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    Kim Woodburn, British TV’s No-Nonsense ‘Queen of Clean,’ Dies at 83

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    She was a blunt and bossy domestic dominatrix on the series “How Clean Is Your House?” honing a persona as the rudest woman on reality television.Kim Woodburn, the platinum-haired, trash-talking darling of British reality television who found fame as a domestic dominatrix in the long-running series “How Clean Is Your House” and in other shows of the mean TV genre, died on Monday. She was 83.Her death, after a short illness, was announced in a statement by her manager. It did not specify a cause or say where she died.Ms. Woodburn had been working in Kent, England, as a live-in housekeeper for a Saudi sheikh when her employment agency asked her to audition for a new Channel 4 reality show. The idea was that she and Aggie MacKenzie, a brisk Scottish editor at the British version of Good Housekeeping magazine, would invade the houses of slobs, hoarders and other housekeeping failures and teach them how to mend their messy ways.She was 60 years old at the time, and she nailed the audition, which involved scrutinizing a young woman’s grimy flat in West London.“Well, this is a flaming comic opera, isn’t it,” Ms. Woodburn declared in the woman’s terrifyingly filthy kitchen, as she recalled in her 2006 memoir, “Unbeaten: The Story of My Brutal Childhood.” “You look so clean yourself, and yet you live like this. Talk about fur coat, no knickers!”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      ’28 Years Later’: A Zombie Apocalypse Infected by Brexit, the Manosphere and Trump

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      “28 Years Later” leaps forward through time — into a world that has changed in worrisome parallel to ours.It begins with a deadly lab leak. Inside an English research facility in Cambridge, a bank of TV monitors is blasting clips of documentary violence — riots, hangings — into the eyes of a chimpanzee, a test subject in what we’d now recognize as “gain of function” virus research. Today, the rest plays out like Instagram highlights: Animal rights activists burst into this “Clockwork Orange” tableau and free an infected chimp. The chimp promptly mauls its human liberator. Then comes the familiar transformation — spasm, contortion, brisk snap into embodied demon — that starts murderous insanity spreading through the lab’s remaining humans, and then to those outside.This was the start of Danny Boyle’s “28 Days Later,” the movie that helped reboot the zombie apocalypse, turning a moribund horror subgenre into one of the dominant forces in entertainment. Boyle’s innovations — tonal seriousness, punk-rock filmmaking, speedy zombies bearing infectious disease — are still visible in everything from “World War Z” to “The Last of Us.” But it’s that opening scene, in which triggering media turns a primate virus into a fatal blood-borne psychosis, that sets up a prescient metaphor for what has happened in the decades between the movie’s release in 2002 and the arrival, this month, of “28 Years Later,” a new sequel from Boyle and the original screenwriter, Alex Garland. Across those years, a digital intoxication not unlike the film’s “Rage virus” really has made society feel angrier, crazier and more unstable.The original film had a grungy kinetic intensity; Boyle used digital video and the fast, cheap Canon XL1 to energize his shots, finding a jittery, claustrophobic, hyperreal visual language. Using what Garland has called a “Tootsie” cut — after the moment in that movie when Dustin Hoffman is suddenly revealed dressed as a woman — the story jumps straight from the initial outbreak of the virus to the moment, 28 days later, when a young bike messenger, Jim, awakes from a coma in an abandoned hospital and wanders out into an indelible vision of London after a people-vanishing cataclysm. (The walls and kiosks, covered with missing-person fliers, are one of several images that were transformed by real-life events after the film began shooting on Sept. 11, 2001.) He is rescued from his first contact with the infected by two masked survivors, one of whom explains that the apocalypse first appeared as a news item — “and then it wasn’t on the TV anymore,” she says, “it was coming through your windows.” Jim’s small crew must resist both the infected and a company of British soldiers who offer protection at the cost of sexual slavery. Finally escaped to a remote Lake District idyll, they see a military jet flyover as proof that civilization still endures — that the late-’90s neoliberal order may soon be restored.Clearly, things didn’t quite play out that way. A 2007 sequel, “28 Weeks Later” (neither original creator was involved) was rooted in post-9/11 security and warfare, imagining survivors huddled in a militarized safe zone controlled by American-led NATO troops, testing what a fearful society will tolerate to defend itself from an external threat. Then time passed and the paradigm shifted; ordinary people’s anger and fear was redirected from distant menaces to various enemies within. Real-life media and political institutions seemed to succumb to their own Rage, a process amplified by everything from new apps and platforms to a nonfictional pandemic. Now, “28 Years Later” shows us how the weaponized virus alters even the uninfected, reshaping society in terrifying ways.‘Some of the stuff in this film is about people misremembering the world we had.’The new film imagines a kind of extreme Brexit, extended a generation into the future. It, too, opens in the new-millennium world of pixels and screens, with a close-up of a TV playing the old British toddler show “The Teletubbies,” whose original series ended in 2001. But from there it moves to the residents of the tidal Holy Island, where, 28 years later, residents maintain a rugged nationalism apart from both the existing England and the smartphone-using world they’ve never seen. “We’ve gone backwards,” is how Boyle explained it to me. “Because inevitably you would retrench back to analog.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Chris Brown Released on $6 Million Bail by London Court

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      The R&B singer was charged last week with grievous bodily harm over a 2023 incident in England. His release from custody means he can proceed with a world tour.Chris Brown, the R&B singer, has been freed from custody by a London judge as he awaits a court case over accusations of an assault in a nightclub.Mr. Brown, 36, was arrested last week at a hotel in Manchester, England, and charged with grievous bodily harm.The singer is accused of attacking a music producer with a tequila bottle at Tape London, a nightclub in the Mayfair district, on Feb. 19, 2023.Lawyers representing Mr. Brown applied for him to be bailed at a hearing at Southwark Crown Court in South London on Wednesday, and London’s Metropolitan Police said the application had been granted.The judge’s decision means that Mr. Brown will be able to perform on an international tour that is scheduled to begin in Amsterdam on June 8. He is then set to visit European countries including Germany, Britain, Ireland, France and Portugal before traveling to the United States.The BBC reported that the judge, Tony Baumgartner, imposed a series of conditions on Mr. Brown, including that he must surrender his passport when not on tour and stay away from Tape London.Mr. Brown’s representatives agreed to pay into the court a security fee of five million pounds ($6.7 million), which can be forfeited if any of the conditions are breached.He has not yet been asked to enter a plea in the case, and British law bans the reporting of any details that could prejudice a jury at a future trial.Omololu Akinlolu, 38, an American rapper who performs under the name HoodyBaby, was charged with grievous bodily harm two days after Mr. Brown, in relation to the same incident.Mr. Brown and Mr. Akinlolu are scheduled to appear at a hearing at Southwark Crown Court on June 20. More

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      The 6 Mitford Sisters, Their Jewelry and a New TV Series

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      The costume designer for “Outrageous” talks about finding designs that the women would have worn.The Mitford sisters, known for their 20th-century aristocratic glamour and political scandal, were not among England’s most gem-laden women. But jewelry did play a role in their outsize public profiles.“Diana the fascist, Jessica the communist, Unity the Hitler-lover, Nancy the novelist, Deborah the duchess and Pamela the unobtrusive poultry connoisseur” is how Ben Macintyre, a writer for The Times of London, once described the six women.Now they are the subjects of “Outrageous,” a six-part series scheduled to debut June 18 on BritBox in the United States and Canada and June 19 on U and U&Drama in Britain. The series is set in the 1930s, the era in which they became famous — and infamous — and arrives on the heels of the discovery of a diary kept by Unity, who was obsessed with Hitler and, by her own account, was his lover. Excerpts were published this year by The Daily Mail.A childish prank involving Unity and Jessica was most likely one of the sisters’ earliest jewelry episodes. “A diamond ring was used to etch both the image of a hammer and sickle and swastika on a window in their childhood home,” Sarah Williams, the writer of “Outrageous,” said in a recent video interview. “They had such a young bond as kids, but they were both rebels, and that bond of rebellion was stronger than their political beliefs. They were absolute extremes.”The sisters — there also was one brother, Thomas, who was killed in World War II — were the children of David Freeman-Mitford, the second Baron Redesdale, and his wife, Sydney Bowles. While the family was not particularly wealthy, the sisters were schooled at home and then entered society.“As part of our research, we specifically collected images of jewelry pieces worn by the Mitford girls,” Claire Collins, the costume designer for “Outrageous,” said by email, “and although we couldn’t replicate certain pieces, we were able to use them as a guide.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Movies

      Phyllis Dalton, Oscar-Winning Costume Designer for Historical Epics, Dies at 99

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      Phyllis Dalton, a British costume designer whose unflinching attention to detail earned her Oscars for “Doctor Zhivago” and “Henry V” and acclaim for her emotive, striking costumes in “Lawrence of Arabia,” died on Jan. 9 at her home in Somerset, England. She was 99.The death was confirmed by her stepson, James Barton.Ms. Dalton’s keen eye was most apparent in period dramas and historical epics. She was known for her subtlety, crafting clothing that blended seamlessly into each film’s era.“Anyone can make a smart frock,” she said in a brochure that was handed out during a 2012 British Academy of Film and Television Arts tribute to her. “It’s much more difficult to make people from the past who are wearing ordinary clothes look real.”Phyllis Margaret Dalton was born on Oct. 16, 1925, in Chiswick, a suburb of London, to William John Tysoe Dalton, who worked for the Great Western Railway, and Elizabeth Marion (Mason) Dalton, who worked at a bank. Phyllis began studying costume design at Ealing Art College at 13 and later became a code breaker in the Women’s Royal Naval Service at the facility at Bletchley Park, a role she once said she considered “unbelievably boring.”One of Ms. Dalton’s earliest stints in wardrobe was on the 1950 crime melodrama “Eye Witness.” She honed her skills working on costumes for Alfred Hitchcock’s 1956 remake of “The Man Who Knew Too Much,” Robert Rossen’s “Island in the Sun” (1957) and Carol Reed’s “Our Man in Havana” (1959). In the 1960s, she completed two of her most renowned designs three years apart, dressing entire armies for “Lawrence of Arabia” (1962) and “Doctor Zhivago” (1965).After 50 years of experience on more than 40 feature films, including “The Princess Bride” (1987), she earned her last credit on Kenneth Branagh’s adaptation of “Much Ado About Nothing” in 1993.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

    • 138 Shares169 Views

      in Music

      Liam Payne’s Former One Direction Bandmates Attend His Funeral in England

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      The One Direction singer died at 31 last month after a fall from a balcony.A funeral was held for the former One Direction singer Liam Payne in England on Wednesday afternoon, a month after his death in a fall from a hotel balcony.The private service at a church in Amersham, England, about 25 miles northwest of London, was attended by Mr. Payne’s former bandmates in One Direction, Harry Styles, Niall Horan, Louis Tomlinson and Zayn Malik.Simon Cowell, James Corden and the model Damian Hurley also attended, photos showed, as well as several members of the girl group Girls Aloud, including Cheryl, Kimberley Walsh and Nicola Roberts. Cheryl is the mother of Mr. Payne’s 7-year-old son, Bear Grey Payne. Mr. Payne’s girlfriend, Kate Cassidy, was also at the service.Harry Styles at the funeral.Justin Tallis/Agence France-Presse — Getty ImagesMr. Payne’s coffin arrived in a carriage drawn by two white horses. It was lifted by pallbearers and carried into the church.Mr. Payne died at 31 after falling from the third floor of a hotel in Buenos Aires on Oct. 16.Prosecutors said that a toxicology report showed that Mr. Payne had cocaine, alcohol and a prescription antidepressant in his system. The local prosecutor’s office said it had accused three people of crimes after his death, though it did not name them. Two of them, including a hotel employee, were accused of supplying narcotics, and the third, who was described as being with Mr. Payne daily during his trip to Argentina, was accused of abandonment of a person followed by death.One Direction was assembled on the British talent show “The X Factor” in 2010 when the members were teenagers. They went on to international success with hits like “What Makes You Beautiful,” “Live While We’re Young” and “Story of My Life.” The band separated in 2016 and the members continued to record on their own. More

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      Shania Twain Is a Glastonbury ‘Legend’

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      The Glastonbury Festival’s coveted “Legend’s Slot,” at 3:45 p.m. Sunday, was hers and she said she was ready for the “most extraordinary party of my career.”On a recent Friday, Shania Twain rode a horse through rural terrain in Alberta, Canada, helping a neighbor relocate a herd of Angus cattle. As cows mooed loudly around her, the country-pop star multitasked, chatting on the phone about prepping for an appearance on a famous field an ocean away.Twain recalled how she started to perform at age 8 in smoky bars where drunk men would sometimes heckle her. As a result, she developed stage fright and hated being in the spotlight until she was about 50, she said, so the idea of performing for more than 200,000 revelers at Britain’s biggest music festival would have been anxiety inducing.Shania Twain answers questions for an interview with The Times on horseback while herding cattle.Courtesy of Shania TwainBut on Sunday afternoon, Twain, now 58, walked onstage at the Glastonbury Festival and did just that. Accompanied by a herd of equines (giant hobby horses, this time), Twain kicked off with “That Don’t Impress Me Much,” her 1998 megahit about dismissing romantic suitors. Within seconds, the vast crowd was singing along, dozens of women climbing up onto friends’ shoulders, their hands outstretched in front of them.She was occupying the most coveted slot at Britain’s largest and longest-running music event, the so-called Legend’s Slot, at 3:45 p.m. on the festival’s final day, an appearance she said she expected to be the “most extraordinary party of my career.”The musician who earns this prized booking — past performers have included Dolly Parton, Diana Ross and Brian Wilson of the Beach Boys — not only gets to hear tens of thousands of fans singing their music back to them, but also secures a large live TV audience, which typically results in a boost in record sales and streams.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Richard Tandy, Keyboardist for Electric Light Orchestra, Dies at 76

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      He helped shape the band’s futuristic sound, which blended Beatles-esque pop with orchestral arrangements.Richard Tandy, the keyboardist for the British rock band Electric Light Orchestra, whose riffs helped define the futuristic blend of Beatles-esque pop and orchestral arrangements that catapulted the group to global fame in the 1970s, has died. He was 76.His death was announced by Jeff Lynne, the band’s frontman and leader, in a social media post. Mr. Lynne, who called Mr. Tandy his “longtime collaborator,” did not specify when Mr. Tandy had died or the cause of death.Born on March 26, 1948, in Birmingham, England, Mr. Tandy first entered the orbit of E.L.O. by playing the harpsichord in a band with Bev Bevan, who would later become E.L.O.’s drummer.He joined E.L.O. after the release of its first album in 1972, initially playing bass guitar but later becoming the group’s keyboardist after another founding member left.Through ever-changing lineups, Mr. Tandy remained a core band member alongside Mr. Lynne and Mr. Bevan, until it disbanded in 1986. The band went on to sell over 50 million albums, with five reaching Billboard’s top 10.Playing a range of keyboard instruments including the clavinet — an electric clavichord — and the Minimoog synthesizer, Mr. Tandy’s riffs provided the foundations for some of E.L.O.’s most famous songs.On “Evil Woman,” one of the group’s best known songs, it was Mr. Tandy’s “funky clavinet riff that duels with the group’s vocals during the chorus,” in addition to gospel-styled female backing vocals, that made the song “a multi-textured feast of pop hooks,” Donald A. Guarisco wrote for the All Music Guide. Another of the band’s biggest hits, “Mr. Blue Sky,” featured Mr. Tandy’s riff and synthesized vocals.While Mr. Lynne, the frontman, was the driving force behind E.L.O., Mr. Tandy was his key collaborator, co-arranging many of the string parts of the group’s songs.“Tandy was crucial in ELO’s creation of a realm where rock and classical music could exist together,” the Rock & Roll Hall of Fame, into which E.L.O. was inducted in 2017, said on social media on Tuesday.Mr. Tandy’s surviving family include his wife Sheila, Mr. Lynne said. More

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      Kate Winslet on ‘The Regime’ and Resilience In Hollywood

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      Kate Winslet was standing in front of a microphone, breathing hard. Sometimes she did it fast; sometimes she slowed it down. Sometimes the breathing sounded anxious; other times, it was clearly the gasping of someone who was winded. Before beginning a new take, Winslet stood stock still, hands opening and closing at her sides; she looked like a gymnast about to bound into a floor routine. Every breath seemed high-stakes, even though she was well into a long day of recording in a dim, windowless studio in London. Listen to this article, read by Kirsten PotterOpen this article in the New York Times Audio app on iOS.Winslet was adding grace notes to scenes of herself in “The Regime,” a dark satire created by Will Tracy, a writer and producer on “Succession,” that began airing on Max in early March. Winslet plays Elena Vernham, a dictator ruling precariously over an imaginary Central European country, and she was in the studio rerecording (as is common practice) lines that needed improving, including snippets of Elena’s propaganda: “Even if the protests happening in Westgate were real, which they are not” and “He’s still out there, working with the global elite to destroy everything we’ve built.” Sometimes Winslet laughed out loud after delivering a line, and sometimes she fell completely silent, absorbed in watching a scene of herself with her new recording looped in. “God, she’s such an awful, awful cow,” she said at one point, sounding appalled but also a little awed. The part of Elena, a despot on the verge of a nervous breakdown, is a departure for Winslet, who has chosen, over the course of her career, a wide range of characters who have in common an intrinsic power. Elena is erratic and grasping, with a facade of strength that covers up a sinkhole of oozing insecurity. Winslet gave a lot of thought to how Elena would sound: She chose a high, tight voice, the sound of someone disconnected from the feelings that reside deep in the body. Elena has the slightest of speech impediments, a strange move she makes with her mouth, a hand that flies to her cheek when she is under real stress — those tells are her answer to King Richard’s hump, the body politic deformed. Onscreen, as Elena, Winslet is coifed and practically corseted into form-fitting skirt suits, with lacquered fake nails. The day she was recording, in early January, Winslet might have been any woman at the office: blond hair, a hint of roots starting to show, jeans of no particular timely style that she occasionally tugged up from the waist, a black V-neck sweater she occasionally pulled down at the hem. It’s only when you look directly at her, face to face, that you see the extraordinary — the dark blue eyes, the beauty marks (not one, but two), the elaborately curved mouth.As Winslet recorded, Stephen Frears, one of the show’s two directors, guided Winslet with considerable understatement from his seat across the room: a half-nod here, a thumbs-up there. “Was that all right, Stephen?” Winslet called over after one take; she peered over in his direction, expectant, obedient, professional. Frears, who directed “The Queen” and “Dangerous Liaisons,” among others, was silent, with his eyes closed, his head back. Winslet and a few members of the production team waited for his approval. As the moment stretched on, it seemed that Frears was not deep in thought but deep in sleep. Winslet appeared to register a brief moment of surprise, then smiled and moved on — all right, no problem. We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More