A Rimmel mascara advert starring Cara Delevingne has been banned for using tricks to exaggerate the look of her “dangerously bold lashes”.
Delevingne was seen using Scandaleyes Reloaded mascara as the ad promised “extreme volume… extreme wear.”
But it didn’t say Delevingne had also been given individual lash inserts to fill in gaps and that some lashes had been re-drawn in post-production.
The Advertising Standards Authority (ASA) has said the ad was misleading.
It must not appear again in its current form, the watchdog said.
In the advert, a voiceover said: “Rimmel introduces Cara Delevingne for new Scandaleyes Reloaded mascara. Dangerously bold lashes. New max-density brush for clump free lashes. Extreme volume… extreme wear.”
Rimmel’s owner Coty UK said the ad accurately represented the product, and that Delevingne’s lashes looked “full and long” before they used their extra production techniques as well as after.
Coty said it used individual lash inserts “only to fill in gaps and to create a uniform lash line”, which was “in accordance with industry practice”.
And some lashes were re-drawn in post-production “where they were not visible due to the model’s dark eyeshadow”. But that process didn’t lengthen or thicken the lashes, Coty said.
But the ASA took a different view. It concluded that the effect of the lash inserts or the post-production – or both – was to give the appearance of “longer lashes with more volume”.
The ASA ruling said: “Because the ad conveyed a volumising, lengthening and thickening effect of the product we considered the use of lash inserts and the post-production technique were likely to exaggerate the effect beyond what could be achieved by the product among consumers.
“We therefore concluded the ad was misleading.”
Coty said: “While we regret the decision of the ASA, we will of course comply with the ruling and not air the TV commercial again in this state.”
Megan Mullally, who plays Karen in Will and Grace, has suggested that the presidency of Donald Trump will be mentioned in the new series.
Speaking to BBC Radio 5 live Afternoon Edition, Mullally said: “The show was not only funny but topical, so the elephant in the room that has now burst out of the room and is now straddling the earth will be mentioned from time to time.”
NBC announced the comedy would be returning for a 10-episode series in 2017.
Who wants a copy of a 16-year-old compilation album? Quite a lot of us, it seems.
Sales of Now That’s What I Call Music 48 surged last week, after the double CD (“featuring 41 top chart hits!”) provided the soundtrack to the BBC sitcom Peter Kay’s Car Share.
It even entered Amazon’s compilation chart, despite being out of print, on the strength of second-hand sales.
Prices shot up too, rising from as little as 11p to more than £20.
In the show, supermarket employee Kayleigh Kitson (Sian Gibson) announces it’s her favourite album, much to the horror of her curmudgeonly carshare partner John Redmond (Kay).
He prefers Fleetwood Mac’s Rumours: a classic, no doubt, but one which lacks Now 48’s impressive roster of six number one hits (not to mention two solo singles by former members of the Spice Girls).
Music from the 2001 compilation permeated the first episode of the show’s second series, prompting that unlikely interest in hand-me-down copies.
Ahead of the broadcast of episode two on Tuesday, we take a look at some of Now 48’s more interesting moments.
Hear’Say – Pure And Simple
At the end of the first series of Car Share, Kayleigh moves house, meaning her lift to work (and burgeoning romance) with John is no longer necessary.
She gives him a copy of Now 48 as a parting gift. “I’ve got two copies,” she explains, “our Kieran used to fiddle Britannia*”.
Inside is a note reading: “Track two is from me to you, you’re a star. Love always, Kayleigh.”
Series one ended and series two began with that song – Pure and Simple – which brings a tear to John’s eye.
Famously, the song was the UK’s first ever talent show number one, emanating from the awkwardly-punctuated Hear’Say, who were cobbled together by ITV’s Popstars series in late 2000.
To watch the show now, it’s unbelievably clunky, with none of the sheen and polish of X Factor or The Voice. There isn’t even a live audience, as the show (like a lot of the early reality shows) presented itself more as a documentary than a competition.
The single is similarly laborious, borrowing heavily from All Saints’ Never Ever, and displaying none of the cartoonish energy you’d associate with co-writer Alison Clarkson – aka Betty Boo.
Bet you can still sing it, mind.
*Note to younger readers: The Britannia Music Club was a company that used to send CDs through the post, usually offering an unbeatable introductory offer (“get six CDs for a pound”) before fleecing you dry for the rest of your subscription period. Everyone who joined inevitably ended up with a copy of Meat Loaf’s Bat Out Of Hell, whether they wanted it or not.
Shaggy ft RikRok – It Wasn’t Me
The top-selling single of 2001, beating even Kylie Minogue’s almighty Can’t Get You Out Of My Head, this was Mr Boombastic’s biggest hit.
No matter how damning the evidence, his advice is to deny everything. “She saw me kissin’ on the sofa (it wasn’t me) / She even caught me on camera (it wasn’t me).”
However, while writing the song, Shaggy worried about alienating his female fanbase.
“It was like, ‘ok but this might offend a lot of people, we’re talking about infidelity and making fun of it,'” he told NBC. “So we came up with a disclaimer at the end that says, ‘I’m gonna tell her that I’m sorry for the pain that I caused.’
“So even though I’m playing the bad guy, at the end of it he [RikRok] is saying, ‘I’m not taking your advice. Everything about it is wrong.’ And that’s how we win the ladies back.”
Martine McCutcheon – On The Radio
A high-energy cover of Donna Summer’s disco classic, this was former EastEnders’ star Martine Kimberley Sherri Ponting’s final chart hit in the UK.
It’s pretty inoffensive stuff, but that didn’t stop the NME giving it zero stars and carping that, “Martine McCutcheon continues to try and convince us she’s a pop star and not just a dead barmaid.”
U2 – Stuck In A Moment You Can’t Get Out Of
One of U2’s most underrated singles, Stuck In A Moment was written in response to the death of INXS singer Michael Hutchence in 1997.
The star had been a close friend and sometime rival to Bono, and they would spend summers together in France before Hutchence took his own life, shortly before INXS’s 20th anniversary tour of Australia.
The song is “a row between mates,” Bono told Rolling Stone in 2005.
“You’re kinda trying to wake them up out of an idea. In my case it’s a row I didn’t have while he was alive. I feel the biggest respect I could pay to him was not to write some stupid soppy song, so I wrote a really tough, nasty little number, slapping him around the head.
“And I’m sorry, but that’s how it came out of me.”
The 2000 Christmas number one, this is somehow the 140th best-selling single ever in the UK.
Fragma featuring Maria Rubia – Everytime You Need Me
The beauty of revisiting the Now albums is that they obliterate pop’s habitual revisionism.
Fragma’s dance hit may have spent five weeks in the top 10 in early 2001, but it’s all been erased from history (it was played once on UK radio last month, by Tamworth’s community radio station TCR FM).
But don’t feel too sorry for them: This is a pretty flimsy affair, from the generic trance beat to the throwaway lyrics – “You know I will be there / You know I really care.”
In fact, Now 48 has more than its fair share of forgettable also-rans. Bonus points to anyone who can hum Kaci’s Paradise, or Joe’s Stutter.
Coldplay – Don’t Panic
Coldplay’s third appearance on a Now… compilation (after Trouble and Yellow) is something of a rarity for the series: as Don’t Panic never officially charted in the UK.
One of the band’s earliest songs, it was performed at their first ever gig, and was included on their Blue Room EP before being re-written and re-recorded as the opening track of their debut album, Parachutes.
At just 2 min 17 secs, it is one of the shortest songs ever to feature on a Now album. Oasis’s Songbird is shorter, though, clocking in at 2 min 04 secs.
Mya – Case of the Ex
A slinky R&B number that’s notable as the first UK chart appearance of writer-producer Christopher “Tricky” Stewart – who went on to create Rihanna’s Umbrella, Beyonce’s Single Ladies and Justin Bieber’s Baby.
Eva Cassidy – Somewhere Over The Rainbow
Almost unknown when she died of skin cancer in 1996, singer Eva Cassidy posthumously took the charts by storm with this fragile, haunting cover of Somewhere Over The Rainbow.
Recorded years earlier, it was ignored upon its release – until Terry Wogan heard it, and immediately played it on Wake Up To Wogan, his Radio 2 breakfast show.
“The e-mails, phone calls and faxes flooded in”, said his producer Paul Walters. Subsequent plays brought the same response: people told how they had to stop their cars because they were in tears.
SPOILER ALERT – please be aware that major plot details are revealed in the following story
Broadchurch fans took to social media to post their reactions as the ITV crime drama reached its shocking finale on Monday night.
The third and final series ended with cab driver Clive’s 16-year-old son Michael (Deon Lee-Williams) revealed as Trish Winterman’s rapist, having been forced into it by his friend Leo Humphries (Chris Mason).
Humphries also admitted raping three other women previously.
The final episode attracted the drama’s biggest audience ever, with an average of 8.7 million viewers tuning in and a peak of 9.3 million, according to overnight figures.
The average figure also includes the number of viewers who switched on to watch the episode on ITV+1 an hour later.
The highest figure enjoyed by the show previously was the 8.6 million who tuned in to the series one finale back in 2013.
This final series – written by the show’s creator Chris Chibnall – has been widely praised for how it has handled its harrowing subject matter.
Critics were broadly positive about the finale, but many criticised certain elements of the series as the whole.
In his four-star review in The Telegraph, Michael Hogan wrote: “After a disappointing second series, this third chapter in Chibnall’s trilogy represented a return to the fine form of the debut run.
But he added that the dialogue during Leo’s confession “didn’t quite ring true – a rare misstep in a series which has strived for authenticity and procedural accuracy”.
Metro‘s Claire Rutter said: “While it didn’t quite surpass the original series, Chris Chibnall and his team should take a bow as it did reaffirm that British crime drama can be at the top of its game and really keep you in suspense week by week.”
But, she added, in her three-star review: “This series didn’t live up to the intensity and suspense of ‘who killed Danny Latimer?’ stopping abruptly at the cusp of rabbit holes rather than exploring the warrens like season one leading to believable red herrings.”
Tom Eames praised the show but also sounded a dissenting note in his review for Digital Spy.
“Broadchurch at its best was one of the best crime dramas the UK has ever produced,” he said.
“But conversely, it can also be one of the most frustrating. Series three was much better than its disappointing predecessor, but it never quite caught the public’s imagination like its first run.”
The Independent‘s Sally Newall gave the series finale four stars, adding that the show leaves behind “a legacy Chibnall should be proud of”.
“As cameras panned along those now familiar cliffs, it was hard not to feel a twinge of sadness for the end of Hardy and Miller, for now at least,” she said.
“David Tennant and Olivia Colman as the duo have managed to make us cry, laugh and really think – and left us wanting more.”
Writing in The Daily Mail, Jan Moir said some devotees may feel slightly cheated by the ending.
“I was convinced ex-husband Ian Winterman was the guilty party – but DS Miller’s rage and fury at the ghastliness of some men were majestic to behold.
“Her stellar performance was just one of the many things that made Broadchurch a hit – along with the magical location.”
Rapist and groomer Humphries, played by actor Chris Mason, was seen in shocking scenes in the police interview room coldly telling detectives Ellie Miller and Alec Hardy (Tennant) that he was “proud” of his crimes and that rape was “beautiful”.
Somerset and Avon Rape and Sexual Abuse Support, a charity that advised writers on the ITV series, said the show performed “excellent work” in portraying the reality of rape.
And Avon and Somerset Police deputy chief constable Gareth Morgan said: “That was harrowing viewing but vital message landed. Rape is not sex. It’s about power and control.”
The series also focused on the prevalence of porn and charities such as UK Says No More lauded the series for highlighting such issues.
“#Broadchurch offered a powerful portrayal to the aftermath of rape and leaves the audience to start the conversation about porn & consent,” the charity posted on Twitter.
Julie Hesmondhalgh – best known for playing Hayley in Coronation Street – was also singled out for praise.
This series has seen many twists and turns as Hardy and Miller strove to find the perpetrators.
The main suspects for the attack on Trish included her ex-husband Ian (Charlie Higson), her best friend’s husband Jim Atwood (Mark Bazeley), cab driver Clive Lucas (Sebastian Armesto) and Trish’s boss, shop owner Ed Burnett (Sir Lenny Henry).
“In the end, my love for Rocket, Groot, Gamora, Star-Lord, Yondu, Mantis, Drax, and Nebula – and some of the other forthcoming heroes – goes deeper than you guys can possibly imagine, and I feel they have more adventures to go on and things to learn about themselves and the wonderful and sometimes terrifying universe we all inhabit,” he told fans in his post on Tuesday.
Netflix has come a long way since it started as a mail-order DVD rental service. It has largely been responsible for dragging television into the online world and its dozens of original productions such as House of Cards and Orange Is The New Black have helped it win a huge global audience.
Last year its programming became available in another 130 countries, bringing the total to more than 190.
But Netflix faces increasing competition from online rivals such as Amazon and Hulu, while television networks start to launch their own streaming services and make new shows available in binge-ready box sets.
Sky Atlantic, for example, has made all six episodes of the new drama Guerrilla – starring Idris Elba, Freida Pinto and Babou Ceesay – available to stream, meaning viewers will not have to wait a week for their next fix.
Growth of US subscriptions, which account for almost 60% of Netflix’s revenue, has also slowed.
Analysts and investors will closely watch its subscriber growth when results for the most recent quarter are released later on Monday.
The company, whose shares have jumped almost 30% in the past 12 months to just over $140, is expected to report revenues of $2.5bn, with the subscriber total tantalisingly close to the 100 million mark.
But some question how long Netflix can continue adding customers at the same pace.
How will international expansion hold up?
Netflix had more than 44 million international subscribers at the end of 2016, nearly 50% higher than the year before, as well as 49 million in the US.
It expects to add another 4 million to the international total this quarter.
Formerly sceptical analysts are increasingly confident that the firm can deliver. A consumer survey conducted for Jefferies bank in Germany and India turned up the surprising finding that services such as Netflix and Amazon are more appealing than local streaming options, despite potential language barriers.
The survey also suggested that Netflix’s pricing could hold up, even in a wider variety of markets.
However, the company has warned that growth could be hurt if the dollar climbs much higher.
Who is watching its shows?
Netflix started making its own shows in 2013, with House of Cards one of its first big hits and Stranger Things more recently. The company plans to spend more on original content this year and reduce outlays on licensed material such as movies.
Awards and critical acclaim for dramas such as The Crown have helped attract viewers. Yet analysts at Jefferies fear that cutting back on other content such as films could reduce Netflix’s overall appeal.
Will it be affected by the Hollywood writers dispute?
Netflix casts a long shadow on the negotiations that started in March between the Writers Guild of America and production companies and studios over what writers are paid. The existing agreement expires on 1 May and a strike could be on the cards.
One of the main sticking points concerns residual payments for streamed shows and writers for some Netflix productions are covered by the agreement.
The growth of online television has also contributed to the rise of shorter series than on broadcast networks, which has meant lower fees for writers.
Netflix stands to benefit from any disruption to major broadcasters. It also has flexibility to withstand a work stoppage, since it’s not bound by the traditional TV calendar.
The Fate of the Furious has raced to the top of the box office chart – breaking an international record in the process.
The eighth film in the action thriller franchise took an estimated $532.5m (£424.7m) globally over Easter weekend.
The figure makes it the strongest worldwide debut ever – marginally overtaking the $529m (£421.8m) taken by Star Wars: The Force Awakens.
However, the film’s US takings were down sharply on the previous movie.
Furious 7 opened with $147.2m (£117.3m) in the US when it was released in 2015 – but the latest instalment of the series debuted with $100.2m (£80m).
The Fate of the Furious – titled Fast & Furious 8 in some territories – stars Dwayne Johnson and Vin Diesel, who said he felt “grateful, humbled and blessed” after the film’s success.
Why is the Fast & Furious franchise so popular?
Rhianna Dhillon, film critic and host of BBC Radio 4’s Seriously… podcast, said the success of the Fast & Furious franchise is down to its “universal appeal”.
“They’re films people of all ages can enjoy, because they have that pure, unadulterated escapism about them, children and adults alike are quite happy to watch things get blown up and smashed up,” she said.
“A lot of what drags movies like The Avengers down is the plot, and Fast & Furious isn’t trying to compete with those heavy, convoluted storylines. This is just cars smashing into each other and it’s okay to enjoy that.
“This franchise isn’t trying to be anything it’s not. Ultimately, from the bottom up, it doesn’t take itself too seriously.”
Dhillon said the diversity of the cast is one of the key reasons the film series has seen continued box office success.
“Hollywood really underestimates minority audiences,” she said. “For example, if you break down the figures, the Latino audience is huge, what with Vin Diesel’s following. I think that has so much to do with it, because not many films offer that.”
She added: “The franchise still attracts huge stars each time – this year as the villain we have Charlize Theron, there’s an appearance from Helen Mirren. These aren’t people you’ve never heard of, they have the most bankable movie stars in the world.
“And Dwayne Johnson has given the films a new lease of life – when you buy a star like him, you’re buying his fans as well.”
Despite the drop of nearly a third on the seventh film, the US performance of The Fate of the Furious is still pretty impressive – it accounted for nearly two-thirds of all US box office takings over the weekend.
Its nearest competitor was The Boss Baby, which took a further $15.5m (£12.4m) to land second place.
The film’s worldwide performance was boosted by opening in China on the same weekend as other major markets, unlike the Force Awakens, which did not start screening there until several weeks later.
The Fate of the Furious saw three-day takings of $190m (£151m) in China.
More chapters in the Furious franchise, which began in 2001, are planned for release in 2019 and 2021.
Confirming the drama will not return for any future series, he said: “That is it and there will be no more after this one, absolutely.”
The storyline of the final series has centred around the rape of Trish Winterman – played by former Coronation Street actress Julie Hesmondhalgh.
Chibnall explained: “When I thought about telling this story, the first thing I did, along with the people I work with, was go and talk to various people and charities who worked supporting survivors of sexual assault.
“We went to Dorset sexual assault referral centre and Rape Crisis and Survivors’ Trust, and the question I asked them was ‘Should we be telling this story in Broadchurch, is it an appropriate thing to do?’
“They were unanimous in their reply and said: ‘Yes, absolutely, you should, you must, because there’s an incredible amount of support out there for people who survive these crimes.'”
He added he was also keen for Colman and Tennant’s characters – DS Ellie Miller and DI Alec Hardy – to show exemplary behaviour when dealing with the case.
“I noticed Dorset Police put out a statement the other day in response to the programme saying ‘If you report [a rape] you will be believed by police’, so we wanted to show best practice by these extraordinary people that we’d met,” Chibnall said.
Plans for Doctor Who
Chibnall’s next job will be taking over the reins at Doctor Who, after Steven Moffat announced he would be leaving the programme.
The last series of the show to star Peter Capaldi as the Doctor began on BBC One on Saturday, with the opening episode attracting an average of 4.6 million viewers.
But Chibnall was reluctant to give too much away about what he has planned for the show when he takes over.
“It’s way too early to talk about Doctor Who. There’s still an amazing series to go out with Peter Capaldi,” he said.
“I’ve been thinking about it for a long time and we’re putting a team together. But for another year there is an amazing Doctor, there’s an amazing showrunner in Steven Moffatt and I’ve read the scripts for this series and they are phenomenal.”
S-Town, the gripping saga about life and death in Alabama, is the latest podcast to have notched up impressive listening figures. But podcasts on the whole still don’t seem to be breaking through to the mainstream.
Have you ever downloaded a podcast? And, if so, did you actually listen to it?
Podcasts have long been seen as the future of radio, a great way to pass the time on a long commute or catch up on a radio show you’ve missed.
They’ve been growing in popularity since the early noughties, when Apple’s iPod first hit the market (“podcast” is a cross between the words “iPod” and “broadcast”).
But, 15 years on, they remain a relatively niche pursuit.
“I don’t know whether podcasting is a mainstream proposition,” says Matt Hill, co-founder of the British Podcast Awards.
“Its core strength at the moment is in narrowcasting. It creates audio content for niche groups of people, but it does so really effectively.”
According to Rajar, the body that monitors radio listening, 9% of adults in the UK say they download podcasts per week – around 4.7 million people.
Which is a fair few – but not much compared with the 90% (or 48.7 million adults) who listen to live radio every week.
Kate Chisholm, radio critic for The Spectator, says: “Podcasting is arguably something for metropolitan people, maybe in their 20s and 30s.
“I don’t think it’s something that particularly seeps out to the mainstream. On one level I would say that’s changing, but then how many people who live on my street would be downloading podcasts? I’m not sure it would be very many.
“They’d listen to Classic FM or Radio 2… but a lot of people look at me blankly when I mention Serial.”
What is a podcast?
A podcast is a piece of audio made available online, which the listener typically downloads to their smartphone or laptop
They are very often speech-based because of restrictions on the use of commercial music
Podcasts differ from live radio because you can choose to listen to them when you want, rather than in an allotted timeslot – kind of like how Netflix or iPlayer differ from live TV
They can be bespoke specialist content or simply a downloadable version of a previously-broadcast radio show
Serial, of course, is the biggest podcast success story to date – its makers say it has had more than 250 million downloads.
That certainly sounds like an impressive figure – albeit perhaps not as much as it might first seem.
It doesn’t mean 250 million different people have downloaded Serial, but rather that its 26 episodes have been downloaded a total of 250 million times.
Plus, the RAJAR figures show only about two thirds of downloaded podcasts are actually listened to.
“Serial made 2015 the year of the podcast,” says Julia Furlan, podcast producer for BuzzFeed.
“Everybody was saying at that time that podcasting had finally made it, but it’s still hard for a lot of people to find and download a podcast, hard to share it, it’s still something we’re figuring out as medium.”
But, she says: “Since Serial, you do see different names on the top 10 podcast chart, you see larger media companies and brands investing significant money in making new content.
“And I do think those are indicators that there is growth, that Serial did something really big.”
S-Town, released in March and made by the team behind Serial, is the latest podcast to hit the headlines.
The documentary begins with a suspected murder in Woodstock, Alabama, and unfolds around its central character – an eccentric local named John B McLemore.
It was downloaded 16 million times in its first week – although again that number is spread across seven episodes, which were all made available at once.
Other recent podcast success stories include Russell Brand’s new show on Radio X – which marked his return to radio after an eight-year absence.
The high listening figures of the few breakthrough hits are what make podcasts a very attractive prospect to advertisers.
Hill says: “Even though the audiences are quite small, those shows do very well with advertisers because those listeners are interested in one specific area – it’s exactly who they want to market to.
“Podcasting is starting to educate advertisers that there is an upmarket audience that would be interested in intelligent speech programming and would be happy to hear advertising alongside it.”
Many of these advertisers offer podcast listeners discount codes, because then they can monitor where their new customers are coming from.
Which means many podcasts are effectively working on commission – and only become financially viable if companies can see a demonstrable boost in customers.
But few podcasts become popular enough to attract advertisers at all. There are just so many of them around – with no quality control.
“I think podcasts are very different from mainstream broadcasting, it’s like the difference between blogging and print,” says Chisholm.
“Like blogs, the quality of podcasts is variable. There’s a big difference between people who blog and people who actually get published.”
Part of the problem facing podcasts is that, in general, audio doesn’t tend to go viral.
Have a scroll down your Facebook feed, and the chances are there will be several videos of dogs, cats, babies, pranks, fails and Kermit the Frog memes.
But people rarely share a great radio programme they’ve heard.
“The internet is a place that you take in with your eyes, it’s a visual medium,” Furlan says.
“I also think that downloading a podcast is quite hard, people think, ‘Oh, I’m subscribed to this, what does that mean? How long is a season?’ All of these things are unhelpful for the industry at large.”
With such a slow rate of growth, podcasts may become the minidisc of the radio industry – sold as the future but eventually becoming redundant. Or they may just take time to become established.
“Every year the listening figures creep up, but they haven’t done a Netflix and exploded, it’s slow burn,” Hill says.
“But the thing about a slow burn is it’s not a flash in the pan – those are the things that stick around.”
Furlan goes further: “I think absolutely podcasts will break through in the years to come.
“If you take into account how everybody has a smartphone now, smart cars are on their way, the more technology opens up, the more we are going to see podcasts in our daily lives.”