Category Entertainment News

Love Island icon Maura Higgins appears to have moved on from the Danny Jones kiss drama, which took place earlier this month, as she focused on her endless work projects

Love Island icon Maura Higgins looked out of this world as she rocked a classy outfit for an event with L’Oreal. The reality star took to her Instagram page to share behind-the-scenes clips from the shoot, which had her posing on the step of a train as a waiter walked behind her carrying a tray of Prosecco.

The star took a ride on the British Pullman – private luxury train offering a unique travel experience for passengers. She was treated to drinks and a full meal on the journey and the TV personality made sure to take some time to show off her modelling skills as she posed for a number of gorgeous photos.

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Maura rocked a button-up short black dress with a white collar, black tights, black heels, a tiny bag and a hat for the occasion. She added a Louis Armstrong audio to the clip and shared it with her 4.1million followers.

Fans immediately took to the comment section to compliment the star. One user said: “Different class..different gravy! Love this Maura.”

Another added: “You look stunning and I love the Pullmans.. so special!” and one commented: “You really was made to shine, stunning photos.” One said: “Giving off luxurious vibes – having a luxurious ride – enjoyed by a top end Queen.”

Maura captioned her post: “And she was what mother called “New Money”. Thankyou for the most special day @lorealparis.”

Her recent work events come after she was caught locking lips with married Danny Jones while at a late night BRIT Awards afterparty.

They have been wrapped up in scandal since video footage emerged as the kiss put strain on Danny’s marriage to former Miss England Georgia Horsley. Danny and Maura, who met on the latest series of I’m A Celebrity, were seen looking close at a glitzy party before heading onto the five-star Nobu Hotel in London for more drinks.

Danny recently apologised for what happened in a grovelling apology shared on social media while his wife moved out of the family home temporarily to spend time with her friends and “get away” from all that is going on.

Meanwhile, Maura has been lying low and focusing on work and opted to flee the UK and fly out to Los Angeles and Texas for work.

She took part in a huge shoot for fashion brand Oh Polly and shared snaps from her getaway on social media. Despite painting a picture she has brushed off the scandal, sources have told The Mirror it has been a tough few weeks for the star.

Maura recently gave her own insight into her thoughts on being involved in the scandal as she ‘liked’ a fan comment on her recent post. A follower supported Maura and wrote: “You are unreal. Don’t listen to the haters. U are a diamond.”

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Adolescence co-writer Jack Thorne has revealed a big secret behind the scenes of the chilling Channel 4 drama, that left fans utterly shocked and gripped

Netflix star Stephen Graham’s “manipulative” Adolescence director secretly plotted with the actor’s wife to shock him with photos of his real life children to ramp up his harrowing tears while filming the closing scene in the hit series.

The show’s co-writer Jack Thorne said when Graham’s character Eddie goes into the bedroom of son Jamie – who’s been accused of murdering a female classmate – feeling he’s let him down, the actor was confronted with the surprise pictures of his teenage kids.

Director Philip Barantini had put up photos of Graham’s two real-life children Alfie and Grace – visible to Graham but off camera, so they were not seen by viewers – with the blessing of Graham’s real wife Hannah.

Graham is then seen breaking down sobbing and burying his head in his son’s teddy bear before saying “I’m sorry son. I should’ve done better”.

Thorne told how the teddy also was not in the script but was another added idea of Barantini’s, although that was included in conjunction with Graham. On Graham’s tearful final words, which encapsulated the show, Thorne said: “I think those were Steve’s words. And you know what, that teddy bear wasn’t me. That wasn’t in the script. That was Phil and Stephen put it in there.

“And Phil did something that was quite manipulative and quite brilliant, which is he put Stephen’s own family inside the wardrobe.”

Photos of Graham’s family were pinned on the wardrobe, along with a note from them saying “We love you – we’re so proud of you”.

Speaking to the RadioTimes, Thorne continued: “So when Stephen breaks down like that it’s because he has been triggered by a director that has sent him on this hour-long journey and then put something at the end that takes him somewhere.

“Now what he says in that moment, it terms of I wish I’d done better, I wish I’d been a better father for you, that’s what the show is all about.”

Asked if Graham really had no idea he’d be confronted by photos of his own children when he walked in filming that final scene, Thorne said: “Yeah, I know.

“But Stephen and Philip have known each other for many, many years. They’re incredibly good friends, so Stephen will have known Phil’s made a decision here, and I’m going to go with it.

“There wouldn’t have been any sort of like ‘Why have you done that?’ It would have been like ‘Oh, that was interesting, that did something else to my brain chemistry’. And he stayed in the moment because that’s what Stephen does. And it took him to an even more interesting place than he went to on his own.”

Thorne then joked: “I’m now really worried that I’ve called Phil manipulative. Phil is a very kind and generous and lovely man.” He added that Graham did other takes where he didn’t have the photo, before that was introduced to add even more intensity.

Thorne said: “This was just ‘Ok, let’s add a little more ingredient’. Hannah Walters is our exec producer, who’s Stephen’s wife, and Hannah’s the sort of matriarch – their production company is called Matriarch Productions, she is the matriarch of Matriarch (one of Adolescence’s production companies).

“She is in control of us all and so Hannah was very much part of that discussion too with Phil I think in terms of what they placed in there. He saw Alfie and Grace, his kids in there.”

The four-part crime drama was created and written by Thorne and Graham and is being highly acclaimed.

It has won praise for its content but has also sparked debate about the upbringing of children in society and their exposure to social media and smartphones.

Adolescence co-writer Jack Thorne has revealed a big secret behind the scenes of the chilling Channel 4 drama, that left fans utterly shocked and gripped

Netflix star Stephen Graham’s “manipulative” Adolescence director secretly plotted with the actor’s wife to shock him with photos of his real life children to ramp up his harrowing tears while filming the closing scene in the hit series.

The show’s co-writer Jack Thorne said when Graham’s character Eddie goes into the bedroom of son Jamie – who’s been accused of murdering a female classmate – feeling he’s let him down, the actor was confronted with the surprise pictures of his teenage kids.

Director Philip Barantini had put up photos of Graham’s two real-life children Alfie and Grace – visible to Graham but off camera, so they were not seen by viewers – with the blessing of Graham’s real wife Hannah.

Graham is then seen breaking down sobbing and burying his head in his son’s teddy bear before saying “I’m sorry son. I should’ve done better”.

Thorne told how the teddy also was not in the script but was another added idea of Barantini’s, although that was included in conjunction with Graham. On Graham’s tearful final words, which encapsulated the show, Thorne said: “I think those were Steve’s words. And you know what, that teddy bear wasn’t me. That wasn’t in the script. That was Phil and Stephen put it in there.

“And Phil did something that was quite manipulative and quite brilliant, which is he put Stephen’s own family inside the wardrobe.”

Photos of Graham’s family were pinned on the wardrobe, along with a note from them saying “We love you – we’re so proud of you”.

Speaking to the RadioTimes, Thorne continued: “So when Stephen breaks down like that it’s because he has been triggered by a director that has sent him on this hour-long journey and then put something at the end that takes him somewhere.

“Now what he says in that moment, it terms of I wish I’d done better, I wish I’d been a better father for you, that’s what the show is all about.”

Asked if Graham really had no idea he’d be confronted by photos of his own children when he walked in filming that final scene, Thorne said: “Yeah, I know.

“But Stephen and Philip have known each other for many, many years. They’re incredibly good friends, so Stephen will have known Phil’s made a decision here, and I’m going to go with it.

“There wouldn’t have been any sort of like ‘Why have you done that?’ It would have been like ‘Oh, that was interesting, that did something else to my brain chemistry’. And he stayed in the moment because that’s what Stephen does. And it took him to an even more interesting place than he went to on his own.”

Thorne then joked: “I’m now really worried that I’ve called Phil manipulative. Phil is a very kind and generous and lovely man.” He added that Graham did other takes where he didn’t have the photo, before that was introduced to add even more intensity.

Thorne said: “This was just ‘Ok, let’s add a little more ingredient’. Hannah Walters is our exec producer, who’s Stephen’s wife, and Hannah’s the sort of matriarch – their production company is called Matriarch Productions, she is the matriarch of Matriarch (one of Adolescence’s production companies).

“She is in control of us all and so Hannah was very much part of that discussion too with Phil I think in terms of what they placed in there. He saw Alfie and Grace, his kids in there.”

The four-part crime drama was created and written by Thorne and Graham and is being highly acclaimed.

It has won praise for its content but has also sparked debate about the upbringing of children in society and their exposure to social media and smartphones.

Prince Harry has faced a major blow after his show, Polo, was ridiculed by critics for being ‘unrelatable’ and ‘pompous’ – and it puts his Netflix career in jeopardy

Prince Harry and Meghan Markle’s Netflix documentary, Polo, found itself at the centre of a wave of criticism after it ‘flopped’ following its release. The couple were spotted filming in Wellington, Florida as they attended the Sentebale Polo Classic to record scenes for their fourth Netflix docuseries.

The Duke and Duchess of Sussex were listed as executive producers on the five-part series that launched on December 10, but was dogged by a number of negative reviews from viewers and critics. It also failed to make the top ten in Britain, America or any of Netflix other huge regional markets. Now, it means this could be the end of Harry’s partnership with Netflix.

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The show centres on a group of professional players as they progress through the 2024 season, but people pointed out that while Harry and Meghan co-produced the show, it appears to be more of the duke’s project as Harry, 40, has been associated with polo for a long time. Royal fans who were hoping to see Harry and Meghan in the show were also left disappointed as they only appeared in the opening sequence and the final episode of the show.

Critics believe the show didn’t invest in a poster campaign, releasing only a trailer on YouTube. Prince Harry, 40, who has played polo all his life, wrote a two-line statement on Netflix’s website. “This series offers audiences an unprecedented, behind-the-scenes look into the passion and determination driving some of the world’s elite polo players, revealing the grit behind the glamour,” the prince said. “We’re proud to showcase the true depth and spirit of the sport – and the intensity of its high-stakes moments.”

Meanwhile, a source told Closer that neither Harry nor Meghan, 43, had much control over the direction of the program. “Truth is, it was pretty much out of their control. The bosses wanted the series to appeal to the masses and pushed this reality TV slant so it’s not entirely their fault.”

‘Polo’ followed the lives of competitors in the US Open Polo Championship, focusing on dramatic events like an on-field injury and a rivalry between and father and son. But critics say it was “unrelatable” to audiences and Eric Schiffer, chair of Reputation Management Consultants, told Newsweek: ‘It’s a pompous portrayal of privilege posing as a documentary. It feels fake. You could almost see an ad, ‘polo the new cure for insomnia, brought to you by royalty.'”

He continued: “They’ve made it the new frontier of unrelatability. This ensures polo becomes even less popular for regular people. It just reeks of entitled and is disconnected, unrelatable.”

A two-star review from The Guardian’s Stuart Heritage described the show as Prince Harry’s “unintentionally hilarious profile of the world’s stupidest sport” and said: “Fixtures are chosen by popping confetti-filled balloons, obnoxiously privileged players weep in darkened rooms when they lose … this documentary about the royal’s hobby is like a spoof.”

While The Times said Prince Harry “made a TV show only he would watch,” calling it ‘tedious’ and ‘utterly unrelatable,’ audiences also brutally scored it 27 per cent on Rotten Tomatoes.

This marks the latest in a series of streaming projects pursued by Harry and Meghan that have flopped or failed to find a consistent audience, despite Netflix inking a contract with them said to be worth $100 million in September 2020.

According to The Sun, it is understood that there are no plans for any more Netflix shows, with Harry either in front of or behind the camera, as the deal runs out.

Their second documentary ‘Live to Lead’ was released in December 2022, which featured interviews with prominent world leaders and activists including late Supreme Court Justice Ruth Bader Ginsburg and climate warrior Greta Thunberg. It currently has a 15 percent rating on Rotten Tomatoes.

In summer 2023, the ‘Heart of Invictus’ came out the following summer and followed a group of competitors in the Invictus Games, a global sporting event for wounded service members founded by Prince Harry, but wasn’t able to break into Netflix top 10, and was also dogged by bad reviews.

‘Harry & Meghan,’ documentary released in 2022 gave an insight into the couple’s personal life, where they revisited their decision to step down as working British royals, and this finally gave the pair some success. With 81.6 million hours of viewing time in just four days, it became one of Netflix’s biggest documentary debuts ever.

But since, there has been uncertainty over whether Harry and Meghan’s deal with Netflix will be renewed, especially since their multi-million dollar Spotify contract fell through in 2023.

The Mirror has reached out to Harry’s representatives and Netflix for a comment.

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Prince Harry has faced a major blow after his show, Polo, was ridiculed by critics for being ‘unrelatable’ and ‘pompous’ – and it puts his Netflix career in jeopardy

Prince Harry and Meghan Markle’s Netflix documentary, Polo, found itself at the centre of a wave of criticism after it ‘flopped’ following its release. The couple were spotted filming in Wellington, Florida as they attended the Sentebale Polo Classic to record scenes for their fourth Netflix docuseries.

The Duke and Duchess of Sussex were listed as executive producers on the five-part series that launched on December 10, but was dogged by a number of negative reviews from viewers and critics. It also failed to make the top ten in Britain, America or any of Netflix other huge regional markets. Now, it means this could be the end of Harry’s partnership with Netflix.

READ MORE: Prince Harry heard dad was taken to hospital on the news like rest of world in brutal blow

The show centres on a group of professional players as they progress through the 2024 season, but people pointed out that while Harry and Meghan co-produced the show, it appears to be more of the duke’s project as Harry, 40, has been associated with polo for a long time. Royal fans who were hoping to see Harry and Meghan in the show were also left disappointed as they only appeared in the opening sequence and the final episode of the show.

Critics believe the show didn’t invest in a poster campaign, releasing only a trailer on YouTube. Prince Harry, 40, who has played polo all his life, wrote a two-line statement on Netflix’s website. “This series offers audiences an unprecedented, behind-the-scenes look into the passion and determination driving some of the world’s elite polo players, revealing the grit behind the glamour,” the prince said. “We’re proud to showcase the true depth and spirit of the sport – and the intensity of its high-stakes moments.”

Meanwhile, a source told Closer that neither Harry nor Meghan, 43, had much control over the direction of the program. “Truth is, it was pretty much out of their control. The bosses wanted the series to appeal to the masses and pushed this reality TV slant so it’s not entirely their fault.”

‘Polo’ followed the lives of competitors in the US Open Polo Championship, focusing on dramatic events like an on-field injury and a rivalry between and father and son. But critics say it was “unrelatable” to audiences and Eric Schiffer, chair of Reputation Management Consultants, told Newsweek: ‘It’s a pompous portrayal of privilege posing as a documentary. It feels fake. You could almost see an ad, ‘polo the new cure for insomnia, brought to you by royalty.'”

He continued: “They’ve made it the new frontier of unrelatability. This ensures polo becomes even less popular for regular people. It just reeks of entitled and is disconnected, unrelatable.”

A two-star review from The Guardian’s Stuart Heritage described the show as Prince Harry’s “unintentionally hilarious profile of the world’s stupidest sport” and said: “Fixtures are chosen by popping confetti-filled balloons, obnoxiously privileged players weep in darkened rooms when they lose … this documentary about the royal’s hobby is like a spoof.”

While The Times said Prince Harry “made a TV show only he would watch,” calling it ‘tedious’ and ‘utterly unrelatable,’ audiences also brutally scored it 27 per cent on Rotten Tomatoes.

This marks the latest in a series of streaming projects pursued by Harry and Meghan that have flopped or failed to find a consistent audience, despite Netflix inking a contract with them said to be worth $100 million in September 2020.

According to The Sun, it is understood that there are no plans for any more Netflix shows, with Harry either in front of or behind the camera, as the deal runs out.

Their second documentary ‘Live to Lead’ was released in December 2022, which featured interviews with prominent world leaders and activists including late Supreme Court Justice Ruth Bader Ginsburg and climate warrior Greta Thunberg. It currently has a 15 percent rating on Rotten Tomatoes.

In summer 2023, the ‘Heart of Invictus’ came out the following summer and followed a group of competitors in the Invictus Games, a global sporting event for wounded service members founded by Prince Harry, but wasn’t able to break into Netflix top 10, and was also dogged by bad reviews.

‘Harry & Meghan,’ documentary released in 2022 gave an insight into the couple’s personal life, where they revisited their decision to step down as working British royals, and this finally gave the pair some success. With 81.6 million hours of viewing time in just four days, it became one of Netflix’s biggest documentary debuts ever.

But since, there has been uncertainty over whether Harry and Meghan’s deal with Netflix will be renewed, especially since their multi-million dollar Spotify contract fell through in 2023.

The Mirror has reached out to Harry’s representatives and Netflix for a comment.

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Lauryn Goodman is said to be keen to put an end to her feud with Annie Kilner, a year after the bitter battle was first sparked by footballer Kyle Walker

After a year of new revelations, legal showdowns and some cross words, a source tells new! that Lauryn Goodman wants to build bridges and have “peace talks” with Annie Kilner. Footballer Kyle Walker triggered the feud by fathering two children – son Kairo, four, and two-year-old daughter Kinara – with Lauryn after they first struck up a relationship in 2019 during a brief separation from his wife.

Many of the details were laid bare during an intense Family Court battle last year between Kyle, 34, and his former mistress over child maintenance and other finances, and there has been near-constant speculation about Annie and Lauryn’s relationship ever since. According to our source, though, Celebs Go Dating star Lauryn, 34, wants to put an end to the drama and bury the hatchet once and for all.

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“She doesn’t want this. She wants to start building bridges and engage in some kind of peace talks with Annie,” they claimed. “She wants to bring them together and unify them somehow.

“The constant fighting is silly. It’s not been fair for anybody, especially for the children.” The surprise U-turn comes after a years-long bitter battle, which began with Kyle’s affair with Lauryn, leading to the birth of their son in 2020.

Despite Annie, 33, trying to rebuild her relationship with Kyle, it later emerged the England defender had fathered a second child with Lauryn in 2023, reportedly leaving his wife devastated. Since then, there have been a number of cryptic posts, pointed interviews and explosive claims – from Lauryn slamming Annie as “obsessed” to Annie liking shade-throwing tweets about “homewreckers”.

Despite the claims that Lauryn wants to draw a line in the sand now, a source close to Annie tells us that any ongoing drama has nothing to do with Annie, who has four children with Kyle. “As far as Kyle and Annie are concerned, they are continuing on with their lives and trying their best to avoid any public spats,” they claimed.

“Annie is just moving on. If it’s anyone’s war, it’s Lauren and Kyle’s – but it’s not Annie’s. She won’t engage with Lauren. Of course, the past was difficult, but it’s been a year – and Kyle, Annie and their boys are carving a new ending away from it all.

“She is focusing on her children, not herself, and navigating life with Kyle, waiting to see what the next steps are with his contract.”

While Annie has remained largely silent on the topic, Lauryn has spoken about her relationship with her kids’ father on a number of occasions. She even launched her own podcast, Yours Sincerely, last year where she slammed Kyle for allegedly not treating her children the same as his family with Annie. In August, Lauryn took her case to London’s Family Court to seek maintenance and other monies – which equated to an amount equivalent to a £350,000 annual salary – but the judge dismissed many of her claims.

Lauryn opened up about the case on her podcast shortly afterwards, telling listeners, “I will do anything for my kids and I will put myself through hell and back to make sure that they get what they should get.” The drama seemed to intensify recently when Annie took to Instagram last week to share a cryptic post, with text which read, “I’ve cooked for men I should have poisoned. So yeah I do have self control.”

Kyle, meanwhile, has succeeded in putting a bit of distance between himself and Lauryn recently by moving to play for AC Milan, on loan from Manchester City. The decision, he said, allowed him to “solely concentrate on football”. Annie, however, who tied the knot with her childhood sweetheart Kyle during a secret ceremony in 2021 at Mottram Hall in Cheshire, can’t seem to escape the drama.

She most recently faced another headache amid rumours that Lauryn could be ready to immortalise their private lives in a bombshell tell-all book. But our source claims that, although Lauryn is considering a deal, Annie needn’t worry about its contents. They said, “She’s not doing a kiss-and-tell – that story would be about five pages long. She would want to pen a book on the realities of being a single mother-of-two, how she has coped, sharing her experiences and what she regrets.”

Who knows what will happen but if Lauryn and Annie do decide to meet up for peace talks, we would love to be a fly on the wall.