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Thousands of music fans have begun descending on the fields of Worthy Farm, for this year’s Glastonbury Festival.

Gates at the 900 acre site in Pilton, Somerset, opened at 8am on Wednesday (24 June), with many having stayed in their cars overnight to ensure they were among the first to pitch their tents.

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However, the main stages at the event will not open until Friday, when the festival officially begins.

Some of the smaller areas will be putting on some live music and DJ sets to keep revellers entertained in the meantime.

Around 177,000 people are expected at the festival over the next five days, as Florence and the Machine, Kanye West and The Who all headline the Pyramid Stage.

Among the hundreds of other acts performing include Lionel Richie, Pharrell Williams, Mark Ronson, George Ezra, Paloma Faith, Clean Bandit, Rudimental, Jessie Ware, Charli XCX and Slaves.

The weather is expected to be mixed, with rain forecast to hit the site on late Thursday night, and showers expected to continue over the weekend, with daytime temperatures staying between 18 and 21 degrees celsius.

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‘Harry Potter’ author JK Rowling has explained one of the novel series’ great mysteries to fans, explaining why the Dursleys first grew to dislike Harry and, more specifically, his parents.

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The book series’ title character was famously mistreated by his uncle and aunt, who raised him in Privet Drive, where he was forced to live in the cupboard under the stairs.

Writing on ‘Harry Potter’ fansite, Pottermore, JK Rowling has now let fans in on the family’s back story, detailing an experience when Aunt Petunia first introduced her fiancé, Vernon, to her sister, Lily Potter.

dursleys

Vernon and Petunia were played by Richard Griffiths and Fiona Shaw in the 'Harry Potter' film series

She wrote: “[Lily’s future husband] James was amused by Vernon, and made the mistake of showing it. Vernon tried to patronise James, asking what car he drove. James described his racing broom.

“Vernon supposed out loud that wizards had to live on unemployment benefit. James explained about Gringotts, and the fortune his parents had saved there, in solid gold.

“Vernon could not tell whether he was being made fun of or not, and grew angry. The evening ended with Vernon and Petunia storming out of the restaurant, while Lily burst into tears and James (a little ashamed of himself) promised to make things up with Vernon at the earliest opportunity.”

Of course, as fans of the series will know, this reconciliation never came to be, and the Dursleys later snubbed Lily and James’s wedding, due to their falling out.

JK Rowling

The author added: “Uncle Vernon's dislike of Harry stems in part, like Severus Snape's, from Harry's close resemblance to the father they both so disliked.”

‘Harry Potter’ fans can now look forward to the forthcoming spin-off ‘Fantastic Beasts And Where To Find Them’, based on a faux Hogwarts textbook, also written by JK Rowling.

She has completed the screenplay for the film, which will star Eddie Redmayne and the recently-announced Katherine Waterston in its leading roles.

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The TARDIS from ‘Doctor Who’ has been spotted on the set of ‘Coronation Street’, sparking a meltdown from fans of the sci-fi show.

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The official ‘Doctor Who’ Twitter account posted a picture of the famous blue police box outside the Rovers Return pub on Wednesday (24 June) morning, sparking much intrigue.

They cheekily wrote alongside the snap: “Time and Relative Dimension in Weatherfield? Oi! @itvcorrie we hope you’re looking after our TARDIS!”

Fans immediately took to Twitter to speculate what the picture could mean:

It was then revealed that Radio 1 DJ Greg James may have something to do with it, as they then posted a snap of him emerging from the TARDIS.

“We’ll see what’s happening soon, @itvcorrie… In the meantime don’t let Todd Grimshaw in the TARDIS! @gregjames @bbcr1,” they added.

Greg himself then tweeted: “Urrrrm. Yeah I had a little idea and I maaay have got slightly carried away.”

Watch this (time and) space...

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Former ‘Coronation Street’ star Bruce Jones has opened up about his life, living on benefits.

It was revealed that the actor, who played Les Battersby on the ITV soap for 10 years until 2007, was living off the state earlier this week, after he signed up to appear in Channel 5 documentary ‘Celebs On Benefits: Claim To Fame’.

Bruce has now spoken of how his life crumbled when he was fired from ‘Corrie’ for revealing future storylines to an undercover reporter.

Bruce Jones on 'This Morning'

Appearing on ‘This Morning’, he told hosts Phillip Schofield and Amanda Holden: “I had dreamed of being an actor and had got to where I’d got to and it was fantastic… and then due to a stupid newspaper report, bang.

“It fell apart through stupid stuff really - and yeah, some of it was down to me. I was scared of being famous in a way… I used to shake in the street, and thought this isn’t how it should be.”

He continued: “Life changed dramatically. It’s like going back to where I started the dream. You do lose friends, but I have got friends that have stood by me and my wife is still there for me.

“I think it’s happened, deal with it, it’s no good feeling sorry for yourself - I suffered four years with bad depression, I’m not going back there again.”

Of being recognised when he goes to sign on, he added: “You’ve got to swallow your pride. The benefit system is there as a back up… you’re not going on there forever, you just want that backup. I’ve only just signed on.”

Bruce appeared on the ITV daytime show alongside former ‘Big Brother’ 2008 contestant Lisa Appleton, who is also set to feature in the documentary.

Lisa Appleton

Speaking about her own situation, Lisa said: “I live in the past all the time saying ‘I’d wished I’d done this, I wished I’d done that’, but it’s not helping me move forward. I think I put my trust in the wrong people... and I was conned and scammed and was left all of a sudden overnight penniless and homeless.”

She continued: “I had everything, the world at my feet, and I was really happy, happily married, and then it all went wrong and nothing prepared me. I was suddenly homeless and penniless and I went to the job centre and I needed an address to sign on, so I couldn’t sign on. I went to housing and they said you need to be in receipt of signing on to apply for a house, so no wonder people are forced on to the streets.”

“My marriage started to break down, I was breaking down, there was no money. I can’t cope with it sometimes, it’s too much,” she added.

‘Celebs On Benefits: Claim To Fame’ airs on 25 June at 8pm on Channel 5.

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Everything Everything frontman Jonathan Higgs admits he and his bandmates locked themselves in a Welsh farmhouse to write their new album, so they wouldn’t be influenced by fans or anyone else listening in.

The band, set to play Glastonbury this weekend, has enjoyed critical acclaim as well as success with their first two albums ‘Man Alive’ and 'Arc', but Jonathan admits the second album was an attempt to make themselves more palatable, while the third album ‘Get To Heaven’ is their return to “what we should be doing”.

He tells HuffPostUK: “This time we weren’t afraid. A lot of the music on the record, it’s the very first time we’d ever played it, we just locked it down. We just felt like being brave.”

everything everything

Everyything Everything have released their third album 'Get to Heaven' ahead of Glastonbury set

Fans of the band’s biggest songs 'Cough Cough' and 'Kemosabe’ will be relieved to learn that one of their most distinctive aspects is still firmly in place – the frontman’s unwavering falsetto. When did he discover he had this arrow in his musical quiver?

“I was a big fan of Radiohead, Muse and Deftones growing up,” he remembers. “And when you’re sitting in a bedroom, you don’t sing in a big voice in case your parents hear.

“Then when I joined a band, I wasn’t very confident of hitting the notes, so I would switch to the high voice to get there, and it just became more and more natural.

“By the time I got to university, and our band was formed, it just sounded completely normal.”

So, any singles from this new album to talk up at this point? Jonathan immediately points to ‘Spring / Sun / Winter / Dread’, which he calls “pretty immediate”, but he caveats this by calling such things “a Trojan horse”.

“We’re much darker than people realise,” he reveals. “I love the idea of going to a sad, sad party.

“ABBA is a perfect example, and the Smiths did it beautifully as well.

“The music may be happy and you’re dancing and singing along, and then you gradually realise you’re feeling sad, and that’s the most powerful feeling in the world.”

Everything Everything's 'Get To Heaven' is on release now. The band will be performing at Glastonbury Festival this weekend.

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Channing Tatum has described, in alarmingly vivid detail, the moment he severely burnt his penis.

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The ‘Magic Mike XXL’ star has revealed he’s lucky to have any manhood left at all, after he scolded his little fella while filming ‘The Eagle’ in Scotland, in 2009.

Recounting the horrific tale during an interview with US radio host Howard Stern, Channing told of how the incident happened when a crew member was trying to warm up him after filming in a river.

Channing Tatum

"I started hyperventilating and screaming and jumping back in the back end of the river, because it was a hypothermic river and we had wet suits on, which was the worst part about it," he explained.

"So this poor guy, I gotta be honest… He had been, for 13 hours, running up a hill for like 15 minutes to boil this huge bottle of water, fill it half-full with like actual kettle water, run back down the muddy hill and then like put the river water in it, and then come over to me, just to keep me warm all day."

Describing the pain that he suffered when the crew member poured the water on him as he headed back to his trailer after filming, Channing said: “You know when you burn your finger and it just keeps burning? It kept burning for like the next probably 20 to 30 minutes. I was having a complete panic attack."

Adding that he “burnt everything down there”, he said: "I didn't have skin on my penis.

"It oddly didn't scar. It's a resilient place down there. It healed pretty quick."

However, Channing admitted that he had a bit of trouble getting intimate with his wife Jenna Dewan-Tatum came to visit him, revealing that doing the deed proved to be “a bit rough”.

Ouch, indeed.

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Gael Garcia Bernal says the South American rainforest depicted in his film ‘The Burning’ is the new Wild West.

The Mexican star, who found global success with 'Y tu mamá también', 'Babel' and playing young Che Guevara in ‘The Motorcycle Diaries’, tells HuffPostUK, how this bit of the world represents the same undiscovered land we used to see in the classic Westerns that inspired his new film ‘The Burning’.

“It’s a place of new hope, but also great fragility, because the law hasn’t been fully put in place,” he explains. “New immigrants arrive, new cultures have to find their way and adapt to the setting. The Wild West has gone, now it’s the jungle and the Arctic shelf that represent those hidden places.”

Gael Garcia Bernal stars in 'The Burning'

Gael admits he was surprised when he received the script for the film ‘The Burning’ that he was set to star in – and discovered he only had 16 lines of dialogue in the entire story. This made more sense to him, though, as he grew more and more attached to the story, set in the Argentinian rainforest.

“The whole question that the film asks is to what extent human cultures should be pushing their way into the jungle and imposing their codes on it,” he says. “It became a much bigger film than I thought it was going to be, and I became smaller.

“This terrain was once very lush and welcoming, but at a certain point of population, it became difficult to sustain life. The groups that exist there are now are small in number, they have few resources, and that’s the only way they can balance themselves, it’s a very fragile eco-system.

“Maybe we shouldn’t even be in the jungle, or we have to find ways to adapting to the eco-system, in the way indigenous people have done.”

'The Burning' is part-Western, part-message, part-romance - Gael here with Vania, played by Alice Braga

In ‘The Burning’, Gael plays Kai, a mysterious figure emerging from the rainforest to rescue Vania (Alice Braga), a young lady kidnapped by mercenaries, men who have taken over her farmer father’s land.

The film is part-Western, part-romance and with a defiantly anti-corporate message coming through. Despite several of his previous films having political themes, Gael is emphatic the films he appears in don’t have to be part of “a good story”.

“Being part of culture in South America, there’s a political dimension that you can’t really separate from,” he begins. “But, right now, I wouldn’t give films the responsibility of telling the story.

“A good story exists on TV these days. They’re really good and they have the time to tell the story in depth, with characters evolving.

“Because they’re doing it so well on TV, a good story is not enough for film. It has to do something different. It has to be faithful to filmlic language, to the abstract, the poetic… that’s it. When I go to the cinema, I want to see a poem.”

'The Burning' is on release now. Click here for info. Watch the trailer below...

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Coleen Nolan was forced to go without make-up on Wednesday’s ‘Loose Women’ thanks to an eye infection.

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The panellist appeared au natural on the ITV lunchtime chat show, as her puffy eyes meant that she could not put any cosmetics.

coleen nolan loose women

Coleen Nolan on 'Loose Women'

After host Ruth Langsford explained why Coleen had earlier appeared in a trailer for the show wearing sunglasses, she told viewers: "I've got an eye infection.

"It's some sort of allergy with my eyes so I haven't been able to put any make-up on.

"If they start swelling can you let me know," she added.

As Ruth told her that she looked lovely with no slap on, Coleen joked: “Oh don’t give me that! Thank you, but you’re very blind.”

Get well soon, Coleen!

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When I wrote my list of Top 10 art exhibitions to see in London in 2015, I had this Barbara Hepworth exhibition at Tate Britain at the top of the list. And though the pieces on show are a testament to this artist's extraordinary skill and unique talent, this exhibition does not show her work at its best.

This exhibition, the first major London retrospective of Barbara's work for almost 50 years, aims to chart her development from carving simple, small figures to her trademark large abstract forms. All well and good. And the pieces on display include some gems, but the vast majority of the works are displayed in alienating glass cases within austere rooms.

Barbara Hepworth was inspired by her landscape. She loved how she was carving out stones and wood that nature had already shaped before her. Her pieces are nurturing, soulful, and seem so inextricably linked to the earth. What a shame therefore that the dusty cases and bare walls are a million miles away from the protective landscapes she so admired.

The exhibition also isn't helped by its earlier rooms focusing so much on work other than Barbara's. The first room is filled with tiny carvings (in glass boxes) from a range of artists including Henry Moore, Jacob Epstein and other less well-known sculptors.

The objective I sense was to set the scene of where sculpture was in the 1920s when Barbara first started. But this is all very unnecessary in a retrospective on a specific artist and actually gives the impression that the curators simply didn't have enough pieces from Barbara to fill all their galleries.

But it was the second room that irritated me most - a room dedicated to Barbara's relationship with Ben Nicholson, her second husband.

The justification is an attempt to show how Ben Nicholson's work influenced Barbara's - as if he painting faces actually encouraged her to use faces and figures in her work. Hardly revolutionary and, worse, the effect is to undermine Barbara completely by defining her by who she was in a relationship with rather than on her own terms.

This keeps happening to female artists and just never happens to the men. I found it deeply infuriating. I am thrilled, for example, that the Sonia Delaunay exhibition at Tate Modern focuses on Sonia's work with minimal mention of her husband Robert. Such respect is not afforded to Barbara here. The argument that Ben profoundly influenced her work is not made and instead just seems to be an excuse to put some pictures on the wall.

Even Barbara herself has said of her relationship with Ben, "it was a very splendid cooperation. We were very stern critics of each other's works, and yet felt absolute independence." So why compromise that independence like this?

The last few rooms are unequivocally the strongest. Not only has Barbara honed her work into her trademark style - large pieces of wood and bronze carved out, interiors created and painted, and the light and shadows left to articulate the space created - but the glass boxes are gone and the sculptures have space.

In particular, the walls in the last gallery have been decorated with photographic prints of trees and greenery to recreate a sense of the Pavilion, Barbara's 1965 retrospective at the Kroller-Muller Museum in the Netherlands.

Transporting the visitor out of the gallery and into the open air, demonstrating how Barbara immerses her work within architecture and natural landscapes, makes this the best room in the show but it's also a sobering reminder that many of Barbara's pieces are best seen amongst nature, not in glass boxes in galleries. If only similar effort had been made with other rooms in this exhibition.

That the Tate decided to put on a retrospective of this great sculptor is admirable but the resulting show does the artist and her work few favours. I guess it's a trip to St. Ives if we want to see Barbara Hepworth's extraordinary works at their best.

Tate Britain, London to October 25, 2015

Image Credits:
1.Barbara Hepworth Pelagos 1946 Sculpture Elm and strings on oak 430 x 460 x 385 mm Tate © Bowness, Hepworth Estate
2.Barbara Hepworth Infant 1929 Sculpture Wood 438 x 273 x 254 mm Tate © Bowness, Hepworth Estate
3.Barbara Hepworth Sculpture with Colour (Deep Blue and Red) (6) 1943 © The Hepworth Estate
4.Barbara Hepworth Curved Form (Delphi) 1955 ©The Estate of Dame Barbara Hepworth

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‘Love Island’ star Naomi Ball has been hit with accusations she has a secret boyfriend at home, putting her romance with Josh Ritchie at risk.

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Tonight’s (24 June) episode of the ITV2 reality series will see Lauren Richardson make some shocking claims about her fellow Islander, when she becomes worried about how close Naomi and Josh have become.

naomi josh love island

Love Island's Naomi and Josh

Sharing her suspicions in the beach hut, Lauren says: “Zoe and I heard that just before Naomi came into the villa, she was seeing someone up to the point when she got into the cab to come in the villa. I love Josh to pieces, and me and Zoe both know this bit of information. So if we sit on it then we look like d*cks.”

Lauren then challenges Naomi about her ‘boyfriend’, pulling her aside by the pool.

She tells her: “We were going to tell him that you were with a guy before you come in here, that obviously you’d met his parents and you seemed quite close to him. Then you up and left him not knowing that you was coming on the show.

“I think Zoe feels quite strong about things like that so we were going to talk to Josh about it.”

A surprised Naomi defends herself, saying: “There was nothing in it. He didn’t factor into my decision one iota. And I mean that. I haven’t thought about him since I’ve been in here. I’ll go and speak to Josh because this will come out.”

naomi lauren love island

Lauren confronts Naomi

Naomi later has a heart-to-heart with Josh, where she clarifies the rumours, saying: “I said before I came out I was seeing somebody. And I had been for a couple of months but I said to him I didn’t want to be his girlfriend and it was just sleeping together...

“Well now Zoe and Lauren are like, ‘We’re going to take Josh to one side and tell him that,’ because they think I’m being sneaky. So I just wanted to tell you before they did,” she continues.

“I don’t get the girls in here. I only found out they were going to talk to you because I’ve just sat down and spoken to them. They should have the decency to say, ‘Naomi, come and say this to Josh or we’re going to,’” she added.

But will Josh believe her? Tune into ‘Love Island’ tonight at 9pm on ITV2 to find out.

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With the cat purring between his feet, the light suddenly illuminating him in the doorway and one of the screen’s most enigmatic smiles, Orson Welles’ first appearance as Harry Lime in ‘The Third Man’ is surely one of the most exciting in cinema history.

However, according to the film’s script supervisor Angela Allen, Orson’s behaviour off-screen was far less beguiling.

On the eve of the film’s exciting debut in its brand new 4k resolution, Angela tells HuffPostUK of her disappointment with cinema’s new enfant terrible, back in 1949 when director Carol Reed assembled his cast and crew in war-ravaged Vienna. With the rubble still in the streets piled up to the first floor of once grand buildings, and only one hotel inhabitable for such creative guests in the entire city, Angela joined the rest of the team to film Graham Greene’s novella – all, except one.

Orson Welles' introduction as the mysterious Harry Lime is one of cinema's GREAT entrances

“Orson had been very difficult,” she remembers. “They’d had to chase him around Europe to track him down for filming. He kept disappearing. He nearly didn't show up on time for his first close-up.”

She agrees that Orson Welles somehow came up with the goods when required, but she credits his director for, quite literally, showing him in a good light.

“Carol gave him the most wonderful entrance, the close up is stunning, it still works, along with his famous scene on the ferris wheel,” she remembers.

“He was a larger-than-life character, and he came over very well, but there was no doubt, he was demanding.

“They had to build a sewers in London because when he went down the ones in Vienna, he was so shocked to see the young boys eating sandwiches down there, he wouldn’t go down again.”

Angela remains far more impressed by her memories of working with director Carol Reed, whose unique angles made ‘The Third Man’ so memorable, a technique she’d seen him try out before.

“He used the tilted camera and wet streets in ‘Odd Man Out’,” she points out. “That was before. He’d already come up with that. He called it Dutch angles.”

So, quirky angles and mischievous leading man aside, I wonder if Angela can shed any light on why this small novella brought to screen has endured while so many other bigger stories have been forgotten.

“It’s still relevant,” she points out. “The story about operating on the black market, but being incredibly well dressed… has anything changed? You can still bribe and get your way.

“Certainly it was one of the first times anybody had been down those sewers and created such a memorable sequence.

“But it is remarkable, really. The ‘The Third Man’ tour remains one of the most popular expeditions in Vienna to this day, I’ve been on it myself.

“And the film still plays two or three times a week in the cinema house in Vienna.”

Did Angela Allen know at the time she was part of creating a timeless masterpiece?

“Oh no,” she laughs. “You never know. You always hope, but you never know.”

The restored version of 'The Third Man' is in cinemas from Friday 26 June. The release of the film will be one of the highlights of BFI Southbank’s Orson Welles season taking place between 1 July – 31 August. Watch the trailer below...

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After conflicting reports about whether she’d be returning to the house, Aisleyne Horgan-Wallace finally made her ‘Big Brother’ comeback on Wednesday.

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Aisleyne, who finished in third place in the seventh series of ‘BB’, surprised the remaining housemates when she returned to the house, as part of this week’s time-travel shopping task, dishing some presents out as a special Christmassy treat.

However, it was up to her whether the housemates had been naughty or nice, with those she deemed “naughty” receiving the unwanted gift of basic rations for the week ahead.

She's ba-ack!

It’ll come as no surprise to ‘BB’ fans to hear that Helen Wood was the first housemate Aisleyne chose to give ‘basic rations’ to, following their much-publicised feud outside of the house, with Helen recently claiming she would “spit in Aisylene’s face” should she return to the house.

She was every bit as blunt with the rest of the housemates, telling Marc O’Neill he would be on basic rations for the week because he contributed to “gentle soul” Brian Belo’s decision to leave the house, while also dropping a ‘basic rations’ present at Sam Kay’s feet, telling her: “Basic rations for a basic bitch.”

sam

Sam Kay was branded a "basic bitch"

Simon Gross was also on the receiving end of Aisleyne’s wrath, after she admitted that she’d “thought they were friends before”, but later learned from Helen (who she dubbed the “spawn of Satan”) that he’d been talking about her behind her back.

It’s not yet clear exactly how long Aisleyne will be staying for, with the ‘Big Brother’ website claiming: “She's here to stay - for now!”

Find out how the housemates reacted to the new arrival in Thursday’s ‘Big Brother’, airing at 10pm on Channel 5.

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‘Big Brother’ housemates Helen Wood and Marc O’Neill have both been issued with formal warnings over their treatment of Brian Belo.

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During a furious row with Brian on Tuesday night, the pair repeatedly branded him a “psycho”, with Helen also telling him he “looked like a rapist”, and compared him to a murderer.

Their row eventually caused Brian to quit the series just over a week after entering as part of the ‘Time Warp’ twist, and landed both Marc and Helen in hot water with Big Brother.

heeln

Helen Wood

In Wednesday night’s show, they were both called to the Diary Room and reprimanded for their behaviour, with each of them receiving a formal warning from producers.

Helen apologised for her remarks because she “didn’t want to make anyone uncomfortable”, adding: “I like all of them… well apart from Nikki Grahame.”

marc

Marc O'Neill

On the other hand, Marc was initially unapologetic, asking Big Brother: “What did I do?”

However, after Big Brother insisted they were taking the matter “seriously”, he vowed to “try not to” continue with his unacceptable behaviour.

Of course, receiving formal warnings is nothing new for Helen, during last year's series she was reprimanded for her behaviour more times than we could possibly begin to count.

Following Brian’s departure from the house, another ‘BB’ legend has made a comeback, with Aisleyne Horgan-Wallace causing a stir when she made her arrival on Wednesday.

You can see the aftermath of Marc and Helen’s formal warnings in Thursday’s ‘Big Brother’, airing at 10pm on Channel 5.

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Bobbi Kristina Brown is now being cared for in a hospice, after her health has continued to “deteriorate”.

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The 22-year-old daughter of Bobby Brown and the late Whitney Houston was put in a medically-induced coma, after being found unresponsive at her home in Atlanta, back in January, by her boyfriend, Nick Gordon.

Since then she’s been fighting for her life in hospital, but has now been moved to a “hospice”, as her condition has failed to improve.

Bobbi Kristina Brown

Bobbi Kristina’s aunt, Pat Houston, broke the news in a statement on Wednesday, thanking well-wishers for their “support and prayers”, but adding: “Despite the great medical care at numerous facilities, Bobbi Kristina Brown’s condition has continued to deteriorate.

“As of today, she has been moved into hospice care… she is in God’s hands now.”

Earlier this year, it was suggested that she could be getting better, with her aunt even claiming that she had been “opening her eyes”, while her father, Bobby Brown, said during a concert in Dallas that she was "awake".

However, his lawyer later clarified what he meant by his comments, insisting: “Doctors have indicated that she will have a long life. However, Bobbi Kristina is presently embarking on a rehabilitation process and the quality of her life will not be known for years to come."

In February, a candlelit vigil was held in Bobbi Kristina’s home state of Georgia, attended by hundreds of supporters of the young star, who held torches and sang hymns offered in her name.

Police in Atlanta later confirmed, shortly after she was first hospitalised, that they were launching a criminal investigation into what left Bobbi Kristina submerged for up to 18 minutes in a foot of water, at her home in Roswell, Georgia.

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Gemma Collins is reportedly eyeing a spot in the ‘Celebrity Big Brother’ house - but only if the price is right.

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The Sun have claimed that Gemma previously turned down a place in the forthcoming summer series of the Channel 5 reality show, but has had a change of heart, after being suspended from the cast of ‘The Only Way Is Essex’, over a disagreement.

An insider tells the newspaper: “Gemma has previously been quite vocal about how she turned down ‘CBB’ to stay on ‘TOWIE’.

Gemma Collins

“But that was before she was suspended from the show and now everything has changed. She is looking at ‘CBB’ as a way back to telly as well as showing ‘TOWIE’ bosses just what they are missing."

However, it has been reported her final decision will be dependent on how big her fee is, with The Sun claiming she’s holding out for a six-figure sum, while Channel 5 are only offering five figures.

The source continues: “It all comes down to money.”

It sounds like Gemma might have some competition, though, as Dan Osborne, her former ‘TOWIE’ co-star, has also been linked with a potential appearance on the upcoming series of ‘CBB’.

Gemma previously appeared on the last series of ‘I’m A Celebrity’, but threw in the towel after just a few days, despite having not undergone a single Bushtucker Trial.

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Flanked by other summer documentary and ethnographic film festivals (Royal Anthropological Institute Ethnographic Festival, Sheffield Documentary Film Festival, Edinburgh Documentary or the East End Film Festival starting next week), London's Open City Documentary Festival edition of this year offered a focus on Croatian productions and a series of documentaries widely dispersed at London cinema venues: the newly refurbished Regents Cinema - Britain's first cinema, Hackney, Deptford and ICA, so remote from one another and its Bloomsbury hub that choosing viewings involved careful deliberation factoring ticket prices at the local cinema box office with no festival day passes to go in/out and busy commuting across London without the possibility to get back into the festival for sharing opinions, networking and other day viewings, challenging the concept of a 'festival'.

The Festival was created in 2011 around UCL Anthropology with a format based on the Romanian Documentary Festival Astra Sibiu with its first edition dedicated to Romania. In its existence, it added master classes, workshops and documentary events outside the festival. In its previous years, it offered hefty booklets with hundreds of film productions, a multitude of topical parallel strands with viewings until midnight, packed sold out venues with audiences willing to sit on the floor and the unique 'tent venue' erected in Bloomsbury that we loved - an unforgettable experience of film taster of categories of documentaries, that could only be watched there, and that otherwise would not think they existed at all, one-off documentary events, film premieres with no distribution elsewhere and debates around the art of documentary-making.

A festival of documentaries is an alternative to mainstream media: any world documentary production goes through a process of being topically safe, legally vetted, format censored, content edited, politically correct abiding and fancy entertainment creative before they get mass distribution or shown at all.

But competing with London's busy life, weekend anti-austerity political protests, Napoleon recreated event, and other outgoings, the festival hub was an undisturbed spot, silent-library mode, even the porter googled to find out if it still happened, and a scaled down programme with organisers guests lists and volunteers outnumbering the handful of gapped thin rows of participating public.

The issue with documentaries is that content, research, depth and knowledge are more important than cinematic effects, gizmos and other creative additives of entertainment value with lachrymose side effects or dramatically infused frills. It is about maturity and an experienced view of reality and life that the local cinema weekend blockbuster does not offer.

The Festival benefitted from the good-timing presence of the documentary 'The Price We Pay' precluding the anti-austerity march. A sombre cynical perspective of the big business tax avoidance from 'The Corporation' director Harold Crooks who was there with the film political protagonists William Taylor and Margaret Hodge in a moderated Q&A with Joylon Maugham Q.C. - a line between campaigning, documentary research and the intellectual observant position versus political decision making. Elsewhere in the festival, Ed Milliband also turned up for 'The Divide' film.

To put 'creative' next to 'documentary' is a contradiction. A documentary is an intellectual pursuit. It opposes corporate agendas, subversive ideologies and editorial constrictions. It can be as simple as a CCTV footage of an unique event or a video diary of an amateur which, in interested, one would only be able to see in a niche viewing like a festival.

Sue Clayton, an experienced documentary film maker, in her inaugural lecture at Goldsmith University, overlapping with the festival, spoke about the travails of introducing her documentary piece on Afghan young refugees on the backdrop of the BBC moderator's chatter doing airtime pleasantries with another reporter. As I was reflecting on this, a C4 reporter appeared on the backdrop of a distressed foreign land only to say it was good to catch up. Going backward and forward a recording camera, the news was to see the reporter, Paraic O'Brien, not the story and the location. Melodramatic effects and passion-inducing techniques do not warm me up as an audience: I cannot stir real emotions at a pretence of reality in a wrap.

How do we know what actually happens in people's lives? I had a philosophical panic moment that in austerity, a costly art like this could fade, or it could become too reduced. Or with so much going on in London, including budgeting, a summer documentary viewing competes in loyalties with life itself.

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Courtney Love has called on the help of French President Francois Hollande, after being ambushed by protesters in Paris.

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The Hole frontwoman was caught in the middle of anti-Uber protests in the French capital on Thursday, with protesters smashing up the cab she was riding in, shortly after getting off a flight at Charles de Gaulle airport, and “taking her driver hostage”.

Naturally, Courtney did what anyone would do in this situation, and live-tweeted the whole thing, remarking: “They're beating the cars with metal bats. This is France?? I'm safer in Baghdad.”

Courtney Love

She then posted a message directly addressing Hollande, saying: “François Hollande where are the fucking ??? Is it legal for your people to attack visitors? Get your ass to the airport. Wtf???”

Courtney also tweeted a message to rapper Kanye West, telling the ‘Yeezus’ rapper, who was in Paris to attend a fashion show: “We may turn back to the airport and hide out with you.”

Thankfully, we’re pleased to say that the ‘Doll Parts’ singer managed to get out of the dangerous situation, after paying “some guys on motorcycles” to “sneak her out”, later thanking the men on her Instagram page adding: “I can't believe this really just happened. love French people but your government blows.”

She has also shared photos of her wrecked-up cab, describing the incident as the “scariest day of her life”.

Although she’s best known for her work as a singer, as well as her tumultuous personal life, Courtney recently proved herself as an actress, starring in the recurring role of Elle Dallas in 'Empire', which she has described as a tribute to the late Whitney Houston.

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Reality TV baddies are nothing new - there's been plenty of characters we've loved to hate on shows such as 'Big Brother', 'I'm A Celebrity' and 'The X Factor' over the years. But watching Helen Wood on the latest series of 'BB' has made for seriously uncomfortable viewing.

Helen - who first made the headlines back in 2010, when she claimied Wayne Rooney paid her for sex - became a force to be reckoned with when she first entered the Channel 5 reality show in 2014, regularly finding herself in ugly and aggressive confrontations with her fellow housemates.

So, when producers invited her back, as part of a twist on the latest run of the show, they knew exactly what they were letting themselves in for. But scenes where she compared loveable series eight champion Brian Belo to "a rapist and a murderer" proved that she's more than just a panto villain - it became evidently clear that this is reality TV's most odious contestant ever.

Helen and Brian had clashed on a number of occasions since both re-entering the Borehamwood bungalow earlier this month, but things reached boiling point when Brian jumped in to defend fellow returnee Nikki Grahame, after Helen made a series of personal comments about the star, who has suffered from an eating disorder and mental health issues in the past. Despite previously lending her support to mental health awareness group The Self Esteem Team, she then went on to repeatedly call Brian a "psycho", ordering him to get a straitjacket from the store room. When he fought back, she told him: "Brian you look like a rapist, you look like a murderer, murderer slash rapist. The man in the white coat is waiting for you, Brian." The star was so upset by her comments, that he ended up scaling a wall and leaving the house.

This is, without question, bullying. And much like you wouldn't want to watch a child being bullied in the playground, I sure as hell don't want to watch a grown man being picked apart by someone with very clear issues. The fact that someone who mocks eating disorders, mental health issues and compares an innocent man to "a murderer and a rapist" is STILL on TV - and also has an online column for a national newspaper - is nothing less than deplorable.

However, Channel 5 don't seem to agree and have kept Helen in the house, only dishing out a formal warning. Last time I checked, there were many other housemates who have been chucked out for much lesser offences, so viewers can only assume that the desperate star is being given preferential treatment by producers to keep her in the house - something that Brian himself has also agreed with.

He told The Mirror: "In my year someone called someone another word and they got called to the Diary Room and someone else got kicked out straight away for saying horrible comments to someone."

Much like Katie Hopkins, Helen hides behind the bravado of "being honest", claiming she is just telling things how they are. But maybe someone needs to dish out some real talk to her, as it would appear that as well as being absolutely vile, she's pretty delusional too, given what she astonishingly told fellow housemate Danny Wisker.

"I'm actually a very caring person. I'm a good friend to a lot of people. The last thing I am is a bully," she claimed, seemingly unaware of the definition of the word.

Asked if she'd consider thinking more before she speaks, Helen added: "I don't know, because that would take away my personality and my honesty, and I think that's one good thing about me."

Newsflash, babes: I really wouldn't worry about losing your personality, because quite frankly it is HIDEOUS. And given the wave of people that have complained to Ofcom about her behaviour, it would seem I'm not the only one who thinks so.

Helen Wood may accuse housemates like Cristian MJC of being boring and "having the personality of a piece of toast", but I would rather watch someone like that than an overgrown school bully, who sails through life without any repercussions, any night of the week.

I only wish 'Big Brother' agreed.

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James Corden returned home from the US to collect his OBE at Buckingham Palace today (25 June).

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The star was honoured for his services to drama and beamed with pride as he picked up the award with wife Julia Carey by his side.

James Corden receives his OBE

James - who is currently proving a massive hit on the other side of the pond as the host of ‘The Late Late Show’ - looked dapper in a navy blue suit and matching tie at the Palace, as he was presented with the honour by Princess Anne.

Speaking after the investiture, James said: “It's overwhelming to come back from Los Angeles and then be stood in Buckingham Palace receiving such a thing. I feel very undeserved but grateful nonetheless.”

james corden

Princess Anne presented the award

He then went on to joke that the Royals would be welcome to join him on ‘The Late Late Show’, saying: “I can absolutely say that any member of the royal family, should they wish to, the invitation will always be there to do a Carpool Karaoke.”

“I don't imagine they'll take me up on it, but should they ever wish they are all welcome, yes.”

james corden

James looked dapper in his navy suit

It was announced James was to receive the OBE back in December as part of the New Year’s Honours List, with the chat show host saying at the time: “My family are very proud. My mum is already fretting about what to wear."

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For the past fortnight, we’ve been championing those British stars who’ve broken beyond these soils to fly the flag in the competitive worlds of film, TV and music.

Read more about the Brits flying the flag for music, TV and film in our special #BRITSBLITZ section:

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When British screenwriter Colin Welland raised his Oscar to the sky in 1981 and said ‘The British are coming’, he can have had no idea how true his words would prove. Since then, Jeremy Irons, Colin Firth, Eddie Redmayne, Helen Mirren, Dame Judi Dench and Kate Winslet have all been among those making their way west and prompting nabbing a statuette or two for their troubles.

Colin Firth with his Oscar for that most British of roles, King George VI in 'The King's Speech'

But, what do the Americans make of this UK exodus, and the mass of actors turning up on the doorstep, and often stealing the best jobs in both film AND TV? HuffPostUK asked two of the US’s most thoughtful film critics – New York-based Jordan Hoffman and LA Weekly’s Amy Nicholson - to give us their perspective of our home-grown actors – how they’ve managed to do it, and what it means for their own home-grown aspirants…

When asked to name a British star – male or female – who are the three names that immediately come to your mind?

Jordan Hoffman: Alan Rickman, Dame Judi Dench, Keira Knightley. And that was really a word association, off the top of my head reaction.

Amy Nicholson: Dan Stevens, Gemma Arterton, Daniel Craig. I'm genuinely not sure why those three - though I love Stevens - but they were literally the first three in my head. I'm hoping Dan Stevens will get that big role that will make him a superstar. I'd love to see Dan Stevens and Tom Hiddleston revive the romantic comedy by taking on those roles Hugh Grant used to do.

What about slightly further back into the 20th century? Who do you consider the first big British global screen superstars? And who’s the biggest of all?

JH: Olivier, for sure.

AN: I think of Olivia De Havilland, Rex Harrison, Richard Burton. Oddly, I think Hollywood reserves ultimate A-level superstar status for Americans - Brad Pitt, Angelina Jolie, George Clooney, Sandra Bullock, Johnny Depp - but perhaps that's why we've had a hard time finding new superstars.

Kate Winslet won her Oscar for 'The Reader'

Why do Brits work so well as villains on the big screen?

JH: It’s the accent. It’s so intimidating.

AN: I think Americans find their accents intelligent, confident and intimidating. They sound like they could out-think our hero and give them a worthy fight.

What are the positive qualities that you associate with British screen stars?

JH: The accent! Classes everything up. And here’s something you Brits don’t know. Even your low-born accents with its “wiv”s and “fings” sound classy to us.

AN: I think we have this subconscious idea that British actors grew up doing theater, while our American talent was simply discovered for being attractive. This might not even be true, but since it's an ocean away, we can imagine anything.

Eddie Redmayne was a popular winner this year for his role of Stephen Hawking in 'The Theory of Everything'

We still laugh at Dick Van Dyke in Mary Poppins, but is there any actor whose valiant attempts to perfect an American accent on screen have left you bemused?

JH: Poor Ewan McGregor.

AN: I think I'm particularly deaf to bad accents. Unless they're fake Texas, I never hear them at all.

Why do you think they appeal in such large numbers to US filmmakers and TV producers?

JH: Maybe this has to do with arts educations in the schools? More time and money pumped into theatre in general?

AN: There's this idea of class and pedigree. Even if they aren't all Shakespearean-trained, they sound Shakespearean to us.

Is it a good thing for cinema? Any concerns?

JH: Good is good. I don’t care where the actors come from.

AN: Sure, though I am worried that we haven't done a good job finding the new crop of young male stars here in America. We keep importing them from the UK and Australia.

Is there a recognisable ‘something’ that Brits have on screen, that us fellow Brits wouldn’t necessarily spot, but you can – is this a ‘brand’ of sorts?

JH: I don’t necessarily see it with acting, but I do see it with British screenwriting. Unlike in the US system, it feels like nothing goes to shoot until the script is really ready. ‘Ex Machina’ as an American film would’ve been “Sex robots? Great, let’s do it!” right off the pitch, before the damn thing got written. Maybe we feel like so many British actors are better than American ones because we first see them in British films or television, which have a different process that emphasizes good writing.

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BRITS BLITZ: What Do US Film Critics Think Of Our Biggest Home-Grown Stars?