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One of the more recent royal weddings to delight around the globe was the wedding of King Carl XVI Gustaf and Queen Silvia’s only son, Prince Carl Philip, to his model girlfriend Sofia Hellqvist. While Prince Carl Philip was once the heir apparent, Sweden passed absolute primogeniture laws that forever transferred the line of succession to his sister, Crown Princess Victoria. Nevertheless, it was welcome news when he announced his engagement to Sofia Hellqvist, who called their initial meeting over lunch love at first sight.

The wedding took place on June 13, 2015 in the Royal Chapel of Stockholm Palace. The bride arrived in a dress designed by Ida Sjöstedt, made of crepe silk and Italian organza and finished with lace. Although very much a modern affair, the bride marched towards the traditional Swedish crowns that lay on cushions at the end of the altar, which are used
to represent the couple.

After the wedding, the bride and groom rode a horse and carriage to the Royal Palace’s Logården, where on the balcony the King of Sweden led the cheers for the happy couple before an extravagant wedding banquet was served.

If one had any doubt this was a modern duo, when guests bit into their colourful wedding cake they discovered it contained pop rocks, one final surprise from the spirited bride and groom.

Scroll through to go inside this royal wedding.

Prince Carl was third in line to the Swedish throne at the time of marrying, after his older sister Crown Princess Victoria and her daughter Princess Estelle. Prince Carl’s parents are King Carl XVI Gustaf and Queen Silva. He also has a younger sister, Princess Madeleine. 

The bride wore a white bustier haute couture gown by Swedish designer Ida Sjöstedt with wide V-neck lace overlay and metres-long train. She was adorned with an emerald crown and diamond earrings. 

Royals of many nationalities attended the nuptials, including Crown Princess Mary and Crown Prince Frederik of Denmark. 

A banquet in the palace’s The White Sea Hall followed the ceremony. “Today I am the happiest man in the world,” Prince Carl said in his toast. “Sofia, you fill my life with love and happiness. With your love I will be able to overcome all challenges. Dear Sofia, I love you.” Both the bride and groom’s fathers spoke as well. 

 

Molly Sanden performed a song with lyrics written by the newly titled Princess Sofia. During the celebrations songs by Rihanna and Coldplay were played and a gospel choir performed. Guests then entered the Karl XI Gallery, which was modelled on Versailles’ Hall of Mirrors to continue the festivities. 

Thousands of onlookers gathered outside the palace to see the couple emerge as husband and wife in public for the first time.

The happy bride and groom.

The scenes outside the royal palace.

Crown Princess Mary and Crown Prince Frederik of Denmark

Princess Madeleine of Sweden, Christopher O’Neill and Princess Leonore

Crown Princess Victoria and Prince Daniel of Sweden

King Carl XVI Gustaf and Queen Silvia of Sweden

Crown Princess Mette-Marit and Crown Prince Haakon of Norway 

Queen Margrethe II of Denmark

Queen Maxima of the Netherlands

Princess Hisako Takamado of Japan

Queen Mathilde of Belgium 

Prince Nikolaos and Princess Tatiana of Greece

Queen Sonja of Norway

Five famous Swedish chefs designed the menu with dishes included crayfish, mussels, while asparagus with roe, smoked zander fish and a peach and raspberry tartlet with white chocolate, Champagne and peach sorbet for dessert. 

The bride and groom selected a cake from pastry chef Fredrik Borgskog. 

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A scene from The Devil Wears Prada. Image credit: supplied

When you’ve got a few hours up your sleeve, whether on a plane trip to some place incredible, or at home for the day feeling under-the-weather, or even just craving some solid couch time on a rainy Sunday afternoon, but have already seen every single slightly watchable recommendation from your favourite streaming service and iTunes, you need a movie that always delivers enjoyment. Every. Single. Time.

For those hopping on a plane, a tear-jerker is usually a hard no. Sobbing over or in the comfort of your own home is one thing, but shedding major tears in front of the too-close-for-comfort strangers in seats 48C, D, E and F is a level of public discomfort no movie is worth.

Equally, anything with a ton of sex is probably going to land you a few cross glares if not loud comments from families with under-18s in the seats nearby, so and the like are definitely out.

Horror is also best left out, screaming on a plane is going to freak everyone out including the pilot and it’s important the people flying the plane remain calm. Also, watching a horror movie when you’re home alone on a rainy afternoon is probably not best practice if you want to sleep that night.

So, what should be in your sheer escapist enjoyment movie list? Feel-good comedies, rom-coms, sci-fi and action movies, think: , , , , , and .

There is one caveat on the action genre, if your allocated movie-watching time is on a plane, train or bus, best to steer clear of action movies involving modes of transport that you’re currently on; avoid if you’re on the bus and when flying at all costs.  

Read on for a list of flicks to watch on a plane, on a day off or just when you have a spare few hours and want to escape into the enjoyable Hollywood popcorn entertainment zone.

Image credit: MGM Distribution Co.

Legally Blonde, 2001

Image credit: Columbia Pictures

Just Go with it, 2011

Image credit: Warner Bros. Pictures

Game Night, 2018

Image credit: 20th Century Fox

This Means War, 2012

Image credit: Sony Pictures

Jumanji: Welcome to the Jungle, 2017

Image credit: Lucasfilm (The Walt Disney Company)

Star Wars, 1977-2019

Image credit: Paramount Pictures

Mean Girls, 2004

Image credit: supplied

Crazy Rich Asians, 2018

Image credit: Warner Bros. Pictures

Something’s Gotta Give, 2003

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Image credit: Buena Vista Pictures

Father of the Bride, 1991

Image credit: Paramount Pictures

The First Wives Club, 1996

Image credit: 20th Century Fox

The Princess Bride, 1987

Image credit: supplied

Couples Retreat, 2009

Image credit: Warner Bros. Pictures

The Nice Guys, 2016

Image credit: Lucasfilm (The Walt Disney Company)

Indiana Jones, 1991-2021

Image credit: supplied

Crazy, Stupid, Love, 2011

Image credit: Netflix

Always Be My Maybe, 2019

Image credit: Buena Vista Pictures

Sweet Home Alabama, 2002

Image credit: supplied

Cinderella, 2015

Image credit: supplied

Date Night, 2010

Image credit: United Artists

Baby Boom, 1987

Image credit: Paramount Pictures

Book Club, 2018

Image credit: Universal Pictures

Notting Hill, 1999

Image credit: Warner Bros. Pictures

This Is Where I Leave You, 2014

Image credit: 20th Century Fox

The Internship, 2013

Image credit: Getty Images

Beverly Hills Cop, 1984

Image credit: TriStar Pictures

As Good as It Gets, 1997

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Climate change is the most pressing issue in the world, and the twenty-three Democratic candidates for President have ideas about how to address it. For decades, economists have argued for a cap-and-trade system or a carbon tax as the cheapest and most efficient way to reduce CO2 emissions. Now progressives and climate activists are advocating for a different approach, focussing on renewable energy and creating jobs. Their efforts have resulted in the Green New Deal resolutions before Congress. What do the various proposals entail—and would any of them work?

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WASHINGTON (The Borowitz Report)—The embattled Presidential adviser Kellyanne Conway will leave her post at the White House, effective immediately, and begin a new job at the Kremlin on Friday, the White House and the Kremlin have confirmed.

Conway, who has served as a counsellor to President Donald Trump, will serve as a counsellor to President Vladimir Putin.

The White House press secretary, Sarah Huckabee Sanders, announced the news in sombre fashion. “Everyone here is happy for Kellyanne, but our nation has lost a great liar,” she said.

Conway told reporters that she was excited to work in “a country that doesn’t have dumb old laws like the Hatch Act.”

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“As a federal employee, there were so many restrictions on getting involved in American elections, but at the Kremlin that’ll be my main job,” she said.

House Democrats Inch Along on Impeachment

June 14, 2019 | News | No Comments

As divided as House Democrats might be about impeachment—around sixty members, a small but growing minority, are thought to support beginning proceedings now—the caucus is united in support of facilitating the House’s ongoing investigations of President Trump. On Tuesday, the House voted to allow individual committees to sue the Trump Administration without the approval of the full chamber. The vote comes a day after the Justice Department agreed to turn over to the Judiciary Committee some of the documents that informed the special counsel Robert Mueller’s conclusions on obstruction of justice, in a deal that was evidently reached to avoid a contempt resolution against Attorney General William Barr. It also came amid reports that the House Judiciary Committee chairman, Jerrold Nadler, is privately pressing House Speaker Nancy Pelosi to begin impeachment proceedings. As Pelosi prefers, House Democrats are instead inching along with their investigations.

Monday’s House Judiciary Committee hearing, on “Lessons from the Mueller Report,” was, as Nadler said in his opening statement, “the first in a series of hearings designed to unpack the work of the special counsel and related matters.” The witnesses included the former U.S. Attorneys Joyce White Vance, of Alabama’s Northern District, and Barbara McQuade, of Michigan’s Eastern District, who were invited to highlight and reëmphasize some of the Mueller report’s key conclusions on obstruction of justice. John Dean, the White House counsel for the Nixon Administration, was invited to draw parallels between Trump’s conduct and the Watergate scandal, in which Dean acted as both a participant and, later, a critical witness for investigators. The guest list should have signified the seriousness with which Democrats are taking the Mueller report’s findings, even though they have not compelled the Party’s leadership to pursue impeachment. But throughout the day, most of the seats on the Democratic side of the dais were empty, and several of the Democrats who showed up moved in and out of the hearing as it went on.

Republicans, by contrast, mostly stayed put, taking alternating swings at Dean’s reputation and his relevance to the committee’s investigation. In his opening remarks, Doug Collins, the Republican ranking member, jabbed at Dean and Democrats with reference to President Barack Obama’s dismissal of Mitt Romney’s 2012 warnings about Russia. “Just a few years ago, it was brought up by one of our candidates that Russia was a threat, and the former President Obama said that the eighties are asking for their foreign policy back,” he scoffed. “Well, guess what? This committee is now hearing from the seventies, and they want their star witness back.”

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In his testimony, Dean stated what many commentators have surmised since the release of the Mueller report: that the special counsel’s findings were a directive for congressional action. “In many ways,” he said, “the Mueller report is for President Trump what the so-called Watergate roadmap, officially titled the ‘Grand Jury Report and Recommendation Concerning Transmission of Evidence to the House of Representatives,’ was for President Richard Nixon.” The two former U.S. Attorneys reiterated the conclusion shared by hundreds of former federal prosecutors in an open letter last month. “Based on my experience in over twenty-five years as a federal prosecutor,” Joyce Vance told the committee, “I support the conclusion that more than a thousand of my former colleagues came to, and that I co-signed in a public statement last month, saying that if anyone other than a President of the United States committed this conduct, he would be under indictment today for multiple acts of obstruction of justice.”

In defense of the hearing, Dean argued that the committee’s efforts to elevate Mueller’s findings have been meaningful. “I think this committee does have a role and it is adding something that the special counsel could not, and that’s public education,” he said. “This report has not been widely read in the United States. It has not even been widely read in the Congress, from some of my conversations. But I think it’s a very important function that the committee is serving by bringing these matters to public attention.”

It remains to be seen whether the public, apprised of Mueller’s findings, will urge Democrats to do more than hold informational hearings about them.

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13th Jun 2019

Just one month after Sophie Turner married Joe Jonas in a Las Vegas chapel wedding officiated by an Elvis Presley impersonator shortly after the Billboard Music Awards on May 2, the British actress has hosted a multiple-day bachelorette party in Europe. 

If you find yourself wondering why she’s hosting a bachelorette party after the fact, it’s important to note that she’s currently celebrating ahead of her second wedding, set to take place in the French summer. 

“Their real wedding will be in France this summer, but they thought this would be a fun way to make it legal,” a source told E! News at the time. “They wanted to have it planned out in advance to give friends a chance to come. It was a fun night in Vegas and it worked out perfectly.”

How is the Game of Thrones star celebrating? With Maisie Williams and a close group of friends on a private jet tour taking in Benidorm, Berlin and Prague of course. According to E! News, the bachelorette party began in London following a Jonas Brothers concert. 

“Sophie flew to Spain four days ago on a private jet with her closest girlfriends,” a source told the publication. “Sophie rented out a luxurious penthouse suite at the hotel. Half of the girls are in her wedding party but they are all very close girlfriends of Sophie.”

Per said source, while Maisie helped organise the celebration, Turner took care of the majority of the bachelorette as she “wanted her friends to have a lot fun and wanted it to be a huge party weekend.”

Instagram posts from a series of the actress’s friends confirm that Turner is wearing a bride-to-be sash, while both she and her friends sport matching outfits and colorful wigs as they paint the town red. 

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“The girls have been hitting up nightclubs and dancing up a storm both in the clubs and at their hotel near the coast,” a second insider has told E! News. “They spent one day recovering by the rooftop pool at the Soho House in Berlin. They all lounged in matching robes and enjoyed drinks at sunset.”

“Now they are in Prague walking around the beautiful city and admiring all the old architecture,” the source added. “It’s a fun group of girls and Sophie is having a great time just being with her best friends in so many different places. They are really bonding and making it a memorable few days she won’t forget.”

It is 2019 and cheerleaders are still a thing in the National Basketball Association. The Chicago Luvabulls. The Memphis Grizz Girls. The Charlotte Honey Bees. And this is the N.B.A., the most progressive league in professional sports, with the most enlightened commissioner. The good news is that the best broadcaster in the game is Doris Burke. This has been the case now for years. There is no one remotely close.

As a basketball analyst for ESPN and ABC, Burke is the smartest, best prepared, most original on-air voice that the game possesses. She is as insightful about the stratagems taking shape on the court as she is about the emotional currents in the locker room. The question, then, is: Why is Burke relegated to being a role player, doing hurried sideline and post-buzzer interviews during the Finals while the announcers Mike Breen, Mark Jackson, and Jeff Van Gundy are left to dominate the airwaves at courtside?

You can be sure that when Game 6 of the Finals begins, Burke will know more than anyone about the murkiest subplot so far in the series between the Toronto Raptors and the Golden State Warriors: What’s the story with Kevin Durant? Why did he play hurt in Game 5, and who, if anyone, should take the blame for his ruptured Achilles, an injury that could put him on the sidelines for a year and cost him untold millions of dollars as a free agent?

Van Gundy has called Burke “the LeBron James of sportscasters.” A former high-school and college point guard, Burke, who is fifty-three, has been studying the intricacies and evolution of basketball for decades. It was once said of Ginger Rogers that she did everything Fred Astaire did, only backward and in high heels. Ditto for Doris Burke. My favorite video clip of her shows her walking along a waxed N.B.A. court in high heels, carrying papers and a notebook in her left hand while dribbling a basketball with her right. Suddenly, she swings the ball around her back and picks up the dribble with the same right hand. Steph Curry could not have done it much better—and let him try it in heels.

James, Durant, Curry—everyone in the league seems to respect Burke and to await her inquiries about the game or the state of their spirits (elated or crushed) with genuine esteem. Real fans do, too. Burke’s interviews are passed around online as treasured memes. In 2016, at a game in Toronto, Drake, a crazed courtside Raptors supporter, wore a T-shirt emblazoned with Burke’s picture and the phrase “WOMAN CRUSH EVERYDAY.” Deadspin has pronounced Burke “the best damn basketball broadcaster there is.”

Burke’s style is hardly flamboyant. She doesn’t have a memorable or eccentric voice like Johnny Most or Marv Albert, and she doesn’t do shtick. Burke is earnest, prepped, serious. She goes at the work the way that Elizabeth Warren has been going at the Democratic primary campaign. She is determined to succeed on the basis of substance, agree with her or not.

There are many (depending on your definition of “many”) women working now as play-by-play and color commentators in the N.C.A.A., N.B.A., N.F.L., and M.L.B., but it has not been even remotely easy for women in the business to get past the old prejudices. Bill Simmons, a gifted basketball writer and sports podcaster, and hardly a dinosaur of the Dick Young era, wrote about Burke on ESPN.com, in 2008, with a condescension he’d grow to regret: “She’s doing a fine job, but does it make me a sexist that I can’t listen to Doris Burke analyze NBA playoff games without thinking, ‘Woman talking woman talking woman talking woman talking . . .&nbsp’ the entire time?” A decade later, Simmons answered his own question, saying that Burke was, in fact, a “fantastic analyst” and that it was “embarrassing” that she was working the sidelines during the playoffs.

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There is a long history to all of this. For half of forever, women had a nearly impossible time breaking into sportswriting and broadcasting, suffering endless indignities and worse. In 1978, Melissa Ludtke, of Sports Illustrated, brought a lawsuit against the M.L.B., which was resisting her right to report the baseball beat with equal access to locker rooms, clubhouses, and other malodorous sacred places.

Leigh Montville, a sports columnist for the Boston Globe, interrogated Ludtke’s right to be in baseball clubhouses. “I have only a few questions for the lady,” Montville wrote. “I don’t care about all the wink and leer jokes about a grown woman going into a room where grown men are undressing. I just want to know if the lady is doing this job because she really wants to do this job…. Is she for real? Is she serious?” And then came a long litany of qualifying questions: “Did she ever spit in a baseball glove? Was her life absolutely dominated by sports when she was a kid?” And on and on he went.

Ludtke said at the time that most people understood her case as “girls wanting to go into a locker room and see men naked” rather than one of equal access. She won in court. But even after that decision, Jerome Holtzman, of the Chicago Sun-Times, who was one of the best-known baseball writers of his era, was resistant to the change. “I suppose the fact that this was an all-male world was what made it so exciting to me at first,” he told Roger Angell, of The New Yorker, for a piece from 1979 called “Sharing the Beat.” “And now that it’s being invaded and eroded it’s much less attractive. Maybe I’m a chauvinist—I don’t know. The press box used to be a male preserve—that was its charm. I’d rather not have a woman as a seatmate at a World Series game. It wouldn’t be as much fun. I’ve never met a woman who knew as much baseball as a man.”

But things changed all the same. Not long after, in the mid-eighties, I was a rookie on the sports staff of the Washington Post, a department run by George Solomon and featuring Tony Kornheiser, Tom Boswell, Michael Wilbon, and Dave Kindred—and Jane Leavy, Christine Brennan, and Sally Jenkins.

Jenkins, a rigorous reporter and a witty writer who still does a regular column for the Post, told me that as recently as last year the beat writers for all four of the pro sports teams in D.C. were women. “The thing is that in sportswriting the breakthroughs came at least twenty years ago and more,” Jenkins said. “But television sports has far more trip wires than sports journalism. Sports TV is still Wall Street. And there is no real change unless there is mandate from a guy on high. All the breakthroughs—and here you can name whatever women behind microphones—are decisions made by a single man at the top who wants to be Branch Rickey.”

On sports television, the early breakthroughs included Mary Carillo, Lesley Visser, and Robin Roberts. But women are all too often still judged by their looks. “Are they attractive enough? But if they’re too attractive, then maybe you’re a Twinkie,” Jenkins said. And their voices, too. Are they “shrill” or “squeaky” or do they sound like “your first wife in divorce court”? Which sounds awfully familiar to anyone who followed the Clinton campaigns, in 2008 and 2016, or those of the many women running now.

“Thankfully, Doris knows how to deal with all of that,” Jenkins said. “She’s sure-footed. She’s confident. She’s not trying to appeal to anybody on any other basis other than knowledge. She’s a basketball junkie and she’s an athlete. She comes from that pure place. She’s not trying to be an entertainer. She’s just trying to be observant and tell the truth.” YouTube is filled with examples of Burke’s unshowy, revealing interviews, including her moment with LeBron James after he brought the N.B.A. title to Cleveland, in 2016—the greatest individual performance of the era.

Burke has absorbed her share of retro nastiness, even on the air. During the 2013 playoffs, Gregg Popovich, an otherwise masterly coach of the San Antonio Spurs, was having a rough game and decided it was fine to treat Burke to some mumbly disdain. When she asked him to elaborate on the troubles his team had been facing in the first half, he would answer only with one word, “Turnovers.” He just let her hang there. But when Popovich tried to pull the same stunt four years later, Burke was having none of it and cut short the interview, saying, “Happy Mother’s Day to me, I’m taking the reprieve, sir.”

Doris Burke was born Doris Sable. She comes from a family of modest means. When she was seven, the Sables moved from Long Island to Manasquan, a shore town in New Jersey. The previous homeowners had left behind a basketball. Doris picked it up and didn’t often put it down. At the local high school, she led her team to a 71–10 record over three seasons. She was such a deft point guard and such a consistent scorer that she won a full scholarship to study and play ball at Providence College. She was All-Big East. After graduation, her coach, Bob Foley, asked her to stay on the coaching staff, according to a profile on NJ.com. She then started broadcasting locally, first doing women’s games, then men’s, and made her way up the ladder, eventually to the W.N.B.A. and the N.B.A.

Last year, Burke signed a five-year contract with ESPN, but she radiates the sense that her time is not unlimited. “We still have a long way to go,” she told Sports Illustrated last season. “Because the reality is that I’m fifty-two years old. And how many fifty-five to sixty-year-old women do you see in sports broadcasting? How many? I see a lot of sixty-year-old men broadcasting.”

“Listen, I want to be considered attractive,” she went on. “Am I going to undergo surgery to make myself younger? No. So the wrinkles you see on my face and the signs of age that I have, they’re going to be there, period, and it’s up to the networks to decide.” The decision seems easy. Come next year, Doris Burke ought to be the lead analyst straight through to the last game of the N.B.A. Finals.

Film has always been shaped by technology, from the advent of sound in the 1920s to Technicolor in the 1930s and 3D in the 1950s. Initially dismissed as expensive gimmicks, these tools took years to perfect, but eventually became ubiquitous. The 21st century has already seen its fair share of game changers – 4D infiltrating traditional cinemas, the rise of streaming platforms – but in an increasingly competitive marketplace, the race is on to discover the next big thing.

Nadira Azermai believes she’s found it. The CEO of Belgium-based artificial intelligence company ScriptBook, Azermai is at the forefront of a quiet revolution that has long been brewing in Hollywood. “This is a multibillion-dollar industry where 87 per cent of movies currently in cinemas are losing money,” Azermai tells “The process of greenlighting films still relies on gut instinct. There’s no technology, no objective metric. That’s where we come in.”

Image credit: Courtesy of Tribeca Film Festival

Founded in 2015, ScriptBook specialises in screenplay analysis. Production companies and studios can upload scripts into a system that digests them in six minutes, producing detailed reports that calculate likeability ratings for its characters, predictions about its target demographic, audience satisfaction metrics and even its IMDB rating. The crucial component for Azermai’s clients? The financial forecast, which determines a film’s global box office with an 86 per cent success rate.

But Azermai didn’t stop there. “AI can do so much more than analyse and predict,” she says. “It can also tell the perfect story.” So began ScriptBook’s phase two: automated story generation. Azermai and her team built a generator and fed it 30,000 scripts. “In the beginning, the output was weird AI speech, but we slowly trained the system to write. Now it can produce full-length feature films.”

Another Dream. Image credit: Netflix 

Writers can give the system keywords and topics, choose a length and assign traits for their characters, leaving the system to fill in the blanks. Azermai believes that co-authorship between humans and machines will soon become the norm. “If you have writer’s block, you can upload what you’ve got into the system and let the generator inspire you,” she says. “It’s capable of reading what you’ve written and suggesting the next sentence, or paragraph or the next 10 pages.”

So is it only a matter of time before we see the first big-screen production penned and analysed by a computer? “You probably already have,” she says. “When studios come to us, we have to sign contracts saying we won’t use their names.” Azermai attributes their resistance to an unwillingness to be seen to be relying on technology, which is still perceived as a threat to the creative industries.  

Black Mirror: Bandersnatch. Image credit: Netflix

ScriptBook isn’t the only company making strides in the field. Los Angeles firm Cinelytic has a system that allows users to input a potential cast for a project and then swap actors to see if that alters a film’s projected box-office success. Israeli start-up Vault determines the target audience by analysing how a film’s trailer is received online, and Boston’s Pilot Movies offers an app that predicts profits. Many are keen to go further: Disney has humanoid stunt doubles, AI-driven animation is common and director Tony Kaye has spoken about casting a robot in his upcoming film . As the nature of scriptwriting changes, visuals are following suit.

With this comes virtual reality, another medium on the cusp of going mainstream. “People have been saying VR is the future of film since the 1970s,” says filmmaker, artist and creative director of Amsterdam-based Ado Ato Pictures Tamara Shogaolu. “But things are definitely changing.” Shogaolu is a long-time advocate of immersive interactive experiences, and her most recent work, an animated VR documentary called which debuted at this year’s Tribeca Film Festival, is a testament to the power of the form. Using audio recordings, 3D animation and hand-drawn illustrations viewed through a headset, it follows an Egyptian lesbian couple who seek asylum in the Netherlands after the 2011 revolution. “I was living in Egypt during the Arab Spring and collected oral histories from women and marginalised communities,” Shogaolu explains. “I followed them for years afterwards and wanted to find the right way to tell their stories.” The result was a series called , of which is just one part.  

Annabel Jones and Charlie Booker. Image credit: Getty Images

“In , you’re not a passive viewer,” Shogaolu says, explaining that participants must follow the couple and complete tasks to unlock the next chapter of their story. The most affecting scene takes place in a supermarket where they talk about their experiences of homophobia at home, as well as the racism they face after moving to a new country. “When you watch it, you’re standing right next to them, you hear their voices and see people around them turning to stare. It captures the feeling of being a minority like nothing else. It makes you invest in the narrative so much more than when watching a traditional film.” The response from users at Tribeca was fascinating. “So many people, especially those not from minority backgrounds, said they never knew you could be stared at like that. I was surprised because as a person of colour it happens to me all the time. With VR, you can really move an audience and change their perceptions.”

Though film festivals have been quick to embrace VR – Tribeca’s Immersive programme, Sundance’s New Frontier and Venice’s Virtual Reality – accessibility remains an issue. “These showcases rely on you living in certain parts of the world and paying to attend events, but I want VR to reach as many people as possible,” Shogaolu says. Her solution was to work on a simplified version of that can be uploaded to the Ado Ato Pictures website. There’s also the portable Oculus Quest gaming headset, dubbed “the iPod of VR”, and social VR, which will soon allow multiple users to wear headsets and interact in a virtual world.    

Of course, the industry has already gone beyond prophesying when it comes to interactive entertainment. The biggest hit to date is Netflix’s , the brainchild of the series’ creators Charlie Brooker and Annabel Jones (above). The interactive film is centred on Stefan, a programmer in 1980s England who adapts a choose your own adventure book into a video game. Viewers are asked to make choices that take you down divergent narrative paths: encourage him to open up about his feelings and he shares a memory about his mother; tell Stefan that you’re watching him on Netflix and he immediately calls his therapist. “It became quite meta,” Jones tells “The interactive element worked because it added a layer to the story. The viewer is given the impression that they can control this character, but then the character becomes aware of it.”

Blackmirror: Bandersnatch. Image credit: Netflix

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Of course, the industry has already gone beyond prophesying when it comes to interactive entertainment. The biggest hit to date is Netflix’s , the brainchild of the series’ creators Charlie Brooker and Annabel Jones. The interactive film is centred on Stefan, a programmer in 1980s England who adapts a choose your own adventure book into a video game. Viewers are asked to make choices that take you down divergent narrative paths: encourage him to open up about his feelings and he shares a memory about his mother; tell Stefan that you’re watching him on Netflix and he immediately calls his therapist. “It became quite meta,” Jones tells “The interactive element worked because it added a layer to the story. The viewer is given the impression that they can control this character, but then the character becomes aware of it.”     

Jones’s greatest fear was that the final product would seem gimmicky, in the spirit of early interactive films like 1983’s “We poked fun at that concept when we asked the viewer to choose between Frosties and Sugar Puffs,” she adds. “Our film would never stay at that level, but in early interactive cinema some of the choices you made were that anodyne. The format was used simply because it was a novelty. We can’t do that anymore.”

Unbreakable Kimmy Schmidt. Image credit: Netflix

Netflix may not share her concerns. The success of prompted the streaming giant to commission more interactive film and TV. , an interactive series featuring Bear Grylls, followed in April and next year will see (above) return for an interactive special. Does Jones see the gamification of entertainment becoming the new normal? “Not necessarily,” she says. “It’s still arduous, expensive and time-consuming to produce. It works well for unique ideas, but I see them existing alongside film and video games as alternative methods of storytelling.”  

Shogaolu agrees. “People try to compare VR and interactivity to film, thinking one will replace the other, but I think it’s more like the relationship between film and theatre,” she says. “It’s a totally different experience.” Will 2020 be the year that these tools, so long in development, reach the average viewer on a more regular basis? Azermai thinks so. “We’re currently in the era of fine-tuning. Everything has been discovered, but we need to learn how to use them to serve the narrative, or to subvert it.” With so many available formats, the possibilities are endless.

Princess Diana’s engagement ring
Prince William proposed to Middleton in 2010 with his mother’s 14 solitaire diamond and 12-carat oval blue Ceylon sapphire engagement ring, set in 18-karat gold. The ring was selected from the official royal jeweller, Garrard, by Prince Charles and Diana following their engagement in 1981. 

Gold wedding band
The traditional gold wedding band that sits neatly beside the Duchess’s engagement ring was made from the royal family’s collection of Welsh yellow gold and is similar to the same worn by both the Queen Mother and Queen Elizabeth II. 

Nizam of Hyderabad necklace
While the Duchess is not know for wearing extravagant and over-the-top pieces, she did step out in an opulent diamond necklace—a wedding present gifted to the Queen by the Nizam of Hyderabad—when attending an event at the National Portrait Gallery.

Gold charm bracelet
Middleton is often seen wearing a charm bracelet gifted to her by Camilla, Duchess of Cornwall, when she wed Prince William, a gold piece complete with a “C” for each of their names alongside a coronet and a crown. 

Eternity band
Prince William presented the mother of his children a diamond eternity band following the birth of their son, Prince George. The ring now sits beside her gold wedding band and diamond encrusted engagement ring.

Cartier Halo tiara
Middleton wore the famous Cartier Halo tiara complete with 739 brilliant diamonds and 149 baton diamonds on her wedding day, a piece originally gifted by King George VI to the Queen Mother who then passed it down to Queen Elizabeth II on her 18th birthday. 

Cambridge Lover’s Knot tiara
In 2015, the Duchess had the honour of wearing the Cambridge Lover’s Knot tiara, the very same Princess Diana sported frequently. Diamond encrusted and complete with a number of large pearls, the Garrard tiara was commissioned by Queen Mary and remains in Queen Elizabeth II’s personal collection.

Ballon Bleu de Cartier watch
In celebration of their third wedding anniversary, Prince William gifted Middleton the Ballon Bleu de Cartier watch complete with sapphire detailing—a timepiece quite similar to both Princess Diana’s and his own. 

Rose gold ring 
What can only be described as one of the first gifts of many, Prince William presented the Duchess with a rose gold Victorian ring complete with each of their birthstones—garnets for the Prince and pearls for Middleton—during their studies at the University of St. Andrews, a piece she later wore to her graduation. 

Maple-leaf brooch
The maple-leaf brooch Middleton wore on her tour of North America in 2011 was a gift from King George VI to the Queen Mother in 1939 and has been worn by the likes of Queen Elizabeth II and Camilla, the Duchess of Cornwall.

New Zealand fern brooch
The Duchess has been spotted wearing the Queen’s fern brooch on a number of occasions, a piece the Monarch was given on her coronation world tour in 1953 by a New Zealand women’s group. 

Sapphire and diamond fringed earrings
Sapphires are a royal favourite and feature in a number of crown jewels, including the Queen Mother’s fringed earrings Middleton donned at the Women in Hedge Funds dinner in 2015.

Sapphire and diamond earrings
The Duchess was also gifted a pair of sapphire and diamond earrings from Princess Diana’s personal collection by Prince William following their engagement. Middleton then had the gift—that matched her engagement ring—customised into a pair of drop earrings. 

Lotus Flower tiara
Middleton has stepped out in the Lotus Flower tiara on a couple occasions, each at an official event at Buckingham Palace. The wedding gift to the Queen Mother in 1923 was reworked from a necklace to tiara and then passed down to Princess Margaret before she passed. 

Amethyst earrings
In celebration of their first official Christmas together, Prince William gifted his new wife a pair of green amethyst earrings designed by Kiki McDonough in 2011, which she then wore to the day’s church service. 

Matching yellow and white diamond jewellery
Following her wedding to Prince William, Prince Charles gifted the Duchess a set of matching yellow and white gold pieces consisting of a ring, a bracelet and a pair of drop earrings she has since worn on multiple occasions.

While it’s been said that Middleton first wore the Royal Family Order brooch to a Diplomatic Reception just last year, the State Banquet at Buckingham Palace she attended in October 2018 was the first time she was photographed wearing it. “I can confirm that Her Majesty awarded The Duchess of Cambridge with the Order in 2017,” a spokesman for Kensington Palace told Vanity Fair of the diamond-encrusted brooch complete with a small painting of the Monarch, which also happens to be the greatest honour the Queen can give to a female member of the royal family.

Custom green tourmalines, green amethysts and diamond Kiki McDonough earrings
Rumoured to have been gifted to the duchess in celebration of Princess Charlotte’s birth by her husband Prince William, these custom Kiki McDonough earrings have only been spotted on Middleton a handful of times including St. Patrick’s Day 2019.

The Shamrock brooch
Loaned to members of the royal family by the Irish Guards in celebration of St. Patrick’s Day, Middleton first wore the piece in 2011 and is reported to have exclusively worn it since then. Believed to have been created by Cartier, the brooch features a single emerald at the centre of the textured leaves. Previously worn by the Queen Mother and Princess Anne also, Middleton has worn the brooch on several visits to Northern Ireland as well as St. Patrick’s Day celebrations. 

Pearl and diamond drop earrings
The earrings were reportedly a wedding gift from Collingwood jewellers to Kate Middleton’s late mother-in-law, Princess Diana. According to Hello! Princess Diana debuted the earrings a month before she tied the knot with Prince Charles in 1981.
Kate Middleton wore the pearl and diamond drop jewels for the first time in 2017 and was spotted wearing them in October 2018 to a State Banquet at Buckingham Palace. The duchess donned the earrings for a third time to attend the Queen’s annual garden party at Buckingham Palace in May 2019. For this outing the duchess paired the earrings with a pink Alexander McQueen coat dress and matching hat.

Bahrain pearl drop earrings
When Kate Middleton attended Queen Elizabeth II’s annual Trooping the Colour parade in celebration of her birthday on June 8, 2019, she opted to wear a pair of earrings borrowed from the monarch herself. The duchess sported Queen Elizabeth II’s Bahrain pearl drop earrings for the occasion, which she previously wore while attending a church service during her visit to Balmoral Castle in Scotland in August 2018. Per People, said diamond-encrusted earrings were reportedly crafted from a shell containing seven pearls, which was a wedding gift to The Queen from the ruler of Bahrain in 1947.

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What happens behind the scenes of our favourite television shows and movies can be almost as dramatic as what goes on in front of the screen. But good acting means the audience never knows.

In fact, the acting can be so stellar and the chemistry (whether love or the opposite) so electric, on-screen couples, the object of a character’s affection or best friends on shows and movies are often thought to be in love or the best of friends in real life.

Sure, there are couples who have met and fallen in love on set — Rose Leslie and Kit Harington are one such example, the couple tied the knot in 2018 after meeting on the set of HBO’s iconic show; Blake Lively and Ryan Reynolds are another, meeting on the set of 2011 superhero flick and marrying in 2012 — but it turns out there are a number of actors who can’t stand the sight of their on-screen love interest once the cameras stop rolling.

The same goes for on-screen buddies, sometimes, like in the case of Kim Cattrall and Sarah Jessica Parker on Sex and the City, even though they played best friends in the show, in real life, the opposite was true.

A recent admission by Vampire Diaries’ alumni Nina Dobrev (who played Elena Gilbert on the show) about her feelings towards her on-screen love interest, Stefan Salvatore, played by Paul Wesley, reminded us of this very fact. The relationships we see, believe in and are invested in on shows and movies are just the actors, acting.

Read on for Hollywood’s most surprising on-set feuds and friends, including actors who played rivals on the screen but stan each other in real life.

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Nina Dobrev and Paul Wesley, Vampire DiariesFor many seasons of the popular CW show, the plot centred around the relationship between Nina Dobrev’s character, Elena Gilbert, and Paul Wesley’s character, Stefan Salvatore. Theirs was a love for the history books, with so much on-screen chemistry between the actors, E! News reports Dobrev told podcast , everyone thought they were a real-life couple. “I remember everyone would walk up to me after the show aired and they’d be like, ‘Are you and Paul dating in real life?’”

The 30-year-old actress admitted on the podcast that in fact the opposite was true. “We despised each other so much, that it read as love. We really just didn’t get along the first maybe five months of shooting.”

However, as fans of both Dobrev and Wesley will know these feelings have since turned to friendship, with both Dobrev and Wesley often posting snaps to Instagram hanging out together. The actress confirmed this saying they’re “really good friends” now and “hang out a lot”.

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Rachel McAdams and Ryan Gosling, The Notebook

The Notebook is, without doubt, one of the most beloved romantic movies of all time. The 2004 film adaptation of the 1996 novel by Nicholas Sparks starring Rachel McAdams and Ryan Gosling as lovestruck couple Allie and Noah never fails to squeeze hard on the heart strings and bring a tear to the eye no matter how many times we’ve watched it (who’s counting anyway?).

With the level of chemistry between these two actors, it seemed impossible not to imagine that they were, in fact, madly in love in real life as well as on the screen. And while they did end up dating for a few years after meeting on The Notebook set, it wasn’t love at first sight. In fact, it was reportedly loathing at first sight.

During an interview with VH1 back in 2014, the film’s director, Nick Cassavetes, revealed that the co-stars dislike of each other was so strong Gosling asked to have McAdams replaced. “They were really not getting along one day on set,” Cassavetes said, “And he’s [Ryan] doing a scene with Rachel and he says [to me], ‘Would you take her [Rachel] out of here and bring in another actress to read off camera with me? I can’t. I can’t do it with her. I’m just not getting anything from this.’”

Cassavetes said he took Gosling, McAdams and a producer into a room, he came out and left the three of them in there, the two had it out, “screaming and yelling at each other,” but then they came out and said “All right let’s do this.” And the rest is history.

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Leonardo DiCaprio and Claire Danes, Romeo + Juliet

The jury is out on whether these star-crossed lovers actually disliked each other while filming Baz Luhrmann’s 1996 take on the Shakespeare classic. There were rumours Danes found DiCaprio “immature” and the actors avoided each other as soon as the cameras stopped rolling. But, in 2018 Danes gave an interview and when asked what it was like working with DiCaprio she said she had to consciously make an effort not to have a crush on him. “I couldn’t really have a crush on the guy I was professionally having a crush on!”

So, whether Danes found DiCaprio immature or was staying way to avoid crushing on her co-star, it’s impossible to know.

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Kristen Stewart and Dakota Fanning, Twilight

Kristen Stewart (Bella Swan) may have found love, for a time, with her co-star and love interest Robert Pattinson (Edward Cullen) on the set of the Twilight films but that’s not the only relationship that blossomed on the set. Kristen Stewart’s character, Bella, and Dakota Fanning’s character (Jane) were bitter enemies in the films, but in real life? The best of friends.

The actresses met on the set of the blockbuster fantasy franchise and went on to star together in The Runaways as well become brilliant friends. “I can honestly say that my friendship with Kristen [Stewart] is one of the most special bonds in my life. She has held my hair back as I told her (of) heartbreak, she has always been there for me when I have needed her most,” Fanning reportedly said at a 2016 event in Hollywood. Stewart reportedly echoed her feelings, telling Fanning at the event “I love you so much.”

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Shannen Doherty and Jennie Garth, Beverly Hills, 90210

Shannen Doherty and Jennie Garth played best friends, Brenda and Kelly respectively, who were also sometimes rivals on the original series about teens growing up in one of the most famous post codes on the planet.

Doherty left the show in 1994 after the fourth season amidst a swirl of rumours that she had had some tricky on-set relationships with the other cast members, particularly Garth.

In an interview in 2015 fellow cast member and Brenda and Kelly’s other best friend, Tori Spelling (Donna), confirmed that Garth and Doherty were not, in fact, the best of friends and that in one instance the male cast members broke up a “fistfight” between the two actresses. In the interview Spelling also reportedly said she asked her father, Aaron Spelling, the show’s producer, to axe Doherty from the cast.

But, this story has a happy ending. In the intervening years it appears Garth and Doherty (and Spelling) have become friends, with the three back on board and working together on the upcoming reboot of .

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Jamie Dornan and Dakota Johnson, Fifty Shades of Grey

Playing madly-in-love kinky couple Anastasia Steele and Christian Grey in the Fifty Shades film trilogy based on the best-selling books is rumoured to have been a stretch for these two actors.

Rumours swirled around each movie in the franchise that the lack of on-screen chemistry which many fans commented on, was a result of the actors not being very keen on each other even as friends. Neither actor has confirmed these rumours.

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Sarah Jessica Parker and Kim Cattrall, Sex and the City

Sex and the City was at its core about four best friends navigating life in New York City. The friendship between the four fabulous characters, Carrie (Sarah Jessica Parker), Samantha (Kim Cattrall), Charlotte (Kristin Davis), Cynthia (Miranda), was so key and inspiring, in its heyday in the late ‘90s, early ‘00s, chic bars and brunch spaces were filled with tight knit groups of stylish, strong career women bonding over cosmos and bad dates.

However, it’s been reported that despite all signs pointing to these four women being the best of friends, there was no love lost between Sarah Jessica Parker and Kim Cattrall. The show’s writer and director, Michael Patrick King, shared in an interview on the Origins podcast that their relationship was never great and in some ways it stemmed from Sarah Jessica Parker being the top billed actress, while Cattrall thought she should have top billing or at least equal billing. King said Cattrall claimed her character was “everyone’s favourite.”

Parker has since commented that she is “not in a catfight with anybody” while Cattrall publicly posted on Instagram that Parker is not her “friend”.