lizzie Borden Story
Sarah Paulson and Ella Beatty in Monster: The Lizzie Borden Story

Season four’s final moments focus on Aileen Wuornos’ execution. As she sits in the electric chair, she sees Lizzie and Maggie beckoning her towards the light.

“I always knew the last shot was going to be Aileen’s body and the curtain closing to match the ornate beautiful curtain of the fairytale version of ‘Lizzie was this crazy person!’ and then the actual reality,” director Max told The Hollywood Reporter.

Meanwhile, Ian told Tudum: “In a way, Lizzie has a happy ending, and Aileen didn’t. She didn’t get away with anything. So it felt right to land on her and give her, if not a happy ending, one that is satisfying.”

There was a special meaning behind the closing song in Monster: The Lizzie Borden Story, too

As the show concludes, I Know by Fiona Apple plays. The director explained to The Hollywood Reporter why he felt the Grammy winner’s music was perfect for that final scene.

Advertisement

Describing the artist as “someone else who’s been objectified for being incredible and brilliant and talented”, and had a “back turned on her for being difficult or traumatised or whatever”, Max added: “That song, that moment of an artist I admire so much helped me kind of close the loop.”

Monster: The Lizzie Borden Story is available to stream on Netflix now.

Source link

Advertisement
Continue Reading
Click to comment

You must be logged in to post a comment Login

Leave a Reply

Politics

Labour MPs tell Burnham to show ‘ambition’ and move closer to EU

Published

on

Labour MPs tell Burnham to show ‘ambition’ and move closer to EU

Labour MPs Anneliese Dodds and Andrew Lewin have urged Andy Burnham to set out a bolder relationship with the EU.

Speaking at a British Future fringe event at Labour conference, the pair were asked what the prime minister should say and do with regard to UK-EU relations.

Dodds, a former cabinet minister and chair of the Labour Party, said she wanted Burnham to be “very straight about things”. “I think the top line is the most important one, and the top line has got to be: we must have high ambition”, she said.

She said she wanted the prime minister to tell voters: “We’ve escaped lots of things, but we can’t escape geography.”

Advertisement

Dodds argued that the UK should not approach potential negotiations as a supplicant. “I don’t want us to just be saying if we’re not part of this, that’s going to damage Britain, because that puts us in the position of being a demander, which is not what we are on these questions”, she said. “We need to talk about solutions, not deals.”

Dodds also said she did not want Burnham “snarled up” in the detail of what a future relationship would look like.

She added: “If we see UK not able to participate in those economic security measures by the EU, it’s going to be just as damaging for them as it is for us, and I want him to be making that argument. And I think he’s very well pleased to do it. Actually, as a very straight talker.”

Lewin said Brexit had been “a failure on the terms that it set itself”, noting immigration had been a driver for many who voted Leave and the lack of a special trade deal with the US. 

Advertisement

Lewin said: “Ultimately, I want to rejoin the European Union, but importantly, I don’t think now is the time.”

He warned that opening the debate on rejoining now would “dominate politics again in a way that it did 10 years ago.”

Lewin set out a sequence that he said would respect Labour’s manifesto red lines while showing progress on moving closer to the EU. 

He emphasised the significance of an agreement on youth mobility, saying it is “not good” that negotiations haven’t been concluded. 

Advertisement

The Labour MP added: “I believe it’s important on its own terms because youth mobility is a pro-growth measure – it’s a pro-opportunity measure for young people who’ve lost opportunities as a result of Brexit. 

“But it’s also a test of can we work together, and I think for this to fail and this not to get over the line, then on the EU side, you say ‘why should we believe further promises about single market or customs union if you can’t agree on this sort of more limited program?’ 

“So that is essential. I really hope that happens by the end of this calendar year, and I think that should be our first priority.”

He added: “I think there has been some tension, perhaps with the Home Office saying ‘we’re quite squeamish about numbers’…

Advertisement

“Unless we’re willing to say the fundamental principle of youth mobility from our closest allies in the EU is a good thing, then we won’t be in a position to win the bigger arguments that might be to come.”

Lewin further argued that respecting the red lines set out in the manifesto should not preclude “opening a conversation now about the single market and the customs union, with a view to putting it to the country in a couple of years.” 

At a future summit, Lewin suggested, the prime minister could indicate his openness to “begin conversations about what single market and customs union membership would look like in the future.”

Asked whether he would put rejoining in a manifesto, he answered: “In my lifetime, but not for the next manifesto. I think single market and customs union and build up.”

Advertisement

Lewin also commented on the pace of negotiations since Burnham became prime minister, noting the UK-EU summit planned for July was postponed with no new date set.

He said: “I think the worst five months since we were elected [in 2024] in terms of making progress has been the last five months when we changed the prime minister, and we’ve lost a summit that was locked in…

“Although there has been some very welcome rhetoric from the new prime minister, we’ve actually stalled, and that’s why it’s especially important we fix the date for the summit.”

Advertisement

Source link

Continue Reading

Politics

Politics Home Article | The diagnosis of a rare disease cannot rely on chance

Published

on

The diagnosis of a rare disease cannot rely on chance
The diagnosis of a rare disease cannot rely on chance

Credit: Adobe Stock

What hypophosphatasia can teach us about finding patients sooner

Advertisement

This work has been funded by Alexion, AstraZeneca Rare Disease


For too many people living with a rare condition, diagnosis remains a long and uncertain journey. In the UK, more than a third of people with a rare condition wait over five years from first experiencing symptoms to receiving a final diagnosis.1

This is the well-recognised ‘diagnos­tic odyssey’ in rare disease. Advances in genomics, diagnostics, and data are helping some conditions to be identified earlier, but technology alone cannot close the gap.2 People can still fall between the cracks when symptoms are considered in isolation, routine clinical clues are overlooked, or there is no clear route from suspicion to specialist assessment.

Rare bone conditions illustrate this chal­lenge clearly. Fractures, bone or joint pain, muscle weakness, fatigue, and mobility problems can all point to an underlying rare bone condition – but they can also resemble much more common conditions such as osteoporosis or even non-bone related conditions like fibromyalgia.3,4

Advertisement

This is particularly true for hypophos­phatasia (HPP), a rare inherited metabolic bone condition that can affect people at any age.1 People with HPP often experi­ence repeated fractures, bone and joint pain, muscle weakness, long-term fatigue, and significant mobility problems.5 In children, growth and development can also be affected, while severe infantile HPP can even be fatal.3 As a result, HPP can have a significant impact not only on those living with the condition, but also on their families and carers.

Early recognition and specialist assessment are therefore essential. HPP continues to be misdiagnosed and important biochemical clues available through routine testing are frequently overlooked.6 Once again, an ongoing challenge in rare diseases.

To help change this reality, Alexion, with the support of Metabolic Support, those with lived experience of the condi­tion, and leading clinicians from across the rare bone disease community, has developed the Think Rare, Think HPP Blueprint.

Advertisement

The Blueprint sets out what an optimal HPP diagnostic pathway should look like, alongside practical clinical, system and policy recommendations to help make it a reality. Importantly, the methodology used to develop the Blueprint has been designed with broader application in mind, providing an approach that could be adapted to other rare conditions facing similar challenges in diagnosis and referral.

“Too many people living with HPP face long delays before receiving an accurate diagnosis; we need change. The Think Rare, Think HPP Blueprint is an authentically impactful pathway – meaningfully aggregating the voices and experiences of the people involved in improving diagnosis – designed to improve clinical expertise, patient experience and practical recommendations to support earlier recognition, more consistent referrals and better outcomes for people affected by HPP.”


Kirsty Hoyle, Chief Executive of Metabolic Support

Advertisement

The Think Rare, Think HPP Blueprint will be launched at a parliamentary drop-in event on 28 October, ahead of World HPP Day on 30 October. The event will bring together those involved in shaping the Blueprint, alongside parliamentarians to build support for earlier and more consistent diagnosis in rare conditions.

The event comes at an important time as the Government considers the future of rare disease policy in the UK, with the next iteration of the UK Rare Disease Framework expected to be published in February next year. HPP provides a timely reminder of why faster diagnosis must remain central to what comes next, and why future policy must not overlook rare conditions where important clinical clues may already be available through routine NHS care.

“HPP shows that there are practical opportunities to recognise the signs of rare disease earlier and improve the route into specialist care. As the Government considers the future of rare disease policy, we need to make sure faster diagnosis remains a priority.”

Advertisement


Bob Blackman MP

If we are serious about shortening the diagnostic odyssey in rare disease, we need to make sure that the clues already available to us lead to action.

Advertisement

M/UK/UNB-H/0146 | Date of preparation: September 2026

References

  1. Association of British Pharmaceutical Industry (n.d.). Rare disease, The diagnosis challenge. Available at: https://www.abpi.org.uk/rare-diseases/thediagnosis-challenge/ (Accessed September 2026).
  2. Genetic Alliance UK (n.d.). Improving genomic research and services. Available at: https://geneticalliance.org.uk/campaigns-and-research/improving-genomicresearch-and-services/ (Accessed September 2026).
  3. Soft Bones UK (2018). What is HPP? Available at: https://www.softbonesuk.co.uk/what-is-hpp/ (Accessed September 2026).
  4. Rodríguez-Araya, L et al. (2025). The Challenge of Hypophosphatasia Diagnosis in Patients with Fibromyalgia. Available at: https://pmc.ncbi.nlm.nih.gov/articles/PMC13046356/ (Accessed September 2026).
  5. Conti, F et al. (2017). Hypophosphatasia: clinical manifestation and burden of disease in adult patients. Available at: https://pmc.ncbi.nlm.nih.gov/articles/PMC5726215/ (Accessed September 2026).
  6. Vidal, M et al. (2026). Hypophosphatasia: current concepts in diagnosis and management of a rare metabolic disorder. Available at: https://www.explorationpub.com/Journals/emd/Article/1007135 (Accessed September 2026).

impression

Source link

Continue Reading

Politics

Baroness Deech reviews ‘Battleaxe’ by Margaret Hodge

Published

on

'A rattling good read': Baroness Deech reviews 'Battleaxe'
'A rattling good read': Baroness Deech reviews 'Battleaxe'

2003: Margaret Hodge meets children at a Sure Start centre, London | Image by: PA Images / Alamy


3 min read

Baroness Hodge pulls no punches in this enthralling and combative memoir

Advertisement

From refugee to national treasure in one generation, Margaret Hodge has rescued the description “battleaxe” from its usual pejorative association with tough old women and redefined it as a fighter for all that is good in British public life – and managed so with gratitude to those who helped her along the way, and with affection for her constituents, the “burghers of Barking”.

I’d be proud to be called a battleaxe myself. I started reading this book with some scepticism, maybe expecting some of the self-aggrandisement that can be found in political memoirs. But I was completely won over and enthralled by this well-written, combative and panoramic view of 50 years of the Labour Party and its internal battles.

It is also a groundbreaking account of the fight against tax avoidance and how Jewish politicians stood up to antisemitism. Margaret Hodge places herself in the centre-left drive to improve the lot of children – Sure Start is her baby – and the homeless, to root out corruption, gain equality for women and defeat the BNP.

Advertisement

I’d be proud to be called a battleaxe myself

My enthusiasm may be roused by the similarities I saw between her origins and my own, and those of some other first-generation Jewish peers. Her Jewish family were refugees from Egypt, where they had gone to escape the Nazis, and her presence here is a reminder that Jews were expelled, and worse, from most Middle East countries in the 1940s.

Advertisement

That history gives one the beliefs and strength to make life better, to speak out and to go against the crowd when necessary. It led her to fight against racism and antisemitism, and for women. She lived in Islington – there must be another book to be written about Labour residents of Islington – and she rose from councillor to MP – and most notably chair of the invigorated and feared Commons Public Accounts Committee – and then peer.

Her stand against Jeremy Corbyn’s failure to tackle antisemitism (nailing the Chakrabarti “whitewash”) and against corruption, especially Russian money laundering in the UK, is a work in itself. Her account also offers a rather disturbing insight into Labour factionalism, which at some stages consumed as much time as her achievements.

Battleaxe book coverShe paints a grim portrait of how it was for women MPs in the 1990s, yet displays an irrational dislike of Margaret Thatcher and Theresa May. Depressingly, some of the issues Hodge thought had been settled are back in full force. Child poverty, the spiralling cost of benefits, packing boards with government favourites, frank talk about immigration, and Labour’s opportunistic anti-Israel policies. She pulls no punches: the antisemitism of Ken Livingstone, the politicians who backed away from tackling money laundering.

Battleaxe is a rattling good read. Hodge’s courage and persistence are admirable. She was deservedly elevated to a peerage and, at the age of 82, is herself a good argument for not throwing out the over-80s from the Lords.

I suspect there is plenty more to come from Baroness Hodge as she calls out corruption and antisemitism and turns her focus to the royal finances.

Advertisement

Baroness Deech is a Crossbench peer

Battleaxe: A Memoir

By: Margaret Hodge

Publisher: William Collins

impression

Source link

Continue Reading

Politics

Wings Over Scotland | The Turning Point

Published

on

We don’t have much to say about this graph that it doesn’t say for itself.

tod

The arrest of Peter Murrell on 5 April 2023, just a couple of weeks after his wife realised the game was up and walked away before the cops came round and put a big blue tent up on their front garden, changed everything in Scottish politics.

There can’t have been many starker sliding-doors moments. Before the resignation there was a vast gulf between the SNP and their nearest challengers – fully 26 points in early December 2022, a fortnight before the SNP infamously steamrollered the Gender Recognition Reform Act through Parliament in a series of heated late-night sittings.

That began a slide, but after the resignation the lead collapsed entirely, and by the summer Labour were almost neck-and-neck with Humza Yousaf’s beleaguered administration, and duly almost wiped the SNP out of Westminster in July’s UK election.

Advertisement

Unfortunately for Labour, that led to Keir Starmer being Prime Minister and their support instantly fell off a cliff, leaving a gap into which mainly Reform but also the Greens surged. (We’ve left the Tories and Lib Dems out of the graph to keep it clean, as both of them barely moved during the period and are largely irrelevant forces.)

The Parliamentary arithmetic barely changed at the 2026 Holyrood election due to the electoral system giving the SNP a grossly disproportionate number of seats, but it’s plainly visible how much the wider political picture did. The SNP, which had only fleetingly dropped below 40% since the 2014 indyref and had peaked at 62% (a breathtaking 42 points ahead of Labour), has only momentarily brushed that line again.

As recently as two months before Sturgeon’s resignation (and for most of the preceding three years), the combined SNP and Green vote would have been enough to surpass the 50% mark in an election being used as a de-facto referendum. But the SNP did nothing, and this May that combined vote fell far short, with Unionist parties taking 60% of the ballot. When her husband was read his rights the window of opportunity closed, probably forever.

For those three years, Sturgeon knew that the Operation Branchform cat was out of the bag and that the clock was ticking. But she stalled and stalled until she ran out of time and the chance was gone. In terms of independence, the second half of that graph may as well be a flatline at zero.

Advertisement

Source link

Continue Reading

Politics

Politics Home Article | John Healey Pledges “Fiscal Discipline” and Hints At Welfare Reform

Published

on

John Healey Pledges 'Fiscal Discipline' and Hints At Welfare Reform
John Healey Pledges 'Fiscal Discipline' and Hints At Welfare Reform

Healey hinted at welfare reform in Liverpool on Monday (Alamy)


2 min read

The Chancellor has pledged “fiscal discipline” and hinted at future welfare reform, arguing it is “not progressive to allow a bigger and bigger benefits bill”.

Advertisement

Speaking from Liverpool on the second day of Labour Party conference, Healey said that the “core” of the budget he will deliver next month will be “fiscal discipline”.

It comes after Healey inherited a difficult economic landscape from his predecessor, with growing concerns around the costs of government borrowing and an enduring war in Iran. 

Healey told conference that the “hope” that Labour wants to bring to the country would be “earned through fiscal discipline, through good work, and through strong industries,” and he said he and the Prime Minister are “in lockstep that we will meet the fiscal rules, that we will maintain control of Britain’s finances.”

Advertisement

Elsewhere in the speech, Healey said: “I will bring fresh hope to build from the rock of fiscal discipline, built on a growing economy with good work and jobs in more places, built on a new age of industrialisation.”

While Healey was positive about the country’s outlook and the return to a Labour government, he said that “the money New Labour had in the 90s is simply not there now.”

Pointing to the Tories’ years in power, Healey said: “We had 14 years of flatlining Tory growth and living standards when Cameron’s austerity gutted our public services, when Johnson’s Brexit hammered our exports and Truss’s mini budget crashed the economy and collapsed confidence in Britain’s fiscal strength.”

Advertisement

Healey also used his speech on Monday to argue for the need for welfare reform, arguing that while the social security system “must always be there for those who can never work”, it is “not progressive to allow bigger and bigger benefits bill, and a system which offers an income but doesn’t offer a future.”

Pointing to the one million young people who are not in education, employment or training, Healey said that tackling this is “more than just an economic must. This is a moral duty.”

“I refuse to write off a million young people like the Tories have done.”

During his speech on Monday, Healey paid tribute to the former chancellor Rachel Reeves, pointing to her work on “financial discipline” and lifting the two-child benefit cap.

Advertisement

Healey also announced a new “local apprenticeship service” to help connect companies with young people, and said that the Government would commit to £6bn of contracts for British shipyards. 

Advertisement

impression

Source link

Continue Reading

Politics

The left must ‘reclaim free speech’, says Labour MP Jonathan Hinder

Published

on

The left must ‘reclaim free speech’, says Labour MP Jonathan Hinder

Labour MP Jonathan Hinder has urged the left to “reclaim” free speech.

Speaking at a Labour fringe event organised by More in Common and Liberty, Hinder said many working-class voters did not feel able to raise concerns about immigration for fear of being labelled racist. He referred to a story Keir Starmer, the former prime minister, told in his 2025 conference speech about a voter who began a sentence with “I’m not racist, but”.

Hinder, the chair of the Blue Labour group, said the vast majority of people in the UK were “not at all racist”, and that many who cared about immigration “do not give a jot whether you are black, brown, or white.”

He added: “I think this is a really important issue for the left. It’s a fundamental principle of socialism that we want to hold the powerful to account. So it should be as cherished by us as anyone.”

Advertisement

Hinder told the fringe meeting: “If you don’t believe in free speech for your opponents, you don’t believe in free speech. Let’s reclaim it for the left as socialists.”

The Labour MP also accused both Reform UK and the Green Party of trying to stifle debate. He pointed to Reform UK’s decision in July 2026 to report Green Party leader Zack Polanski to the police, after he shared an Instagram post. The post, which contained several images, included a photo of a man wearing a top featuring the name “Nigel” alongside an image of a guillotine.

Hinder, a former police officer, said the UK has “somewhat lost sight of the distinction between being a bit of an a***hole and being a criminal, and we need to get that back.”

Drawing on his policing background, he argued that Britain’s public order legislation is “not fit for purpose”.

Advertisement

He said: “We need to refresh those for the modern era, for the online age in particular.”

Hinder said the law sets “quite a low threshold” for police intervention, pointing to cases ranging from “an old granny holding a Palestine action sign, or it’s someone sending a spicy tweet and getting arrested at Heathrow for it.”

Stella Creasy, the Labour MP for Walthamstow, said she agreed with much of Hinder’s stance, but emphasised that free speech has “always been a qualified right”.

“We’ve always said you have the right to say what you want”, Creasy said. “You don’t have the right to be unaccountable for the consequences.”

Advertisement

She said “power imbalances” between groups meant free speech had “never been a reality” for some, and that progressives should recognise the difference between “somebody trying to have a conversation and somebody trying to use words to shut somebody else down”.

Creasy further argued that people could be harassed “with the most benign words ever. You can shut somebody down just by saying something repeatedly.”

She added: “If we want to stand up for free speech, we have to be able to stand up for the concept of being able to say stop…

“You have a right to offend somebody, sure, but you don’t have a right to keep going once they say, actually, look, ‘I just don’t want to be part of this.’”

Advertisement

Source link

Continue Reading

Politics

Rod Stewart Announces Final Encore Shows Including Last Ever UK Tour Dates

Published

on

Sir Rod Stewart on stage in New Orleans earlier this year

Sir Rod Stewart has announced what he’s claimed will be his last ever run of UK shows.

On Monday morning, the legendary crooner announced his The Final Encore tour, which will bring him to venues around Europe in 2027.

In a message addressed to his “dear friends”, Sir Rod explained: “The time has come to say farewell to life on the road. After more than six decades, The Final Encore will most definitely be my last.”

Sir Rod Stewart on stage in New Orleans earlier this year
Sir Rod Stewart on stage in New Orleans earlier this year

The 81-year-old continued: “I’ve been singing the music I love since I was 19 years old, and I’ve had the privilege of taking it around the world to all of you. It has given me a life beyond anything I could ever have imagined, and I hope I’ve given you some fond memories in return. So, may I take this opportunity to thank you for making this extraordinary life possible.

“I hope you’ll join me so I can thank you the best way I know how… with the music and one hell of a show. See you there.”

Advertisement

Meanwhile, in a video message, the Maggie May singer added: “After much deliberation and sadness, I have to announce that next year will be my last tour for ever, ever. I’m not retiring, but this will be the last rock and roll tour, So I want to thank you for everything you’ve given me, and hopefully I’ve given you something in return.

“So, please come out and see me on the tour! It’s going to be great!”

Last month, Sir Rod cancelled the remaining dates on his US tour after undergoing a coronary stent operation.

What UK dates has Sir Rod Stewart announced for his Final Encore tour?

Advertisement

The UK shows on The Final Encore tour announced so far are as follows:

  • Belfast – 27 April 2027
  • Glasgow – 29 April 2026
  • Birmingham – 4 May 2027
  • Manchester – 6 May 2027
  • London – 11 May 2027

The European leg will also consist of shows in Dublin, Amsterdam, Antwerp, Berlin, Dusseldorf, Copenhagen, Helsinki, Rattvik, Trondheim, Bergen, Budapest, Munich, Pula, Prague, Krakow and Hannover.

When do tickets for Sir Rod Stewart’s The Final Encore tour go on sale?

Tickets for Sir Rod’s last UK shows will go on sale on Friday 2 October. There’ll also be a special fan pre-sale taking place on Tuesday 29 September.

Advertisement

Source link

Continue Reading

Politics

The House | Unison’s Andrea Egan: I’m Not Rejoining Labour Until The Party Inspires Me

Published

on

Unison's Andrea Egan: I'm Not Rejoining Labour Until The Party Inspires Me
Unison's Andrea Egan: I'm Not Rejoining Labour Until The Party Inspires Me

Andrea Egan (Photography by Tom Oldham)


11 min read

Unison general secretary Andrea Egan is nine months into the job. She talks to Sienna Rodgers about Andy Burnham’s promise to unions, why she is not a Labour member and her pledge to take a social worker’s salary.

Advertisement

When The House first met Andrea Egan last year, she was standing as an underdog in the race to determine who would become the next general secretary of Britain’s biggest union.

Although she had the advantage – unprecedented in Unison – of being a single challenger against an incumbent, only the flame-haired social worker herself was confident she would win. After all, she was neither a paid union official nor a Labour member; it would be the first time a lay member of Unison had been elected to lead it.

But lead the 1.3-million-member trade union she now does, after securing 60 per cent in the internal contest that attracted a typically low turnout of just seven per cent. At the time, it was another blow for No 10, which lost an ally in the defeated Christina McAnea – widely thought to be another casualty of Sir Keir Starmer’s unpopularity.

Advertisement

Egan not only defied the odds to become head of Unison but also got her wish with a new Prime Minister she favoured for the job. “I am a fan of Andy. I mean, he’s the King of the North!” as the left-winger from Bolton put it to us in November.

“He’s made a real positive start,” the trade union leader tells The House today, noting that she was “really pleased” with Burnham’s Makerfield by-election campaign. “The way he approached that election – he wanted to listen to what people wanted to say, and he was open and honest enough to say, ‘Look, the Labour Party’s made mistakes.’ At that time, it was really important for society to hear some honest politics.”

She has already met with the new Labour Prime Minister on several occasions amid No 10’s effort to step up engagement with unions. In meetings with Tulo (as the group of party-affiliated unions is known), she reports that “he acknowledged that the trade unions had been left aside in the previous couple of years”. There is a “much better commitment” now, “absolutely”, she says, and a “better working relationship”.

Advertisement

“It was reassuring when he said, ‘I’m going to put the trade unions back in the front and centre,’ because why would we not be? We represent the workers who are delivering the public services. And he’s kept good with that promise. He’s met us a number of times.”

The Unison general secretary warns that Burnham is “not exempt from criticism”, though is careful not to criticise his controversial pick of chancellor, despite having endorsed Ed Miliband before the decision was made. Did the John Healey appointment come as a disappointment?

“I won’t say I was disappointed,” she replies carefully. “I felt Ed, and it was all in my own personal view, his vision for where the country needed to go was OK, was good. But I’ve made clear internally and to Andy, it’s not really our role as trade unions to tell him who to put in his Cabinet. So, if he’s picked John Healey, he’s picked John Healey, and we’ve got to respect that. Listen, the real issue is whether they deliver or not.”

Healey became Chancellor after resigning as Starmer’s defence secretary over a lack of military spending, of course. Egan, on the other hand, backs the “Wages not weapons” campaign by some unions – passed as a motion by the TUC this year for a second time – to call for investment in public services rather than defence.

Advertisement

“Well, that was his previous position. He’s now Chancellor, and his budget requirement and options are much wider than just defence,” she points out.

Egan does not support any increase in defence spend, let alone a three per cent of GDP or higher target. Is she not persuaded by the threat of Russian aggression, the possibility of conflict with China, perhaps even the need to defend the Falklands at some point soon?

“What are you defending, if your own infrastructure is broken and this society is not a healthy society?” she asks in response, before adding: “When you look at recent wars, we’ve been in Afghanistan, Iran, Iraq, Yemen. So, is that keeping our shores safe? We’ve got to be honest about what that money is actually being spent on.”

Nor does she accept the Westminster consensus that welfare spend needs to come down.

Advertisement

“Well, what is welfare spending? That’s the key question,” she says. “A big chunk of that is actually pensions, and that is deferred income for people who have already put into the pot.

“Then you’ve got to be really honest and realistic that a big chunk of our trade union membership is in these low-paid, insecure jobs, in these outsourced companies, and that low pay means they need to rely on benefits to exist. So, it’s all fictitious. Like Andy says, we’ve got to start having some very honest conversations.”

Although Egan holds back from criticising Healey directly, she is happy to make clear her view of the Home Secretary, who she says has “not even answered requests for a meeting”.

Unison wants to express its concerns over the government’s proposals to increase the time migrants will have to wait for Indefinite Leave to Remain status; the standard going up from five to 10 years, rising to 15 years for those who arrived on health and social care visas.

Advertisement

“That was one of my disappointments – that Shabana Mahmood was left in position, simply because of her position on the migrant workers. As yet, there’s just a wall of silence at the moment.

“I think that’s absolutely unacceptable because they make these big announcements, and what they’ve got is these hundreds of thousands of workers who are just being left on a thread at the minute, wondering where their futures lie and what’s going to happen to them and their families.”

Unison, a primarily public sector union that represents more social care workers than any other, is lobbying for changes not to apply retroactively: “It was a deal – come to the country for five years, do the work, and then you get leave to remain.”

Egan also wants their visas no longer to be tied to specific employers. “It’s got to be sector-wide,” she says. “The victimisation of those workers because you’re tied to one employer – that’s where the abuse happens… There’s a fear about raising your head and reporting them because the threat is there and it is real: ‘If you speak out, we’ll report you to Home Office, we’ll sack you’.”

Advertisement

Her overriding argument speaks to something fundamental – and very challenging – that Burnham wants to achieve in government: the creation of a ‘national care service’. “What I have said to Andy Burnham is, ‘You’re not going to be able to deliver that without the migrant workers.’”

And was he receptive to that message? “He nodded,” she recalls. “We were in a big meeting, and he acknowledged my statement.”

Egan, who was raised by a single mum on a Bolton estate, worked in the care sector herself; in a care home at 19, then children’s residential care. A union rep, she worked her way up, becoming manager of the unit, then convenor for children’s services, and ultimately a social worker.

“I’ve been asked by a number of ministers about me joining the Labour Party. I’ve reminded them that I didn’t leave them, they left me”

Advertisement

She joined the Labour Party about 16 years ago, yet was expelled in 2022 after sharing posts by Marxist group Socialist Appeal, which was proscribed under Starmer.

Asked whether she would like back in, Egan says: “I’ve been asked by a number of ministers about me joining the Labour Party. I’ve reminded them that I didn’t leave them, they left me.

They expelled me. I’m now the leader of the biggest trade union in the country, and what I have said is, ‘You need to start behaving like a Labour Party.’”

Advertisement

Extraordinarily for the leader of the largest trade union, which is affiliated to the Labour Party and continues to be one of its biggest donors, she is “waiting for a number of things” before considering a fresh membership application.

“They’d have to do something that would inspire me and instil my trust again that the Labour Party can behave and deliver like the Labour Party,” she says. Has she been given assurances that she would be let in? “After four years, I can reapply anyway… So, it is a choice thing.”

In the meantime, she is allowed to attend Labour conference but not permitted entry to the main hall.

When Egan last spoke to The House, she said she would not move down to London, where Unison headquarters sits on Euston Road, if she became general secretary. That has not changed – and fortunately for her, splitting one’s time between North and South is in vogue right now.

Advertisement

“My husband and my son are still in Bolton. That’s my family home. But whether I need to be down in the London office, the West Midlands, Glasgow – I’ll be wherever. You only need to look at my diary. I’m all over the place.

“The same is said about how many days you work. Ideally, you’d want to be working a standard working week, wouldn’t you? But that doesn’t work out either. So, I’m just wherever I need to be.”

Andrea Egan. Photography by Tom Oldham
Andrea Egan (Photography by Tom Oldham)

Egan also pledged to shun the £181,000 remuneration available to the general secretary, vowing to take only a social worker’s salary, without specifying what this figure would be. Has she been able to fulfil that pledge?

“For clarity, I’m taking a social worker’s salary, and that is within the scope of a social worker’s salary,” she replies, which suggests it may be the general average of around £40,000 but could also be much higher. She has not yet donated the remainder to Unison funds as promised; it is “sat in the account because I want to do it year-end”.

So, what will her final salary be?

Advertisement

“It’s a social worker’s salary,” she reiterates, unwilling to clarify. “What I will do is, I’ll publicise it at the end of the year to my membership. The only people I’m accountable to, if I’m really frank, is my membership, and you don’t say anything to your membership you’re not prepared to deliver on. So, I will deliver on that, and I will let my membership know.”

In our last interview, Egan also said she would not feel comfortable with the union representing someone like Sandie Peggie, the Fife nurse who complained about having to use the same hospital dressing room as a trans colleague. “We have members come to the union with all kinds of issues, and some of them are unreasonable, but you’ve got to unpick them,” she explained.

Has this situation arisen since she has become general secretary? “You can imagine: members come with all kinds of issues. They stole money, they’ve assaulted somebody, they’ve been accused of being racist. You don’t have to represent every single member through the rulebook because there’s some standard,” she says today.

The Supreme Court ruling on sex and gender in the Equality Act is “unworkable”, she adds, before stumbling over her words, trying to decide whether she “respects” the law as it stands.

Advertisement

She settles on: “You’ve got to adhere to the law. But at the same time, we absolutely will be looking at how we challenge that.”

While others favour reopening the Equality Act to change how it defines gender in light of the court ruling, Egan is not so sure. “I never said we were open to opening the Equality Act because where do you stop?” she asks. The implication is that it could open a Pandora’s box; she is deeply concerned by Reform UK’s plans to scrap the Equality Act, as well as the threat the party’s potential electoral success poses to unions.

For now, her focus is primarily on a campaign pressing the government to deliver on its manifesto promise to “bring about the biggest wave of insourcing of public services in a generation”.

Have the unions involved figured out how much the insourcing they proposed would cost upfront? “Work is being done, but our bottom line is really clear: it would pale into significance to what’s already been lost through the public purse.”

Advertisement

Egan is “loving” her new job. “I feel more optimistic than I did last year. I feel more excited than I did last year because I’m now – I mean, that was an historic win,” she says.

“I’m a working-class woman. A working-class woman from a town who has always felt that my position as a council employee, as a trade unionist, as a community member, are connected. It’s all for the good of.

“I did say this to Keir Starmer before he left: ‘Listen, I’m not an oppositionist for the sake of it, because if you win, we win, society wins.’ I think that’s where we’re at now. We’ve got one opportunity for really trying to get us back to a better place.” 

impression

Source link

Continue Reading

Politics

Madonna’s Acceptance Speech Sparks Sabrina Carpenter Response

Published

on

Sabrina Carpenter and Madonna on stage at the VMAs

Sabrina Carpenter cheekily fought back against allegations that her team didn’t urgently respond to a request from Madonna.

On Sunday night, Sabrina joined Madonna on stage to accept the award for Best Collaboration for their Bring Your Love music video.

During their joint speech, the Queen of Pop called out the Espresso singer as she explained how the song came together, claiming that after waiting five days for Sabrina’s team to get back to her, she decided to take things into her own hands.

“Five days,” Madonna said dryly, leading to “ooohs” from the audience.

Advertisement
Sabrina Carpenter and Madonna on stage at the VMAs
Sabrina Carpenter and Madonna on stage at the VMAs

“I DM’d her,” the Like A Prayer singer continued as Sabrina let out a stunned laugh. “This is a true story – she answered me back, and within weeks we were in the studio together.”

Madonna then added that she “loved” working with Sabrina because of how “professional” she is, noting that “in this day and age, it’s really hard to find professional people to work with”.

Sabrina also took a moment to step in and defend her team, joking that they were “shitting themselves backstage” in a moment that was bleeped out in the broadcast.

“My team replies, just so everybody knows,” she insisted. “They do respond to people… but I respond faster. So direct line to me is always the best way to get in contact.”

At the end of the speech, Madonna embraced her collaborator, and then said that the two were “gonna go back there and have a drink or something”.

Advertisement

“Um, everybody ― Madonna!” Sabrina said, earning extra applause for her iconic duet partner as the two walked off stage hand-in-hand.

Source link

Advertisement
Continue Reading

Politics

Taylor Swift’s Patient Zero Music Video Sparks Debate Over Grave Scene

Published

on

Taylor Swift and Dakota Johnson in the former's Patient Zero music video

Taylor Swift unveiled her new music video during Sunday night’s VMAs – and it has already generated a lot of conversation among her devoted fans.

During this year’s MTV Video Music Awards, the I Knew You Were Trouble performer was presented with the first ever VMA Artist Director Honours prize, in recognition of the many self-directed videos she’s released in recent years.

In honour of this, Taylor also unveiled the video for her latest single Patient Zero, co-starring Colin Farrell and Dakota Johnson, the latter of whom presented the singer with her award.

Taylor Swift and Dakota Johnson in the former's Patient Zero music video
Taylor Swift and Dakota Johnson in the former’s Patient Zero music video

The Patient Zero video – which aired on TV as part of the VMAs broadcast, but has not yet been officially shared on Taylor’s official channels – stars Dakota as a woman in a seemingly perfect relationship with Colin’s character, who is being haunted by her partner’s ex, played by Taylor herself.

As the video progresses, it emerges that the character played by Taylor was actually killed by Colin, with her ghost trying to warn Dakota about suffering a similar fate, as viewers discover she, too, is seemingly being poisoned.

Advertisement

One shot towards the end of the video has already sparked a whole lot of speculation, as Dakota is seen standing at a gravestone that reads “1986 – 2022”.

Taylor, as her own album of the same name confirms, was born in 1989, leading “Swifties” to speculate as to exactly what the significance of the year 1986 could be…

Patient Zero is one of four new tracks by Taylor to be featured on The Encore, a deluxe edition of her album The Life Of A Showgirl.

Advertisement

Source link

Continue Reading

Trending

Copyright © 2025