The Grammy-nominated singer is currently in the UK as part of her ongoing Lifetimes Tour, which most recently made a stop in London for a show at The O2 Arena.
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During the show, she told the British crowd that she was impressed with their energy, enthusing: “You’re like this on a Monday night after a whole day at work and a whole day at school?”
“No wonder I fall for Englishmen all the time,” she quipped, referring to her past relationships with Russell Brand and Orlando Bloom.
“But not anymore,” she then added, in an apparent nod to Trudeau.
Justin Trudeau
via Associated Press
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She and the ex-prime minister first found themselves at the centre of dating rumours when TMZ published pictures of the unlikely duo out for dinner together at a restaurant in Montreal.
The US gossip site claimed at the time that the two had been seen “sipping cocktails” and “sharing several dishes”, while security monitored them from a table close by.
Bridgerton bosses have revealed that fans’ next trip to The Ton is mere months away.
It’s now been over a year since the latest instalment of the Netflix period drama, which broke from the order of the original novel series in order to bring fans the love story between Colin Bridgerton and Penelope Featherington, played by fan-favourites Luke Newton and Nicola Coughlan.
On Monday morning, Netflix shared an exciting preview video for season four, which revealed some good news and bad news for Bridgerton devotees.
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First, the good news: Bridgerton will be back on our screens early next year.
Unfortunately, not all of the news is positive however, with Netflix once again making the decision to split the season in two, the first part of which will arrive on Thursday 29 January 2026, followed by a second drop four weeks later, on 26 February.
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It was previously confirmed that the new batch of episodes will focus on Benedict Bridgerton, portrayed in the first three seasons by Luke Thompson.
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While Benedict has previously taken a somewhat more fast-and-loose approach to romance, the new season will see him falling in love with a new character, played by Yerin Ha, who meets him at a much-hyped masquerade ball.
An official Netflix synopsis previously teased: “The fourth season of Bridgerton turns its focus to bohemian second son Benedict. Despite his elder and younger brothers both being happily married, Benedict is loath to settle down – until he meets a captivating Lady in Silver at his mother’s masquerade ball.”
Unsurprisingly, the third season of Netflix’s controversial Monster anthology was faced with backlash from the get-go.
Ryan Murphy’s latest creation depicts the life and crimes of real-life serial killer Ed Gein, following previous seasons’ equally-controversial dramatisations of Jeffrey Dahmer and the Menendez brothers’ crimes.
Joey Pollari as Anthony Perkins and Tom Hollander as Alfred Hitchcock in Monster: The Ed Gein Story
As well as taking viewers into the bowels of Gein’s depravity, Monster highlights that his crimes influenced many iconic horror films like Texas Chainsaw Massacre and Alfred Hitchcock’s aforementioned Psycho, depicting Perkins (played in the show by Joe Pollari) being cast as the infamous fictional killer Norman Bates by Alfred Hitchcock (as portrayed by Tom Hollander).
However, viewers have pointed out that Monster makes some dangerous and “tasteless” links between Gein and Perkins, because of the latter’s decision to keep his sexuality private.
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“Ryan Murphy is so tasteless to me, man. If you’re going to do a Anthony Perkins biopic, do a Anthony Perkins biopic and give him the respect he deserves,” wrote one viewer. “But you comparing Ed Gein being a closeted killer to him being a closeted gay man is homophobia”.
Another criticised the show for implying that “Anthony Perkins had a special connection and understanding of Gein because Gein being a murderer is just like being a closeted gay man”.
Meanwhile others called Murphy’s Perkins subplot “disrespectful” and accused the show of “pushing” false narratives about Hitchcock casting Perkins in Psycho because of his sexuality and a perceived connection to Gein.
Ryan Murphy is so tasteless to me man. If youre going to do a Anthony Perkins biopic, do a Anthony Perkins biopic and give him the respect he deserves.
But you comparing Ed Gein being a closeted killer to him being a closeted gay man is homophobia,
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Ryan Murphy is so tasteless to me man. If youre going to do a Anthony Perkins biopic, do a Anthony Perkins biopic and give him the respect he deserves.
But you comparing Ed Gein being a closeted killer to him being a closeted gay man is homophobia,
the Ryan Murphy Ed Gein show saying that Anthony Perkins had a special connection and understanding of Gein because Gein being a murderer is just like being a closeted gay man pic.twitter.com/iZnTtIegVt
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the Ryan Murphy Ed Gein show saying that Anthony Perkins had a special connection and understanding of Gein because Gein being a murderer is just like being a closeted gay man pic.twitter.com/iZnTtIegVt
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ryan murphy portraying hitchcock telling anthony perkins that he’s perfect for the norman bates role because he shares ed gein’s sexual deviancy because of his homosexuality… perkins family estate we ride at dawn
i refuse to believe Anthony Perkins was walking around catatonicslly depressed telling people: \"I am Ed Gein forever\" lmao. we need to end the Murphy serial killer extended universe. it’s made the true crime genre hit its nadir fr
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i refuse to believe Anthony Perkins was walking around catatonicslly depressed telling people: “I am Ed Gein forever” lmao. we need to end the Murphy serial killer extended universe. it’s made the true crime genre hit its nadir fr
I expected Ryan Murphy’s MONSTER: The Ed Gein Story to be trashy (liked the Dahmer season, the Menendez season was awful) but my god to have Anthony Perkins calling himself a “monster” in conversion therapy….? This has got to be the most ridiculous garbage I’ve ever seen
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This has got to be the most ridiculous garbage I’ve ever seen— shay 🪦 (@astronomonov) October 4, 2025\n\n\n","options":{"_maxwidth":{"label":"Adjust width","placeholder":"220-550, in px","value":""},"_theme":{"value":"","values":{"dark":"Use dark theme"}}},"provider_name":"Twitter","title":"shay 🪦 on Twitter / 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I expected Ryan Murphy’s MONSTER: The Ed Gein Story to be trashy (liked the Dahmer season, the Menendez season was awful) but my god to have Anthony Perkins calling himself a “monster” in conversion therapy….? This has got to be the most ridiculous garbage I’ve ever seen
In another Monster scene, Perkins is seen undergoing so-called “conversion therapy”, while elsewhere Hollander’s Hitchcock muses about “urges”, “secrets” and a “sickness”, telling Perkins: “I had to cast you, Anthony. You’re like him.”
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While Psycho was loosely inspired by Gein, the writer of the novel on which the film was based has also stressed that he was interested by the idea of a solitary figure in a small town where everyone knows each other’s business.
The original Tron, released in 1982, has gone on to become a veritable cult classic of the sci-fi genre.
Unfortunately, the same can’t be said for its most recent iteration, Tron: Ares, if critics’ reviews are anything to go by.
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Starring Jared Leto, Greta Lee, Evan Peters and Gillian Anderson, the new sequel has been heavily panned in early reviews, with some going as far as describing it as one of 2025’s worst big-screen offerings.
Here’s a selection of what the critics have had to say about Tron: Ares…
“The worst film of the year and a new low for Disney. The music’s great, but this Jared Leto vehicle is otherwise an ethically dubious, horribly written nadir in franchise slop.”
“The matrix of pointlessness is reloaded in this mind-bendingly dull sci-fi, more a screensaver than an actual film […] Tron: Ares (almost) comes to life just once – when Evan Peters gets a smack in the face from Gillian Anderson playing his mum, in an old-fashioned bit of analogue reality. That’s a bit of firm parenting you might feel like handing out to every producer involved in this film, and it’s sad to see the estimable Greta Lee and Jodie Turner-Smith being made to look so lifeless.”
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“So bad it makes you wish AI would hurry up and destroy Hollywood. [Tron: Ares is] a shambolic film populated by some of the most aggressively charmless characters ever seen in a blockbuster.”
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“Tron: Ares will make you want to log off. Gillian Anderson should have known better than to appear in this uninspired sequel. [The film’s title character, Ares is] a dead-eyed digital super-soldier played by the bearded charisma vacuum and scene-wrecking super-plank Jared Leto (and you thought he was bad in Morbius).”
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“Tron: Ares is not a film. It’s an absolutely brilliant soundtrack by Nine Inch Nails with some visual elements getting in the way. The music is loud, aggressive, adventurous, soaring, gritty and emotive, everything the actual movie is not.”
“Like lead actor Jared Leto’s high-def cheekbones, it looks great, but the movie is saddled with callbacks to the earlier film (and the 1980s at large) that suggest it’s aimed more at Gen X than the Alpha kids who could launch the property into the future.”
Not all of the reviews for Tron: Ares have been negative – but the more forgiving ones are few and far between
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“Without giving too much away, there is room for a Jeff Bridges appearance, and also a nostalgia-driven sequence that fans of the original Tron will love. What a pity the script itself flounders, hampered by the fact Hollywood has churned out numerous AI stories of late. Certainly, this lacks the cheekiness of, say, M3GAN. With the exception of an amusing riff about Depeche Mode (better than Mozart, according to Ares), it requires a much-needed humour injection.”
“Tron: Ares [is] a franchise entry that honours its roots while taking significant steps forward. It’s no sci-fi insta-classic, but there are worse things to be than a surprisingly entertaining post-summer popcorn bucket.
Tron: Ares arrives in UK cinemas on Friday 10 October.
Several countries have now said they will pull out of Eurovision unless Israel is banned, but during a new interview, chancellor Friedrich Merz made it clear he supports the opposite view.
Asked by German broadcaster ARD if he’d back calls to boycott Eurovision in the event that Israel is not allowed to return, Merz responded: “I would support this. I think it’s a scandal that this is even being discussed. Israel has a place there.”
It’s worth pointing out that Germany is one of Eurovision’s “Big Five” countries, meaning they contribute the most financially, and are therefore allowed to pass straight through to the final each year without taking part in earlier stages of the contest.
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German Chancellor Friedrich Merz
via Associated Press
The other countries in the “Big Five” are the UK, France, Italy and Spain, the latter of which has already said it will not return to Eurovision in 2026 if Israel is allowed to compete again.
Official discussions among competing Eurovision broadcasters about Israel’s involvement were first held over the summer, though no consensus was reached at that time.
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Around this period, it was reported by Israel’s N12 News that the national broadcasters for Germany and Italy had threatened to pull out of Eurovision if Israel is not permitted to return to the event in 2026.
Responding to these rumours, a spokesperson from Germany’s Südwestrundfunk (SWR) told HuffPost UK in July: “The Eurovision Song Contest is a major musical event that has brought people across Europe and beyond together for decades – diverse and respectful, regardless of origin, religion, or belief.
“The ESC is a music competition organised by EBU broadcasters, not governments. The Israeli broadcaster KAN adheres to applicable regulations and has been an integral part of the music competition for more than 60 years. We affirm their membership and the core values of the ESC.”
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Germany’s culture minister Wolfram Weimer previously issued a statement of his own condemning calls to boycott the event next year should Israel remain part of it.
“Eurovision was founded to bring nations together through music. Excluding Israel today goes against this fundamental idea and turns a celebration of understanding between peoples into a tribunal,” he said in a statement.
“It’s precisely because Eurovision was born on the ruins of war that it should not become a scene of exclusion. Eurovision is based on the principle that artists are judged on their art and not on their nationality. The culture of cancellation is not the solution — the solution is diversity and cohesion.”
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Austrian singer JJ is the reigning Eurovision Song Contest champion, with next year’s event due to take place in Vienna following his win
via Associated Press
A Eurovision spokesperson previously told HuffPost UK: “We understand the concerns and deeply held views around the ongoing conflict in the Middle East. We are still consulting with all EBU Members to gather views on how we manage participation and geopolitical tensions around the Song Contest.
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“Broadcasters have until mid-December to confirm if they wish to take part in next year’s event in Vienna. It is up to each Member to decide if they want to take part in the Contest and we would respect any decision broadcasters make.”
Dutch comedian Eline Van der Velden, the head of AI production studio Particle6, which developed Tilly, said she wants the AI character to be the next Scarlett Johansson.
But not if the rest of Hollywood has its way.
After Van der Velden announced what she calls “the world’s first artificial intelligence talent studio” at a film festival and said Tilly had talent agents hoping to sign her, this news of potential representation sparked widespread Hollywood backlash.
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Multiple actors’ unions havereleased statements condemning Tilly. Actors have also accused Tilly’s makers of stealing real people’s images to make the AI-generated character.
“And what about the hundreds of living young women whose faces were composited together to make her?” actor Mara Wilson posted on social media. One Nashville-based musician even claims that Tilly is her doppelganger.
The company behind Tilly denies that the character was created with stolen images.
“Tilly was developed entirely from scratch using original creative design,” Particle6 said in a statement to HuffPost. “We do not and will not use any person or performer’s likeness without explicit consent and fair compensation.”
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After outcry, Van der Velden said Tilly was “not a replacement for a human being, but a creative work – a piece of art” in a social media statement.
But no matter how original or creative you believe Tilly to be, she is definitely drawing from tired old tropes about women and raising unsettling implications for real working people, AI experts caution. Here’s what you need to know.
Tilly reinforces more of the same tired beauty standards for women
Tilly Norwood is not real, but the AI character is causing a real debate over how women’s images get used. Above are images from Tilly’s Instagram account.
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For one, Tilly replicates a narrow idea of what generative AI thinks a woman should look like.
In a Washington Post investigation of three of the leading AI image tools, the Post found that generative AI thinks beautiful women should look thin, young and white – which is exactly how Tilly looks.
Particle6 did not answer HuffPost’s questions about Tilly’s appearance.
What we see on social media – including the accounts set up for Tilly on TikTok, Facebook and Instagram – might have long-term effects on how people view their own real bodies.
Safiya Noble, a professor at the University of California, Los Angeles, and the author of the book Algorithms of Oppression, said Tilly is a continuation of the kind of distortions that social media photo filters cause people.
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“Those distortions, even though they are seemingly unreal, they circulate so much in our culture that then are celebrated and … liked and hearted,” Noble said. “And that certainly has a psychological and emotional toll on us.“
A 2022 study on Instagram found that browsing how other people looked on the popular social media platform was linked to “detrimental outcomes” around body dissatisfaction in young women.
Tilly’s obedience might be the most unsettling part about “her”
Above all, Tilly reveals a lot about how corporations value women’s work.
Alexandra Mateescu, a researcher with Data & Society’s Labor Futures program, said what she found most interesting and unsettling about Tilly’s existence came from a line in a Particle6 video where she appears in her first role.
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In an AI-generated comedy sketch from Particle6, Tilly gets cast to be in a TV show. A man then states, “She’ll do anything I say; I’m already in love.”
That line suggests “this vision of this feminine, docile, cute, young actress who won’t talk back or complain about working conditions or anything,” Mateescu said.
That’s why, for Mateescu, her biggest worry with Tilly is “more about these kinds of marketing exercises being used as a cudgel, particularly for actors at the bottom of film industry hierarchies, to discourage them from demanding better working conditions under this threat of potentially being replaced”.
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Mateescu said she has seen this power dynamic in other creative industries, like modelling. She recently co-authored a paper on how generative AI is making it easier for companies to use a model’s image and measurements and alter them without a model’s knowledge or compensation.
In her research, “people at the top of the industry, both photographers and top models, they could view AI as this creative tool in their arsenal to be able to enhance their creative practices,” Mateescu said. But struggling models doing profit-driven e-commerce catalogs were more negatively impacted. “And I think that’s sort of the same pattern we see across industries.”
In this sense, Tilly might represent a bigger existential threat to vulnerable, newer actors who do not have the same power and networks as A-list stars.
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In Noble’s view, Tilly’s existence normalises “controlling women’s images” and the idea that it’s OK to “make women do what we want them to do. That culture is prevalent all around us”.
Avoiding “AI personhood” might be the best way to deal with Tilly
Tilly is not real, but it’s normal if you’re confused over what to call her. That might be by design.
Noble pointed to the character saying, “I may be AI generated, but I’m feeling very real emotions right now” in a post appearing on her Facebook page as an example of the kind of misrepresentation this AI-generated actor perpetuates.
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“The more kind of anthropomorphised they are, the more misleading and deceptive they are to the public,” Noble said. “This is why these technologies are so incredibly dangerous.”
One way to resist is to be more careful about how you talk about AI-generated projects like Tilly.
Instead of seeing Tilly as an “actor,” as her profile describes her, or as the next Scarlett Johansson, as her creator hopes her to be, experts suggest you should see her for what she really is – a marketing product.
That’s why Noble suggests against calling Tilly art and instead categorising Tilly as the latest example of low-quality, spam-like “AI slop”.
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And try to avoid referring to Tilly as an actor. “We should call it ‘it,’” Noble said. “We should talk about it like a machine learning model.”
“The notion of AI personhood is a marketing exercise and a legal manoeuvre that I don’t think we should buy into,” Matreescu said. “Tilly is not an actress any more than, like, Sid the sloth from the ‘Ice Age’ movies is an actor. It’s just a digital likeness.”
George Michael’s estate has heaped praise on the new Taylor Swift album, which features an interpolation of one of the late singer’s signature hits.
On Friday morning, the Grammy winner unveiled her new album The Life Of A Showgirl, including the song Father Figure.
Earlier this week, the writing credits for this track were revealed to include George’s name, leading many fans to speculate that Taylor’s recording would incorporate the former Wham! star’s song of the same name.
Upon the song’s release, this was confirmed to be the case, with George’s successors posting a statement in support of Taylor’s new album on Instagram.
“We were delighted when Taylor Swift and her team approached us earlier this year about incorporating an interpolation of George Michael’s classic song Father Figure into a brand new song of the same title to be featured on her forthcoming album,” they said. “When we heard the track we had no hesitation in agreeing to this association between two great artists and we know George would have felt the same.”
“A forever thank you goes out to my mentors and friends Max [Martin] and Shellback for helping me paint this self portrait. If you thought the big show was wild, perhaps you should come and take a look behind the curtain…”
During the conversation, Murphy defended his show from accusations that it’s “exploitative”, insisting he instead hopes to “provoke the question” about society with each season about a different societal theme, using various real-life murder cases to do so.
He also ruled out future seasons about John Wayne Gacy (“there’s nothing redemptive there?”) and Ted Bundy (“when you look at those crimes, what are the themes there? It doesn’t ask you any questions about society”), which is when the subject of Magione was then raised.
So, what did he actually say?
Luigi Mangione in December 2024
via Associated Press
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Well, speaking to the US outlet, Murphy revealed that he and his team “have a ‘maybe one day’ file” of ideas for future seasons of Monster that “just aren’t ready yet”.
He then said that one such concept would be a season about Magione, the 27-year-old who is currently in police custody, accused of fatally shooting Brian Thompson, the CEO of the American health insurance organisation UnitedHealthcare.
According to Variety, Murphy quickly dismissed the idea of focussing on Mangione after he, in their words “deemed it too early to proceed”.
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“We know nothing about him,” the Emmy winner pointed out.
Monster: The Ed Gein Story will debut on Netflix on Friday 3 October, with a fourth run of the controversial show already in production.
The next iteration will be the first to centre around a female killer, with Ella Beatty set to reunite with Ryan Murphy for the new series, which she’ll lead as Lizzie Borden, sharing the screen with other Murphy-verse alum including Billie Lourd and Vicky Krieps.
Rebecca Hall and British performer Jessica Barden will also be part of the cast of the show, which Netflix said will tell the story of “the infamous young woman accused of murdering her parents with an axe”.
Alexander Skarsgård has opened up about his new film Pillion, and how the movie’s much-hyped sex scenes differ from other projects he’s appeared in over the years.
The Emmy winner’s latest film features Harry Potter actor Harry Melling as Colin, a young man who embarks on a BDSM relationship with a biker gang leader, Ray, played by Alexander. Pillion became one of the Cannes Film Festival’s most talked-about films when it premiered earlier this year, not least because of its unique premise and graphic sexual content.
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Speaking to Variety about making the film in an interview published earlier this week, Alexander reflected on how he and Harry worked with intimacy coordinator Robbie Taylor Hunt to ensure that these sex scenes felt real in their awkwardness.
“We wanted it to be clumsy and weird,” he explained. “On screen, [sex] often looks like a ballet, but [it] can be awkward and funny.”
“I often find sex on screen quite boring,” he continued. “Usually, all the tension is leading up to that moment, and then once people are in the sack…”
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Alexander Skarsgård and Harry Melling at a photo-call for their film Pillion at this year’s Cannes Film Festival
via Associated Press
Alexander went on to praise director Harry Lighton, who he said “didn’t put on silk gloves to tell this story” and instead “embraced the awkwardness” of the sex sequences between the two central characters.
Critics have already been full of praise for the sex scenes in Pillion, with Vanity Fair hailing the film as “frank, kinky [and] utterly idiosyncratic” and The Daily Beast describing it as “quite possibly the sexiest movie at Cannes this year, that’s also delightfully tender”.
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And while Pillion certainly doesn’t shy away from sex, orgies or scenes of BDSM, Alexander also thinks the director approached these themes in a “beautiful” way rather than leaning into shock value.
“I think my mum will like this movie,” the True Blood star insisted. “[Even though] it’s about kinky gay bikers and a D/s relationship, [it’s] portrayed with the perfect amount of respect, but not too much respect.”
And as much as Pillion’s sex scenes have so far dominated conversation around the film, it turns out the movie is not nearly as graphic as it could have been.
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The Big Little Lies star noted: “The sex scenes weren’t graphic for the sake of being graphic. We shot way more graphic stuff than you’ve seen just now.”
“There was one close up of a dick, a hard dick … like down the barrel of the lens. And after watching the film on that ‘fuck-off’ screen I thought, yeah, cutting it was probably the right decision!” he quipped.
Madonna has shared that she contemplated taking her own life after becoming embroiled in a public custody battle over her then-teenage son.
Almost a decade ago, the Grammy-winning musician found herself at the centre of a legal spat with her ex-husband Guy Ritchie, after their eldest son Rocco, who was 15 at the time, said he wanted to live with his dad in the UK rather than joining his mum at their family home in the States.
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The Like A Prayer singer was on a world tour during the early stages of this custody battle, at one point breaking down in tears as she talked about Rocco during a one-off stand-alone show in Australia.
During a wide-ranging new interview on the podcast On Purpose With Jay Shetty, which mostly centred around spirituality, Madonna opened up about this low ebb in her personal life.
“I actually contemplated suicide,” she recalled. “One of the most painful moments in my life where I honestly couldn’t see the forest through the trees was when I went through a custody battle with my son.
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“Even though my marriage didn’t work out – I mean, a lot of people’s marriages don’t work out, they marry the wrong people, they’re not aligned, they’re not meant for each other.
“[But] someone trying to take my child away from me was like, they might as well just kill me. That’s really how I was thinking.”
Rocco Ritchie in January 2025
Cinzia Camela/LiveMedia/Shutterstock
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Madonna went on to disclose that she would often find herself “lying on the floor of my dressing room sobbing” during this period.
“I had to go on stage every night,” she said. “I really thought it was like it was the end of the world. I couldn’t take it. I just couldn’t take it.”
The chart-topping star is a mum to six children in total: 28-year-old Lourdes, 25-year-old Rocco, 20-year-old David, 19-year-old Mercy and 13-year-old twins Estere and Stella.
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Rocco Ritchie and Madonna at New York Fashion Week in 2022
Dimitrios Kambouris via Getty Images for NYFW: The Shows
Mind, open Monday to Friday, 9am-6pm on 0300 123 3393.
Samaritans offers a listening service which is open 24 hours a day, on 116 123 (UK and ROI – this number is FREE to call and will not appear on your phone bill).
CALM (the Campaign Against Living Miserably) offer a helpline open 5pm-midnight, 365 days a year, on 0800 58 58 58, and a webchat service.
The Mix is a free support service for people under 25. Call 0808 808 4994 or email help@themix.org.uk
Rethink Mental Illness offers practical help through its advice line which can be reached on 0808 801 0525 (Monday to Friday 10am-4pm). More info can be found on rethink.org.