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Riot Women — BBC’s Surprising Triumph of Grit, Wit and Pure Heart

4stars xxxxx

Riot Women — BBC’s Surprising Triumph of Grit, Wit and Pure Heart

There are times when you arrive home after a long day, craving nothing more profound than a cosy half-hour of television fluff — something light, comforting, and easy to disappear into. On the surface, Riot Women looks like exactly that: a vibrant title card, bold artwork, and a show pitched squarely at those who love a dash of spectacle. It would be very easy to hit play expecting a breezy, perhaps even camp, comedy-drama and settle back with a cup of tea.

But Riot Women is not that show. Not remotely.

If you only watch the first ten minutes, you could be forgiven for thinking you’ve been misled. The opening is stark, intense, and packed with enough emotional punch to make even the most resilient viewer mutter, “Oh no… this is going to be depressing,” and reach for the remote.

Yet turning it off would be a terrible mistake.

Because Riot Women quickly reveals itself to be television gold — unexpected, daring, and absolutely bursting with life.

At the centre of this explosive drama-comedy hybrid are the phenomenal Rosalie Craig and Joanna Scanlan, leading an ensemble cast that delivers performances of a calibre you rarely find in mainstream television. Between them, they light up the screen with such power and honesty you can’t look away. Rosalie Craig, especially, is a revelation. Known for her formidable stage presence in musical theatre, she brings the full breadth of her talent to this role: vocally electrifying and dramatically fearless, she swings from raw vulnerability to razor-sharp humour with impossible ease. It’s the kind of performance awards are invented for — at the very least, she deserves a BAFTA nomination.

Joanna Scanlan matches her beat for beat, offering a portrayal that is quietly astonishing — subtle, grounded, and capable of landing an entire emotional narrative with one look. Together, they create a dynamic that makes the story feel not just relevant but necessary.

Of course, no great television series exists without a masterful hand guiding it from the page. Here, that hand belongs to Sally Wainwright, one of Britain’s most exceptional screenwriters. Her voice is unmistakable: sharp, deeply empathetic, and rooted in the lived truths of women who refuse to be sidelined. Wainwright balances humour and heartbreak like a tightrope walker, proving again — as she did with Happy Valley and Last Tango in Halifax — that she knows exactly how to capture complicated, flawed, brilliant female characters. And then there’s Tamsin Greig, whose incomparable screen presence adds yet another layer of brilliance. Whether she’s delivering a deadpan line or revealing quiet vulnerability beneath stoic armour, Greig commands attention every moment she’s on screen. She becomes one of the show’s beating hearts — a character you’re compelled to follow, even in her silences.

What truly distinguishes Riot Women is its emotional honesty. The series dives into the frustrations, absurdities, and injustices faced by women whose lives haven’t gone according to plan — yet it refuses to let despair take the lead. Just when the narrative feels like it’s sinking into darkness, the humour kicks in. And not just comic relief for the sake of it — we’re talking whip-smart, laugh-out-loud writing delivered with perfect timing.

The absurdity is part of the point. Life can be relentless — but it can also be ridiculous.

The tone may zigzag, but that unpredictability is what makes the experience so exhilarating. One moment you’re laughing; the next you’re wiping away tears; then suddenly you’re cheering these women on as they find their voices and reclaim their stories. It’s a celebration of community, resilience, and rebellion — the quiet kind and the loud kind.

Yes, it can be camp — gloriously so — but never cheaply. The humour always comes from a place of truth. And through the satire, the show provides a sharp commentary on how society treats women who dare to age, to feel, to be imperfect, or to speak up.

The writing is confident and bold, unafraid of pushing boundaries. Each episode leaves you with a question — and a burning curiosity for what comes next. It is a story about what happens when ordinary women decide they’re done being polite and invisible. When they realise they have power. When they riot — not violently, but vocally, musically, and emotionally.

To call Riot Women a gem feels too small. It’s a series that arrives disguised as a guilty pleasure but reveals itself to be a gutsy, heartfelt, and beautifully crafted piece of British drama. It’s television that matters — without losing its sense of fun.

So if you begin watching and feel the instinct to switch over: don’t. Give it time. Let it breathe. Stick with the journey.

Because what you find is something rare: a show that reminds you we are all allowed to feel broken — and also allowed to dance, shout, laugh, and reclaim joy, whatever age we are.

Riot Women is bold. It’s brilliant. And it’s absolutely worth your time.

https://www.bbc.co.uk/iplayer/episodes/m002hd7x/riot-women

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Blessings at the Riverside Studios

⭐⭐⭐⭐⭐ Review: Blessings at Riverside Studios https://riversidestudios.co.uk/see-and-do/blessings-177622/

Blessings at Riverside Studios is a richly atmospheric and deeply human exploration of family, faith, and the moral turbulence of the 1960s. Directed with sensitivity and intelligence, the play captures a pivotal moment in British social history — a decade when traditional values clashed with the new freedoms of a changing world. It’s a thoughtful, gripping production brought vividly to life by a stellar cast, led by Gary Webster and an extraordinary debut performance by Freddie Webster.

Freddie Webster.

Set against a backdrop of shifting class structures and cultural awakening, Blessings weaves its story around a working-class family grappling with the personal consequences of societal change. The writing is sharp and heartfelt, with themes of loyalty, pride, and redemption pulsing beneath every exchange. The set design immediately evokes the texture of the 1960s — all formica kitchens, nicotine-stained wallpaper, and muted optimism — drawing the audience into a world both familiar and fading.

Rising Star Freddie Webster

At the centre of it all is Gary Webster, whose commanding presence anchors the production. Best known for his iconic turns in Minder and EastEnders, Webster once again proves he is one of the UK’s most underrated actors. His performance here is layered and magnetic: a man torn between old loyalties and the unrelenting push of modern life. He brings a bruised dignity to the role — a quiet strength mixed with a sense of defeat that feels heartbreakingly authentic. In a just world, this performance would cement his reputation as one of Britain’s finest stage actors.

Underestimated Gary Webster

Equally striking is the breakout performance of Freddie Webster, making his professional stage debut after studying at Mountview Drama School. It’s rare to see such poise, nuance, and emotional truth in a first-timer. Freddie delivers a performance that is at once raw and refined, capturing the restless energy of youth alongside the vulnerability of someone desperate to find their place in a world that doesn’t quite make sense. His natural stage presence and impeccable timing mark him as a talent to watch — a future star in the making. The chemistry between father and son, both on stage and in spirit, is palpable and moving, adding an extra layer of resonance to the drama.

Hannah Traylen, as Frances, deserves special mention. She brings warmth, wit, and quiet steel to a role that could easily have been overshadowed in lesser hands. Traylen’s Frances is a woman of her time but also ahead of it — sharp-tongued yet tender, pragmatic yet passionate. It’s a beautifully judged performance suggesting that Traylen is another rising talent with a bright future

Gary Webster and Hannah Traylen .

The supporting cast contribute solidly, creating a believable ensemble that breathes life into every corner of the story. The pacing of the piece, while deliberate, allows each emotional beat to land fully. If there is a minor quibble, it’s that the play runs a little long without an interval — at times, one finds oneself wishing for a short pause to absorb the emotional intensity before diving back in. Yet, in truth, this is a small price to pay for the richness of the experience. The continuous flow also has its advantages: it keeps the audience immersed, never breaking the spell the actors have so carefully woven.

Technically, Blessings is beautifully realised. Lighting and sound design work in quiet harmony to evoke both nostalgia and unease. The director’s attention to period detail ensures that nothing feels contrived; instead, every moment feels lived-in and real. The dialogue crackles with authenticity, alternating between humour and heartbreak in a way that mirrors real life.

Ultimately, Blessings is a triumph — a play that reminds us why live theatre matters. It challenges, it moves, and it connects. It holds a mirror up to a time not so long ago, showing us how the struggles of the past still echo in the present. Gary Webster delivers a masterclass in restrained power,

The result is an evening of theatre that feels both timeless and immediate — .

https://riversidestudios.co.uk/see-and-do/blessings-177622/

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Steven’s Viewz

MUM’S NOT ALWAYS THE WORD

Steven’s Viewz


Why Katie Price Needs to Back Off and Let Her Kids Shine Without Her Interference

Growing up is never easy — not for the average teenager, and certainly not for those with famous parents. For most young people, adolescence is about carving out your own identity, deciding who you want to be, and pursuing your chosen career or further education. It’s a period of self-discovery and independence. But when your every move has been played out in the glare of the press since childhood, the challenge is far greater.

Children of celebrities live with a unique pressure. They’re often unfairly labelled with the now-infamous tag “Nepo Baby” — short for “nepotism baby” — a term referring to someone whose career mirrors or is connected to that of their famous parent. The implication is clear: their achievements aren’t earned but handed to them through family connections. The phrase is often used as an insult, suggesting that their success is unearned, undeserved, or simply the result of privilege.

Of course, this isn’t always the case. Some celebrity children go out of their way to avoid using their family name, working hard to make it on their own merits. In many instances, the public only learns of their famous parentage long after they’ve established themselves. On the flip side, stepping into the same spotlight as a parent and not quite measuring up can be devastating for mental health. The pressure to “live up to” a legacy can crush even the most talented young person.

Take Princess Andre, for example. She’s a young woman with dreams, ambition, and — crucially — talent. Under the guidance of Clare Powell, a woman I’d call a genius in the world of entertainment management, Princess has been making strides toward building her own career. Powell is the same powerhouse who played a key role in shaping Katie Price’s early career. Importantly, Katie is not directly involved in Princess’s current projects.

Stunning Princess Andrea

Now, I’ve been a huge supporter of Katie Price over the years — I’ve defended her when many wouldn’t. But on this occasion, Katie, it’s time to take a step back. In fact, take one hundred steps back. Be a proud mum, but let Princess shine without you hovering in the background. It’s about dignity — a word that doesn’t often appear in the Pricey vocabulary — and allowing your daughter to succeed on her own terms.

I have a close friend whose sons are both stars now: one’s a famous rock musician, the other a West End performer. Before their success, my friend made a conscious decision to stay out of their spotlight. No hanging around at every audition, no being photographed at every event. She let them find their own way, even if it meant watching from the sidelines. That kind of quiet support is invaluable — and something Katie could learn from.

The truth is, Princess already has “star” written all over her. Yes, her famous parents have opened some doors — there’s no denying that. But she’s also beautiful, poised, polite, and grounded in a way that the teenage Jordan (Katie’s former alter ego) simply wasn’t. While Katie at that age was known for her brashness and colourful vocabulary, Princess seems to have a quiet charm and grace that’s refreshing to see.

Of course, fame dynamics can get tricky within families. I’ve seen it happen. Sometimes a parent who’s spent years in the spotlight finds it hard when their child begins to eclipse them. I remember a friend whose mother was always the centre of attention. We once attended a concert together, and during the show, the star actually stopped mid-performance to compliment my friend’s daughter — “Who is this beauty?” they asked. The girl was thrilled. But when she turned to share the moment with her mum, the mother had vanished, unable to handle not being the one in the spotlight.

Even Hollywood royalty have faced this. Liza Minnelli once admitted that her mother, Judy Garland, struggled to accept her daughter’s fame. It’s a reminder that parental pride can sometimes be mixed with a very human sense of insecurity.

In Princess’s case, the potential is huge. She has the looks, the talent, and the personality to carve out a significant career in modelling, media, or whatever creative path she chooses. The worst thing that could happen is for her efforts to be overshadowed by her mum’s drama, headlines, or interference.

Some might argue that Katie’s involvement is only natural — after all, she’s been in the industry for decades. But let’s be honest: sometimes experience comes with baggage. Katie’s falling-out with Clare Powell has been well documented, but that shouldn’t affect Princess’s choices. Powell helped make Katie a household name in the first place. This is show business — not “show friends” — and if I had a daughter with career ambitions, I’d want her with the best possible management team. Personal disagreements shouldn’t dictate professional decisions when a young career is on the line.

Clare Powell star maker https://thecangroup.co.uk

If Katie truly wants to support her daughter, she needs to be a cheerleader, not a co-star. Let Princess have her own brand, her own media moments, and her own relationship with the public. This doesn’t mean disappearing from her life — just from her professional life. Turn up to watch from the audience, not to stand centre stage. Offer advice privately, not through the pages of a tabloid.

In today’s media-saturated world, it’s hard enough for young people to find their place without the shadow of a famous parent looming over every opportunity. Princess deserves the space to make mistakes, learn lessons, and earn her own applause. And if she’s anything like she seems — poised, polite, and full of potential — she’ll do just fine.

The bottom line? Princess Andre has a bright future. But for her to truly shine, Katie Price needs to take not one or two, but one hundred steps back — and stay there until she’s invited forward. That’s what real support looks like

.

Good luck to Jack Kay .

If proof was ever needed that you can flog your soul to the devil for fame, look no further than the sudden, stratospheric rise of Ibiza’s self-styled “final boss.” One click of a camera, one cheeky social media post, and bang — he’s out-trending the Pricey and even the Trump. That’s no small feat, considering those two can normally generate headlines by simply breathing in public.

The man behind the moniker? Jack Kay. No chart-topping singles. No Oscar-bait performances. No tell-all autobiography written “in his own words” but suspiciously sounding like it was dictated to a ghostwriter over Zoom. Just… Jack. A man who, by all accounts, was minding his own business until fate, flash photography, and the internet combined to anoint him this week’s celebrity overlord.

And do you know what? Fair play to him. He’s a smashing lad by all appearances, and I can’t help but root for him. In fact, I’m practically booking my front-row seat for his inevitable debut on Celebrity Big Brother or I’m a Celebrity… Get Me Out of Here! Picture it now: Jack in the jungle, wearing a head torch, looking mildly confused while chewing kangaroo testicles for the nation’s amusement. It’s practically destiny.

Of course, his overnight success has sent a few noses wildly out of joint in the fame industry. Imagine clawing your way up the greasy celebrity pole — posting your best pout, cultivating “scandals,” leaking your own “leaked” texts — only to have Jack Kay swoop in with one photo and walk off with the nation’s attention like it’s a free canapé at a launch party. Delicious.

It’s not just the wannabe-set bristling either; the whole saga has become a sort of cultural Rorschach test. Some see Jack as proof of the absurdity of fame in the age of the algorithm. Others see him as the internet’s latest crush. I see a man who’s managed to play the game without even reading the rulebook.

Because let’s be honest, the rules have changed. Once, you needed a record deal, a primetime slot, or a scandal big enough to get a mention in the News of the World (RIP). Now? You just need a single moment that makes the internet collectively say: Yes, this one. This is our new obsession. It could be a photograph. It could be a TikTok. It could be an ill-advised comment made in a kebab shop at 3am. And suddenly, you’re hot property.

Will Jack’s reign as Ibiza’s final boss last? Who knows. The internet’s love affairs are fickle. One minute you’re the meme of the moment, the next you’re that guy people vaguely remember seeing “on something once.” But for now, Jack’s milking his fifteen minutes with style, and I, for one, am here for it. If he has done a deal with the devil, I hope it came with a decent rider — champagne, sunglasses, and maybe a small island.

Hurray — Wednesday is back on Netflix! And if that wasn’t already a big enough treat for fans of the macabre, there’s an extra twist in the cobweb this season: the legendary Joanna Lumley has joined the cast as Wednesday’s formidable grandmother.

Yes, you read that right. From Absolutely Fabulous to The Wolf of Wall Street, Lumley has always brought her own brand of razor-sharp wit and undeniable glamour to every role. Now, she’s stepping into the delightfully creepy world of the Addams family, and honestly, it feels like a match made in gothic heaven.

Contact Steven on spman@btinternet.com

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The Pied Piper of Rock: Matty Healy Leads The 1975 Into Glastonbury History

Matt Healy the 1975 Glastonbury

When you tune in to watch The 1975 perform live, you’re not just listening to a concert—you’re boarding an electrifying emotional rollercoaster. From the first beat to the final bow, Matty Healy doesn’t just sing; he commands, provokes, and enchants. At Glastonbury, he led his band into the annals of festival history with a performance that was nothing short of spellbinding—part protest, part performance art, and all heart.

There’s no doubt that watching The 1975 live is like being caught in a storm of sound and sentiment. Healy, a vocal advocate for mental health awareness, brings his audience on a journey that often feels bipolar in nature—veering from euphoric highs to moments of raw, painful vulnerability. One moment, you’re leaping in unison with thousands, lost in the pulse of a synth-heavy anthem; the next, you’re hushed and still, listening as he declares, “I’m bleeding for you.” Behind him, haunting visuals flash—images of human suffering, environmental destruction, animal cruelty—reminding the audience that this isn’t just music, it’s a call to consciousness.

“It’s not about politics anymore,” Healy said mid-set. “It’s about love. It’s about being kind. Only with that will we ever make a real difference.” It’s these moments of candour that transform his concerts from simple entertainment into deeply moving communal experiences. In an industry where many shy away from difficult truths, Healy walks straight into them, arms wide open.

His onstage persona oscillates between bravado and vulnerability. “I’m the greatest poet,” he quips with a grin—only to retract with a shrug in the next breath, “No, I’m an idiot.” The line between jest and confession blurs. It’s this constant tension—between confidence and self-doubt, performance and honesty—that makes him so captivating. Matty Healy was born for the stage, but it’s his disbelief in his own myth that makes the myth so powerful.

Critics often compare him to rock legends—Jagger, Iggy Pop, maybe even Bowie—but the truth is, Healy defies easy classification. He’s original, carving out a space that feels entirely his own. Perhaps the closest parallel is Marc Bolan, who stunned a generation with “Ride a White Swan,” opening the doors for glam rock and gender fluid performance styles. Bolan didn’t just sing songs—he shaped culture. Healy is doing the same, one provocative, glittering, gut-punch of a show at a time.

Musically, The 1975 occupy a unique space in modern rock. Their sound is a kaleidoscope—one moment polished pop, the next raw post-punk, with forays into jazz, soul, and experimental electronica. Healy’s songwriting is equally diverse. At times playful and catchy, at others profound and searching, he writes like someone trying to make sense of the world in real time. His voice—distinctly androgynous—is now fully formed. It’s a sound that feels both masculine and feminine, emotionally expressive without relying on the grit or aggression often associated with male rock vocalists.

Unlike performers such as Eminem or Macklemore, who often lean on female vocalists to soften or elevate their songs, Healy’s voice stands entirely on its own. There’s no need for a counterbalance. His vocal tone is rich, resonant, and complete. If a perfectly dressed salad needed no extra dressing, then Healy’s voice is that seasoned dish—balanced, flavorful, and satisfying all on its own.

And while Matty Healy is the band’s lightning rod, The 1975 is far more than just one man. The musicianship within the group is extraordinary. Drummer George Daniel is a master of rhythm—an innovator whose work deserves to be ranked alongside legends like Keith Moon and Ginger Baker. His beats are not just background; they are the spine of every song. Then there’s saxophonist John Waugh, whose solos are so expressive and vital that it’s easy to imagine David Bowie himself swooping in to steal him for a side project. Guitarist Adam Hann is no less impressive, crafting intricate textures and soaring riffs that elevate every performance.

1975 Drummer George Danielles a drummer for the hall of fame .

Together, they’re a cohesive force, a band in the truest sense. At Glastonbury, they played not like hired hands or background musicians, but like brothers—a family bound by the music they make. It was Healy, of course, who brought them all together, and it is his vision that they continue to follow. But it’s the synergy of all four that gives the band its power.

The 1975

The Glastonbury crowd, thousands strong, didn’t just watch—they listened. When Healy pleaded with them to “be kind” and to “make a difference,” they responded not with cheers but with thoughtful silence, a stillness that only true impact can elicit. Few performers have that kind of power. It’s the rare ability to hush a festival crowd, not with volume but with vulnerability.

And already, there are imitators—artists scrambling to mimic his stage presence, his fashion, his lyrical style. We won’t name names—let’s be kind, as Healy would urge—but the influence is undeniable. The 1975 are not just leading; they’re redefining the genre.

As the final chords rang out into the Glastonbury night, one thing became clear: this was a moment that would be remembered. The band could have easily played for another hour, and no one would have left. But sometimes, leaving them wanting more is the mark of a true master. And Matty Healy, for all his self-doubt and sarcasm, is exactly that—a master performer, a cultural touchstone, and yes, perhaps the Pied Piper of modern rock.

The world will keep watching. The arenas will fill. And The 1975 will continue to evolve, to provoke, and to inspire. Glastonbury may be behind them, but their story is far from over.

END

Why The 1975 and Matty Healy Support LGBTQ+ Rights and Fund Them

In an era where performative allyship is all too common in pop culture, The 1975 have carved out a reputation for genuine advocacy—particularly when it comes to LGBTQ+ rights. Fronted by the passionate and outspoken Matty Healy, the Manchester-based band not only vocalizes support but backs it with real action and funding.

Healy and his bandmates—George Daniels, Adam Hann, and Ross MacDonald—aren’t just a group with a large LGBTQ+ following; they’ve actively embraced and empowered the community. Their hit “Loving Someone” has become something of a modern gay anthem, resonating deeply with queer fans for its themes of identity, love, and resistance to conformity.

But their commitment goes well beyond lyrics. In a tangible display of support, The 1975 donated £16,000 to help create an LGBTQ+ centre in London—a meaningful contribution aimed at fostering safe spaces and community resources. As Healy himself said, “You might wonder why this is needed and ask what exactly everyone is still scared of, but sadly stigma still exists.” It’s clear he understands the ongoing challenges faced by LGBTQ+ individuals and refuses to remain silent.

Healy’s activism isn’t just about charity—it’s also about calling out injustices. At the BRIT Awards, he used his platform to highlight misogyny in the music industry, quoting journalist Laura Snapes to critique the double standards applied to male and female artists. This kind of intersectional awareness is why his advocacy rings true.

Part of Healy’s inclusive worldview stems from his upbringing. With a gay icon for a mother—actress Denise Welch—and a father known for playing drag characters on TV, he grew up immersed in queer culture. Labels never mattered in his household, and that open-mindedness clearly carries into both his personal life and public platform.

What truly sets The 1975 apart, though, is how authentic and accessible they remain despite global fame. Backstage at a packed O2 concert, Healy was more concerned about making sure a guest had a drink than what he was going to wear on stage. That sincerity, that desire to connect rather than dominate, defines their relationship with fans—especially LGBTQ+ fans who have long searched for artists that don’t just exploit queer culture but stand alongside it.

In short, The 1975 aren’t just the band everyone’s talking about because of their catchy songs or chart success. They matter because they’re using their platform with genuine purpose—offering representation, safe spaces, and support for those who need it most.

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June’s Book Club with David Nailer

Davids Book club

Hello darlings! It’s time for David’s Book Club Reviews, and I’m absolutely thrilled to be joining the fabulous folks at 2SHADES this month. What a dazzling array of reads we’ve had!

From a sSmelly kid who defies the odds to become a number-one porn star and entrepreneur (yes, really!) to a stylish serial killer stalking London’s high society and showbiz darlings—this month’s selection did not disappoint. And let’s not forget the gripping Bleeding Fabulous: The Life of a Haemosexual—a memoir bursting with sequins, survival, and serious heart.

There’s also a gorgeously dark gothic horror set in Victorian London that sent shivers down my spine and had me clutching my feather boa in suspense. Plus, 13 other twisty, chilling, and utterly addictive short stories in Criminal Pursuits 2—each one more devious than the last.

Yes, my loves, they all get five stars from me. Call me generous if you will, but I had an absolutely fabulous time reading every single one. Drama, danger, glamour, grit—and always a twist in the tail. What more could a queen ask for?

If you’re looking for thrills, spills, and a few cheeky chills, these are the books to curl up with (preferably with a cocktail in hand).

Until next time,
Love, David 💋

Screenshot

Review of Criminal Pursuits 2: This Is Me – 14 Dark Gems of Crime Fiction
⭐️⭐️⭐️⭐️⭐️

Criminal Pursuits 2: This Is Me is a superbly curated anthology of fourteen dark, twisted, and utterly engrossing short stories from some of the sharpest minds in contemporary crime fiction. As with the first volume, this second instalment delivers diverse voices and inventive plots, drawing readers into a variety of shadowy worlds where justice is murky, morality bends, and the human psyche is pushed to the brink.

Each story offers a unique lens into the criminal mind—ranging from psychological thrillers to revenge tales, noir romance, dystopian pacts, and unnerving hauntings. From the man teetering on the edge of a high building, to the woman whose inheritance turns deadly, the anthology brims with tension, clever twists, and haunting imagery. There’s a satisfying blend of styles, from hard-boiled grit to eerie suspense, that keeps the pacing lively and the reader guessing.

But the undeniable standout is Killer Queen by Steven Smith.
Stylish, razor-sharp, and steeped in a deliciously dark sense of camp, Killer Queen turns the serial killer trope on its head. Smith’s flair for the dramatic meets a gritty crime plot as he introduces a killer with charisma, vengeance, and unrelenting flair. The story pulses with queer energy and glittering menace, without ever losing sight of its emotional core. It’s daring, provocative, and gloriously subversive—exactly the kind of story crime fiction needs more of.

This powerful collection includes a heartfelt foreword by Lisa Allen, CEO of Pink Ribbon, who reminds us of the real-life battles many face every day. Fittingly, all profits from this anthology go to the breast cancer charity Pink Ribbon, making this both a gripping read and a meaningful cause.

An absolute must-read—for your bookshelf and your heart.

Review of Smelly Kid by Andy Lee 

Smelly Kid by Andy Lee (with Dave Taylor) is a raw, unflinching memoir that grips you from the first page and never lets go. With a title that hints at both humour and hardship, the book plunges readers into the unforgiving world of a poverty-stricken Dublin childhood, where abandonment, hunger, and homelessness were part of daily survival.

By the age of twelve, Andy had already experienced more loss than many do in a lifetime—left without parents and living on the margins of society. What makes Smelly Kid so compelling, however, is not just the depth of suffering, but the incredible resilience that rises from it. Through heartbreak, Andy never loses his fighting spirit, and his story becomes one of transformation and hope.

Lee’s voice is honest, gritty, and disarmingly humorous. He recounts harrowing moments with clarity and purpose, but also with surprising warmth. Whether it’s finding brief refuge in the kindness of a stranger or navigating the chaotic streets of inner-city Dublin, his story resonates with a raw authenticity. His later journey into the adult entertainment industry is told with the same candid honesty, showing how unexpected paths can lead to reinvention and, ultimately, self-empowerment.

Smelly Kid is not your typical rags-to-riches tale. It’s more than a memoir—it’s a testament to human endurance and the possibility of hope in even the bleakest circumstances. Gritty, heartbreaking, and ultimately inspiring, this is a story that lingers long after the final page.

For anyone who believes that the past defines the future, Andy Lee proves otherwise. Smelly Kid deserves its glowing 4.8-star rating—it’s bold, unforgettable, and deeply moving.

⭐️⭐️⭐️⭐️⭐️

The Soul Thief by S.L. Howe – 

Samantha Lee Howe’s The Soul Thief is a deliciously dark slice of gothic horror that plunges readers into the chilling depths of Victorian Manchester. A haunting and atmospheric tale, this novel is perfect for fans of Sarah Waters, Carly Reagon, and anyone who enjoys eerie mysteries by candlelight.

Set in 1888, the story follows the weary Dr. Warren Carter as he navigates long, gruelling nightshifts at a hospital cloaked in shadows. When the enigmatic and beautiful young nurse Rosie vanishes without a trace after a late-night drink, the unsettling tone is set. More disappearances follow, and soon, a private investigator is drawn into a web of creeping dread and escalating horror.

Howe masterfully conjures a fog-soaked world where danger flickers just beyond the reach of gaslight. The novel’s strength lies in its brooding atmosphere, tight pacing, and an undercurrent of psychological unease. From the moment Dr. Carter’s carefully ordered world begins to unravel, readers are drawn into a nightmare that feels both timeless and intensely personal.

The writing is richly evocative, and the characters are sharply drawn—each with secrets that deepen the mystery. The blend of supernatural elements with the harsh realism of Victorian medicine creates a visceral contrast that heightens the suspense. The twists are deftly delivered and genuinely surprising, with the final chapters veering into thrilling, pulse-pounding territory.

With glowing praise from readers and reviewers alike, The Soul Thief delivers on every gothic promise: a crumbling setting, spectral threats, and a slow-burn horror that lingers. This is a novel to savour on stormy nights, ideally with a flickering candle and a cup of something strong.

Dark, twisty, and utterly absorbing, The Soul Thief is Victorian horror at its finest.

⭐️⭐️⭐️⭐️⭐️

Review of Bleeding Fabulous by Mark Ward –

Bleeding Fabulous: The Life of a Haemosexual is a powerful and unapologetically bold memoir by Mark Ward—a man whose life defies the odds, the stigma, and the silence surrounding one of the darkest chapters in UK medical history. With extraordinary candour, wit, and resilience, Ward recounts his journey from an ordinary boy in Letchworth to becoming the world’s first LGBTQ+ Ambassador for Haemophilia.

Infected with blood-borne viruses through contaminated NHS blood products, Ward faced not one, but multiple death sentences. Yet, as he puts it, “Faced daily with my own mortality, I chose to live fabulously.” And live fabulously he does—feather boas and all—delivering a narrative that is as heartbreaking as it is uplifting.

Far more than a personal story, Bleeding Fabulous is a searing indictment of the Infected Blood Scandal, a tragedy that devastated thousands. Ward’s role in campaigning for justice, including his instrumental work toward securing the long-awaited public inquiry, demonstrates his tireless courage and commitment to others affected by bleeding disorders, regardless of their sexuality.

What sets this memoir apart is its fearless humour, warmth, and emotional honesty. Ward invites readers into the rawest parts of his life, without ever losing his sense of style or spirit. His writing is elegant, often funny, and always deeply human. With a foreword by Sam Stein KC and praise from leading legal and medical voices, this memoir is both a personal triumph and a vital historical record.

Bleeding Fabulous is, quite simply, remarkable—a testimony to survival, to living boldly, and to fighting for truth and dignity in the face of systemic injustice.

⭐️⭐️⭐️⭐️⭐️
A beautifully written, fiercely important, and undeniably fabulous read.

TATA FOR NOW . XXX David

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Review: What It Feels Like for a Girl

https://www.bbc.co.uk/iplayer/episodes/m002c6nx/what-it-feels-like-for-a-girl

xxxxxx 5 star

https://www.bbc.co.uk/iplayer/episodes/m002c6nx/what-it-feels-like-for-a-girl

There is no doubt that What It Feels Like for a Girl is one of the bravest, boldest, and most emotionally charged dramas the BBC has aired in recent memory. Dark, funny, and deeply moving, it doesn’t pull punches — and nor should it. In today’s climate, where LGBTQ+ rights are often politicised and marginalised, this series dares to dig into the raw truth of what it can feel like to grow up queer, different, and determined in an often hostile world.

At the heart of the drama is Byron — a teenager who doesn’t so much come out as leap flamboyantly out of the closet in heels and an acrylic wig. It’s a bold characterisation, and one that instantly divides viewers between admiration and concern. Byron is played with remarkable energy and vulnerability by the talented Elis Howard, whose performance captures both the sass and sadness behind a young person trying to define themselves on their own terms. Byron is no victim — he’s fierce, intelligent, witty — but the world he moves through doesn’t always treat him with the same kindness or understanding.

The series is packed with dynamic performances, but none more compelling than Jake Dunn as the chilling and unpredictable Liam. Liam is, quite frankly, terrifying — a young man full of rage, confusion, and violence, embodying a dangerous masculinity that feels all too familiar. Dunn’s performance is nothing short of remarkable, tapping into a deep well of menace and vulnerability. It would not be surprising to see this role lead to awards recognition — it’s a BAFTA-worthy turn from a young actor in complete control of his craft.

Jake Dunn as Liam has to be up for BAFTA

Just as striking is Michael Socha as Byron’s dad, Steve. Socha — one of the UK’s brightest acting talents, known for his powerful work in Big Boys Don’t Cry — brings incredible depth and complexity to a role that could easily have slipped into cliché. Steve is a working-class father trying to love and protect his child while also wrestling with his own fears, prejudices, and sense of masculinity. He isn’t perfect, but he tries — and that attempt, that effort to understand, is what gives the performance its emotional weight. Socha makes Steve both gruff and tender, occasionally heartbreaking, and always utterly human.

One of the UK’s finest actors Michael Socha gives a brilliant dimensional performance as Steve https://www.bbc.co.uk/iplayer/episodes/m002c6nx/what-it-feels-like-for-a-girl

The supporting cast is also excellent, rounding out a story that never feels one-note. Each character serves as a window into different facets of LGBTQ+ identity, family dynamics, and the brutal realities of adolescence. The script, while occasionally unflinching in its language and choices, never feels exploitative. Instead, it invites the viewer to sit in discomfort, to examine their assumptions, and to witness the daily negotiations and dangers that queer teens may face.

However, it would be dishonest to pretend the series is perfect — or without controversy.

In a time where LGBTQ+ and particularly trans communities are under increasing attack — in the media, in politics, and in public life — there is a growing call for stories that offer more balance, more hope, and more variation. While What It Feels Like for a Girl is undeniably powerful, it risks reinforcing some deeply damaging tropes. The depiction of young gay men becoming involved in sex work or aggressively pursuing unavailable straight men plays into harmful stereotypes that many activists and members of the LGBTQ+ community have spent decades working to dismantle.

There is a danger that a show like this, no matter how well-crafted, could be misinterpreted by those looking for ammunition to further vilify queer lives. It’s a delicate balance — representing the reality of some without suggesting it’s the reality for all. And in this case, that balance feels slightly off. Yes, some young people do struggle in these ways. But others do not. Some grow up in supportive families, thrive at school, fall in love safely, and live joyfully. Those stories matter too.

In many ways, this series is a reminder of the importance of representation — and the challenges that come with it. Authentic queer storytelling is vital, but so is diversity within that storytelling. Not every queer teen is a tragedy, and not every narrative needs to be soaked in trauma. What we need now, more than ever, is nuance. The right to be messy, yes — but also the right to be happy.

Despite these concerns, What It Feels Like for a Girl remains compelling, necessary viewing. The direction is confident and unflinching, the writing brutally honest, and the performances — particularly from Dunn, Howard, and Socha — are unforgettable. The series asks difficult questions and offers no easy answers. And perhaps that is its greatest strength.

This isn’t a show that ties everything up in a bow or gives us a neat resolution. It leaves viewers unsettled, maybe even angry. But it also invites conversation. It asks us to sit in the discomfort of the truth and to consider how we might do better — as parents, as friends, as a society.

In the end, What It Feels Like for a Girl doesn’t pretend to speak for everyone. It tells one version of the truth — raw, messy, painful, and defiant. It may not be the perfect flag-bearer for LGBTQ+ representation, but it doesn’t need to be. What it does do is open the door. It gets us talking. It reminds us that behind every label is a life — complicated, beautiful, and worthy of understanding.

https://www.bbc.co.uk/iplayer/episodes/m002c6nx/what-it-feels-like-for-a-girl

END

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Steven’s Viewz: April“Go Mickey”

There is no doubt that Mickey Rourke has been the best thing to happen to Celebrity Big Brother this year. He is a fascinating mix of Victor Meldrew’s grumpy bluntness and Keith Richards’ wild, unpredictable charm. Arriving with no filter whatsoever and the wide-eyed confusion of Alice falling through the looking glass, he often seems unsure of exactly where he is. It’s not only comedy gold; it’s also a stark reminder of how hypersensitive our society has become — many ready to cry into their decaf almond milk lattes at the slightest provocation.

I had the pleasure of meeting Mr. Rourke many years ago at The Abbey Coffee Shop in West Hollywood, back when he was dating Carrie Otis. The Abbey, a famous LGBTQ+ venue, was buzzing as usual. Rourke, accompanied by his two beloved dogs, stopped me to ask about mine. We chatted briefly (I’ll admit I was a little starstruck — Angel Heart remains one of my all-time favourite films). My point is this: Mickey Rourke is not homophobic. He simply comes from a different time. The man is 72 years old. Perhaps, unlike some of the more publicity-hungry contestants, he doesn’t feel the need to self-censor or meticulously filter every word he utters.

My instinct tells me that JoJo might have handled the situation differently had she not been so consistently stunned — she often wore the look of a “rabbit in the headlights.” Fortunately, Chris Hughes, the charming and grounded contestant every parent would approve of, stepped in calmly to defend her. He restored order with dignity and compassion, providing a rare and refreshing moment of true humanity in a show increasingly dominated by outrage culture.

Chris Hughes the man you want your son or daughter to bring home

Let’s be honest: in the real world, prejudice and inappropriate comments are unfortunate realities many people will face. Mickey’s comments weren’t right, but they also didn’t merit his removal from the house. What’s needed is guidance and understanding, not instant condemnation and cancellation. We must be able to differentiate between malice and ignorance, between true harm and clumsy missteps.

Predictably, it wasn’t long before others saw an opportunity to capitalize on the situation. Donna Preston, a comedian by profession, was told by Rourke — while he lounged under an LED face mask — “You are what you eat.” Rather than respond with wit or humor, she ran crying to her team. For someone who makes a living out of comedy, it was a surprising reaction. Where was the banter, the quick retort that a seasoned performer should deliver with ease?

Donna Preston easily offended .

At this point, I began to feel genuinely sorry for Rourke. Things only deteriorated further when Patsy Palmer took offense at a mild comment about her cooking and ended up in tears. It begs the question: where has resilience gone? Life is full of difficult people who speak bluntly or unkindly. If we are reduced to tears by every offhand remark, how will we cope with the harsher realities that life inevitably throws our way?

Patsy non chewable broccoli leads to tears

As many know, I am a strong advocate for mental health awareness. I have faced my own battles with depression and anxiety. However, one of the most important lessons I have learned is the value of resilience. The only way to overcome bullies and unkind individuals is to develop inner strength. If we allow their words to break us, then they have won.

In my childhood, my imagination became my sanctuary. It helped me navigate bullying at both school and home, allowing me to rise above it rather than be crushed by it. Today, while mental health education is crucial, it is equally important that we teach children and young adults how to endure adversity. Bullying and cruelty will never disappear entirely. Learning how to manage, respond, and thrive despite them is essential.

Celebrity Big Brother has, perhaps unintentionally, become a mirror reflecting today’s cultural fragility. And frankly, it’s worrying.

We need a generation that can distinguish between genuine harm and an ill-judged comment. We need young people who can face challenges head-on, who can understand intent rather than automatically assuming the worst, and who can survive — and even thrive — in a world that will not always be kind.

Toughness doesn’t mean lacking empathy or kindness. It means having the inner strength to pick yourself up after a setback, to laugh off the jibes, and to rise above the noise. Without it, we risk raising a generation ill-equipped for real life.

Mickey Rourke’s stint on CBB might just end up being more than television entertainment. It might serve as a wake-up call about where we are heading — and a reminder of the resilience we so desperately need to reclaim.

Massive props to Danny Beard — he’s not just bringing the yeast to the bread, he’s practically baking a whole bakery at this point! As for Trisha… well, I’ll spare you the rant, but let’s just say Michael Fabricant and I are singing from the same hymn sheet.

Now, if Mikey manages to hang on much longer, he might just sneak a win — stranger things have happened! That said, my money’s still firmly on Chris or Danny to take the crown.

Danny Beard bringing the laughs to the CBB House .

https://www.itv.com/watch/celebrity-big-brother/10a5342

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MobLand REVIEW

No smoking guns here as Mob land falls very flat .

Hardy delivers a master class in acting in this mediocre show .

Mob Land undoubtedly cements Tom Hardy as one of the greatest actors of our time. His commanding presence on screen is astounding, delivering a masterclass in acting that is, unfortunately, the only real highlight of Guy Ritchie’s Mob Land.

As a long-time admirer of Ritchie’s work, it’s difficult to understand what he was aiming for with this series . Mob Landbrings nothing particularly new to the table. It feels as though Ritchie watched Gangs of London and thought, “I should have done that.” Ironically, Gangs of London was likely influenced by Ritchie’s own early work, Lock, Stock and Two Smoking Barrels and Snatch—films that helped define the modern British gangster genre. However, Mob Land lacks the freshness, wit, and compelling storytelling that made those earlier films so iconic.

Tom Hardy is the film’s saving grace, but even his powerful performance cannot elevate the series beyond mediocrity. The rest of the star-studded cast delivers disappointingly lackluster performances, making for an underwhelming experience. Pierce Brosnan, despite being Irish, sounds as though he is forcing his accent rather than naturally embodying it. He brings no depth or nuance to his role as Conrad Harrigan, the ruthless patriarch of the crime family, and at times, his attempts to instill fear in his character come across as unintentionally laughable.

Even more disappointing is the legendary Helen Mirren, who plays Maeve Harrigan. Her exaggerated accent seems to have been plucked straight from Father Ted’s Mrs. Doyle, and her chemistry with Brosnan is virtually nonexistent. The two share as much on-screen rapport as Donald Trump and Volodymyr Zelensky—awkward, strained, and completely unconvincing. The rest of the family members are equally miscast, leaving audiences struggling to form any emotional connection with them. Rather than being immersed in their struggles and conflicts, viewers are left wondering if the cast were simply Ritchie’s friends having a casual get-together rather than dedicated actors committed to their roles.

Helen Mirren and Piers Bronson as much chemistry as Trump and Zelensky

Set in the dark underworld of London’s criminal elite, Mob Land follows the Harrigan crime family, once a formidable empire now teetering on the brink of collapse. Conrad Harrigan (Pierce Brosnan), the aging patriarch, is desperate to maintain his grip on the city’s illicit activities while facing threats from younger, more ruthless up-and-comers. His wife, Maeve (Helen Mirren), is the matriarch who attempts to hold the family together through sheer force of will, though her influence is waning.

Their eldest son, Michael Harrigan, is expected to inherit the family business, but his lack of cunning and charisma makes him an unfit successor. Meanwhile, his younger brother, Sean (a brooding but ultimately forgettable presence), wrestles with the moral implications of the life he’s been born into. As internal family tensions rise, external threats loom ever closer.

Not much of as family affair as the cast fail to connect .

Enter Tom Hardy as James “Jimmy” Callahan, a former enforcer for the Harrigans who has spent the past decade trying to escape his violent past. Haunted by his past actions, Jimmy is reluctantly pulled back into the fray when his younger brother, Danny, finds himself in the crosshairs of both the Harrigans and a rival gang. Jimmy’s return sets off a chain of events that pits old loyalties against new betrayals, forcing him to navigate a treacherous landscape where trust is a commodity in short supply.

The series attempts to explore themes of legacy, loyalty, and redemption, but it never quite commits to any of them in a meaningful way. The narrative meanders through predictable plot points, offering nothing particularly innovative or engaging. The action sequences, while well-choreographed, feel like recycled versions of better-executed scenes from Ritchie’s earlier works. Mob Land lacks the sharp dialogue, snappy pacing, and dynamic storytelling that made films like Snatch and The Gentlemen so enjoyable.

Ultimately, Mob Land is a series that suffers from a lack of originality, uninspired performances (aside from Hardy), and a script that fails to live up to its potential. The story is neither gripping nor emotionally resonant, leaving viewers indifferent to the fates of its characters. What you find yourself longing for throughout the series is a return to Hardy’s scenes—because only then does Mob Land show any real spark of life.

In the end, Mob Land feels more like a missed opportunity than a worthy addition to Ritchie’s filmography. Fans of the director’s earlier work will likely walk away disappointed, wondering what could have been if the series had lived up to its promising premise.

https://www.paramountplus.com/gb/shows/mobland/?gclsrc=aw.ds&&ftag=IPP-02-10dda6d&gad_source=1&gbraid=0AAAAAohQd-IuVNOYXdHgRU1ZnG0TwYJPw&gclid=Cj0KCQjw16O_BhDNARIsAC3i2GC_hiVDIJ718_w4XzWNbCv7I87LCTqksZf0bwttr53oK6nydRok4GwaAsgqEALw_wcB
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2SHADES MEETS Tiano

2Shades meets husband and husband team Tiano. The London cabaret duo of Christopher Hamilton and Shimi Goodman
It is an almost unthinkable scenario that Liberace and Pavarotti had secret love children, let alone that those children went on to inherit their fathers’ talents! 

Described in one five star review

Then they met one another, fell deeply in love and married. Well, you would be forgiven for thinking just that, as married couple Chris Hamilton (Piano) and Shimi Goodman (Tenor) take to the stage to perform to a sell-out audience of dedicated fans

2Shades wanted to know more about the boys and we fired some questions at them.

  1.  What are you both doing for Christmas?

It’s all very glamorous! We will be performing on a six star luxury cruise ship called the Silver Muse sailing from Melbourne, Australia to Auckland, New Zealand. But before jetting off to the other side of the world we have our Christmas show at the Crazy Coqs in London which sold out pretty much minutes after we announced it during our last show there. We are so grateful to all the people who keep coming to our shows in London and elsewhere. 

  1.  What four Christmas songs would you sing at a Christmas Concert and why?

Oh Holy Night – This song really fits our style of music as it is a classical song but has been covered by the likes of Mariah Carey, the Queen of Christmas. Shimi particularly enjoys singing it as it really taps into the classical genre which he loves. 

All I Want for Christmas – Speaking of Miss Carey, this song is unavoidable during the festive period so although it’s done to death, it would be Scrooge like not to sing it. 

All I Want for Christmas is for Someone to Cancel It – To counteract the Christmas schmaltz and to honour all grinches out there, Chris wrote this tongue in cheek, irreverent song himself. If you can’t make it to our Christmas show, you can hear this song on YouTube. 

Have Yourself a Merry Little Christmas – It’s such a bitter sweet moment when Judy Garland sings this beautiful song in the 1944 film Meet Me in St. Louis. It makes most people feel all warm and fuzzy inside. 

  1.  When did you both know you loved each other? 

We met at Guildford School of Acting in 2000 and it was something like love at first sight over a jacket potato in Cathy’s Cafe! 

  1.  What is the most romantic gift you bought each other?

Shimi: Chris always wanted to go on the Orient Express. His birthday is in December and after a bit of research I discovered to my dismay that the train wasn’t active during the winter. I had to break it to him that it wouldn’t happen for a certain big birthday of his but then a few weeks before his birthday he saw an advert online saying that the Orient Express had started a winter journey. I quickly booked it and we travelled from Paris to Vienna overnight. The train was relatively empty and it was magical looking out of the window watching the snowy scenery whilst being treated like royalty! We had the pleasure of jamming with an amazing Italian jazz group until the early hours. Even the waiters started filming us! We stayed at the famous Sacher Wien hotel when we reached our final destination. We went to see an opera and walked around the Christmas markets. Very memorable. 

Chris: I always knew how much Shimi loves the movie franchise Back to The Future or indeed anything to do with the 1980s, so for one of his birthdays following a tasting menu dinner (which I absolutely hate) at a brand new restaurant in Covent Garden I got us top tickets to the West End musical. He knew all the text by heart. 

  1.  The festival of lights Hanukkah is a big holiday. How do you both celebrate that? Is there a song that jumps to mind?

Shimi: I love Hanukkah. We light the hanukkiah which is an eight stemmed candelabra. You light a candle for every day of the holiday and eat sufganiyot which are yummy jam doughnuts. My favourite song is Maoz Tzur or Rock of Ages as it is known in English.   

  1.  When did you both last laugh together?

Every day. We have our own silly sense of humour and can find the humour in most situations.  

  1.  What are your wishes for 2025?

    There’s a lyric in one of our original songs which says: “Music can heal and make it a better day”. We truly believe that it can, so we wish for our music to reach more and more people around the world and to keep travelling and entertaining. We would love to perform in America. Chris did a series of cabarets in New York a while back so it would be good for Tiano to take the States by storm! We’re currently in talks to hopefully make this happen during the next couple of years. 
  1.  Who would you most like to work with in the music industry?

    Barbra Streisand and Shirley Bassey are two of our idols. It would be an absolute dream to perform with them. We also love a Welsh singer called Ellen Williams and would love to collaborate with her. One of our songs “It’s Not Goodbye” would be a beautiful duet for her and Shimi. 
  1.  Who is the best cook? 

Shimi does most of the cooking when we’re home. But Chris makes a mean chilli con carne named “the famous” because he only cooks it once a year but when he does people rave about it. Whether they’re raving about the dish or the fact he’s actually put an apron on is anyone’s guess….  

  1. Tell our readers what you can expect from a Tiano concert.

Every show we put on in London is different for a couple of reasons. Firstly, we owe it to our loyal supporters to present different music to keep each performance fresh. Secondly, it challenges us as artists to keep learning new material. For instance at Crazy Coqs in Piccadilly, London we’ve become known for presenting a ten minute medley at each show which is devoted to a decade (for example the 80’s), an artist (for instance Whitney Houston), or perhaps a movie musical (maybe Dirty Dancing which incidentally Shimi performed in in the West End). It’s always challenging arranging and rehearsing an intricate medley of songs with constant key changes and mood changes and then performing it for a live audience for the very first time without looking at lyrics or music. However, it’s so worthwhile because the audience has come to really appreciate this moment in the show. In the last two shows people loved singing along during our medley devoted to The Carpenters and at our most recent one, ABBA. We spend all that time on each ten minute set piece and only perform it once!

Chris is a multi award winning composer and lyricist so we always share music he has written which once again the audience usually loves. Chris recently released an album of his very mellow original piano pieces called Sempre Piano (you can listen to it on Spotify). It’s so gratifying to see an audience respond so favourably to these moments of calm when he shares one of these pieces during a show. Shimi has also co written a few songs with Chris, a couple of which are on their debut album Tiano which you can also hear on Spotify. They have become firm favourites with the audience. 

We put so much thought into our programme with the hope of taking our audience on a real journey. You’ll laugh, cry, sing along and leave our show with a big smile on your face!

2 Shades Steven Smith with Tiano

https://www.brasseriezedel.com/events/a-very-tiano-christmas/?instance_id=1110480

https://music.youtube.com/playlist?list=OLAK5uy_lTIYcxLA666psdDVnc3_QiyQbvrvvU1rY

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AUTISM’S GOT TALENT 2024

Celebrating Neurodiversity: Autism’s Got Talent 2024 at the Mermaid Theatre
Steven Smith looks at the hottest show in town.

All Pictures by Terry Scott https://www.facebook.com/terry1965.scott.5836/about
Some of the team behind Autism’s Got Talent https://annakennedyonline.com/autisms-got-talent/

It is my favourite time of year, and the incredible Autism’s Got Talent is back.

Since its inception by Dr. Anna Kennedy OBE in 2012, Autism’s Got Talent has evolved into a legendary showcase that shines a spotlight on the unique talents of individuals living with autism. This one-of-a-kind event has captivated audiences and received high-profile media attention for over a decade, setting itself apart from other talent shows by offering an evening filled with surprises, inspiration, and diverse performances. Hosted at the renowned Mermaid Theatre in Blackfriars, the 2024 edition promises to be another unforgettable celebration of talent and inclusion

Steven Smith chats to 2Shades columnist and founder of Anna Kennedy on line

Unlike conventional talent competitions, Autism’s Got Talent is dedicated to celebrating neurodiversity and empowering autistic individuals of all ages. The show features a star-studded lineup of performers, including singers, dancers, actors, musicians, poets, magicians, and more. These gifted artists not only entertain but also challenge perceptions and break down barriers, demonstrating what people with autism can achieve. This event serves as a platform to replace stereotypes with messages of hope, fun, laughter, and inclusion, making it truly unique on the global stage.

The class of 2024 https://annakennedyonline.com/autisms-got-talent/

This year proved to be a show-stopping extravaganza with over 17 acts.

The show was opened by Dr. Anna Kennedy as she introduced well-wishes from Loose Women star Denise Welch, Blue band icon Anthony Costa, EastEnders actress Kacey Ainsworth, and the legendary Carol Vorderman. Celebrities such as ‘Allo ‘Allo!’s Vicki Michelle, Pet Rescue author Wendy Turner, Taino’s Christopher Hamilton, and performer Tru Blue were among some of the showbiz names that turned out to introduce the evening’s performers.

Allo Allo Vicki Michelle and the inspirational Lisa Allen from Pink Ribbon foundation

Comperes for the evening were Gateway Radio DJ and Ambassador of the charity, Aston Avery, along with former The People’s Strictly contestant and amateur dramatic theatre enthusiast Phillip Barnett.

Christopher Hamilton

Pineapple Dance studio lead by teacher Maggie Paterson who have supported the event from the start team of 40 dancers

Gateways radio DJ Aston Avery one of the presenters of AGT “Autistic and Proud ”

This year’s acts, who travelled from far and wide, did not disappoint. It kicked off with Alba Pulido Brocklebank’s stunning rendition of Burn. There were so many outstanding acts this year, it is hard to highlight them all. From guitar supremo Caydian Evans, who described the experience as an amazing, unique opportunity, to father-and-son team Aaron and Andy Clark, who said, “This is a memory that will last a lifetime, and we are deeply grateful for the opportunity.”

Caydian Evans

Northern Ireland seemed to feature prominently this year with two singers: Andrew McMurdie, who said, “There were so many uniquely talented people in one room, like I have never seen before,” and Ty Williams, who brought the house down.

Andrew McMurdie https://www.facebook.com/andrewmcmurdiemusic

Somerset singer Lianne Vessier was blown away by the diversity of the event, and the standing ovation for her performance left us all in awe.

Lianne Vessier

Stepping in at the last minute was Swaran Hayer, who dazzled the audience with his calendar skills (even revealing Anna Kennedy’s age and date of birth!). His mum, Mandy, said, “It will forever be an unforgettable and memorable experience.”

Theatre group True Colours had the audience cheering as well.

True Colours

Anna Kennedy, founder of Anna Kennedy Online and Autism’s Got Talent, shares her hopes for the event: “We aim to continue to build Autism’s Got Talent year by year. We want all those involved to have fun, do what they love, make friends, be themselves, and have one night that is all about them.” This ethos of inclusion and empowerment continues to drive the event’s growth and inspire its participants.

Tears of joy marked the end of the show, with all the wonderful performers on stage, proud parents, families, and friends in the audience.

They all had one message for the AKO family: “You’re all amazing, and we all rock!”

Roll on Autism’s Got Talent 2025—whoop!!!!!

Applications for 2025 open now https://docs.google.com/forms/d/e/1FAIpQLSc12klHOLoM8I7W8ESPDoWALA0osILmCWlRk8c8BNZkij-N2A/viewform?pli=1

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