Labour leader Sir Keir Starmer launched a scathing attack on Boris Johnson yesterday, following the Prime Minster’s apology in the House of Commons.
The PM addressed MPs for the first time since he was issued with a fine by the Metropolitan Police for breaching Covid rules back in 2020.
Mr Johnson said that ‘people had a right to expect better of their Prime Minister’ and that he would like to ‘repeat my whole-hearted apology’ to the House.
But Sir Keir said that the public ‘don’t believe a word the Prime Minster says’ and blasted the apology as ‘a joke’.
He also said that the PM was ‘dishonest and incapable of changing’ and urged the Conservative party not to ‘insult the public with this nonsense’.
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Sir Keir Starmer labelled Boris Johnson ‘dishonest’ after his partygate apology. Credit: BBC
The partygate scandal – which has seen several Downing Street and Whitehall officials issued with fines for breaking the Government’s own Covid rules – was also labelled as not being a ‘glitch in the system’ by the leader of the opposition.
Sir Keir said: “What a joke. Even now, as the latest mealy-mouthed apology stumbles out of one side of his mouth, a new set of deflections and distortions pour from the other.
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“But the damage is already done. The public have made up their mind. They don’t believe a word the Prime Minister says. They know what he is.
“As ever with this Prime Minister, those close to him find themselves ruined, and the institutions he vows to protect, damaged. Good minsters forced to walk away from public service. The Chancellor’s career up in flames, and the leaders of the Scottish Conservatives rendered pathetic.
Boris Johnson apologised again to MPs in the House of Commons. Credit: BBC
“For all those unfamiliar with this Prime Minster’s career, this isn’t some fixable glitch in the system. It’s the whole point. It’s what he does. It’s who he is.
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“He knows he’s dishonest and incapable of changing, so he drags everybody else down with him.
“The more people debase themselves parroting his absurd defences, the more the public will believe all politicians are the same, all as bad as each other, and that suits this Prime Minster just fine.
“Some members opposite seem oblivious to the Prime Minster’s game, some know what he’s up to but are too weak to act, but others are gleefully playing the part the Prime Minster cast for them.
MPs in the House of Commons yesterday. Credit: BBC
“A minister on the radio this morning saying ‘It’s the same as a speeding ticket’. No it’s not. No one has ever broken down in tears because they couldn’t drive faster than 20mph outside a school. Don’t insult the public with this nonsense.”
Boris Johnson had repeated his apology to MPs yesterday too.
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He said: “Let me begin in all humility by saying that on the 12th of April, I received a fixed penalty notice relating to an event in Downing Street on the 19th of June 2020.
“I paid the fine immediately and I offered the British people a full apology, and I take this opportunity on the first available sitting day, to repeat my whole-hearted apology to the House.
“As soon as I received the notice, I acknowledged the hurt and the anger, and I said that people had a right to expect better of their Prime Minister. And I repeat that, Mr Speaker, again in the House now.
“Let me also say, not by way of mitigation or excuse, but purely because it explains my previous words in this House, that it did not occur to me then or subsequently that a gathering in the Cabinet Room just before a vital meeting on Covid strategy could amount to a breach of the rules.
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“I repeat that was my mistake and I apologise for it unreservedly.
“I respect the outcome of the police investigation, which is still under way, and I can only say that I will respect their decision-making and always take the appropriate steps.”
Featured image: BBC
UK News
Better Man has bombed at the box office – but is the Robbie Williams biopic any good?
Danny Jones
So, Robbie Williams’ biopic Better Man has been out for a little while now and the question on many people’s lips – you know, apart from ‘why is he a monkey?’ – is, quite simply, is it any good?
Many of you may have already seen it, others may have absolutely no interest in hearing about Robbie‘s already well-publicised exploits (be they in ape form or otherwise), or maybe you’ve just been waiting to hear whether it’s any good before heading out to the cinema.
Well, if you’re judging it purely by the current headlines circulating online, you’d be forgiven for thinking it’s absolute rubbish. So far, Better Man has ‘tanked’ at the box office, making just over $1 million compared to a budget of nearly $110m (£90.8m).
However, given how pivotal the US viewing figures are, a big chunk of the commercial disappointment has come down to Americans largely not knowing who Robbie Williams even is and it’s no surprise that it’s done a little better here in the UK – though still not stellar. But again, ticket sales aside, is it good?
Better Man – Review
I wasn’t sure a (very good) CGI monkey Robbie Williams film was going to be any good either based solely on the trailer, but they nailed it.
*Once again, some spoilers ahead – though it is his life story, so we’re not really spoiling anything…
I’ll start this off by admitting that for all his foibles and controversies of the years, I am a Robbie fan; his music was always on in my house as a kid and well into my teens. Being born in the mid-90s, he was probably one of the first big pop stars to ever enter my world.
Growing up obsessed with football too, a charismatic, mainstream rock and roll-spirited figure in the mainstream who also loved the beautiful game and even took influence from chants heard around the grounds in his songwriting always made him extra appealing to me.
All that is just to say that I’m fully aware there’s probably some bias here, so I’ll still try to be as impartial and ‘objective’ as you can be with a film review. But back to the point, the short answer is yes: it’s good – very good, in my opinion.
If you’re similarly fond of the frenetic, funny and ferocious showman, you’ll obviously have a vested interest in looking back on his career thru a (somewhat simian) Lens, but even if you’re not, I still think you can get a lot of of the film and a greater insight into a captivating life story.
Monkey see, monkey do—make me sad, very sad…
This scene (among many) had us welling up. (Credit: Paramount Pictures)
For starters, put simply: as daft as it may seem, the monkey thing does work. It may come across like a strange gimmick when you first see the trailers but it doesn’t take much digging to realise that there’s quite a well-thought-out three-pronged approach behind it.
One of the first things the 50-year-old singer said on the press tour for this film is that he’s always felt “unevolved” and it’s something that’s brought up a couple of times in the film itself, so making him an ape rather than a modern Homo sapien is one way to way to communicate that.
Plus, not only does it obviously make any sad moments – and there are a lot of them – even more emotional and tear-jerking, especially during the scenes during Robbie’s childhood, but it also plays into the sad reality that he’s felt like a performing monkey for the majority of his life.
When you stop and think about the reasoning behind it feels a lot more considered than on first impression, and it certainly helps you empathise and, more importantly, sympathise with the troubled character you’re seeing on screen.
Robert vs Robbie
A very clever movie poster to boot.
And that’s pretty much the rub right there: this was always going to be at least a somewhat self-indulgent watch, not just because it’s a biopic but because it’s Robbie and that’s what his persona is about – but it is and always has been a performance in every sense of the word and the film does a great job of trying to distinguish ‘Robbie’ from Robert.
From seeing the origins behind being given that name specifically, his younger years and affectionate albeit mostly fraught relationship with his father; how the boom of Take That engulfed his entire world and even more so once he went solo, as well as the version of himself he’s shown to the world for last three decades, it’s clear he’s often struggled to find the line between the two himself.
It’s also very important to state the cheeky, cocksure Robbie Williams you were expecting to watch the rise of throughout this biopic has wrestled with a much lower opinion of himself than you could ever imagine. It’s a driving force behind the film and manifests in all manner of problematic and unpleasant ways, just as it did in real life. You see him see a lot of them in the crowd throughout the duration, in fact.
Because for anyone who isn’t aware, a lot of Robbie’s experiences are problematic and unpleasant; the early days as a boyband commodity, his substance abuse, struggles with mental health and beyond are all laid bare on screen in fairly graphic detail at times. A lot of the situations these issues spring from would feel hard to believe were it not for the fact it’s a true story with very little embellishment, if at all.
Manchester references are a bonus
One of the things that did stand out as a particularly surreal aspect of the film was the handful of references to Robbie’s intersection with Mancunian culture, which simultaneously felt familiar and somehow like going back in time to peep behind the curtain at a world that very few saw first-hand.
Again, the behind-the-scenes examination of how Take That transpired and those very dangerous, inappropriate and frankly unlawful series of events in nightclubs over on the likes of Canal Street feels like a fever dream (as it did for Robbie).
Perhaps the biggest buzz we got was the not-so-surprise appearance by the Gallagher brothers and ‘The Robster’s obsession with Oasis. The look is exactly what you’d expect and Liam‘s accent might not be perfect but it still gave us a thrill without feeling like pointless lip service.
All that being said, is the much-talked Robbie biopic a good enough film to warrant popping out to the pictures? Well, I’d certainly say so. Not only are the visuals and the CGI itself pretty flawless, but the motion capture is done so well that it never felt like I was taken out of the film at any point – even the very particular Stoke and Cheshire accents of Robbie and Gary Barlow are very convincing.
We knew there was going to be lots of humour too but there’s also a lot of impressive stuff the director does that I wasn’t expecting.
One of those is the transitions: there are lots of clever tonal switches done with great camerawork and effects (particularly during one driving sequence and some of the flashback frames) and they really do help covertly shift the mood so some of the darker moments don’t give you full on whiplash.
And lastly, the director’s fingerprints can be felt all over the movie as Michael Gracey’s The Greatest Showman pedigree certainly makes sections of the film feel more like a musical than I was expecting – but in a good way. Big bold cabaret choreography fitting of the man himself.
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After all, we all know most Robbie tunes are bangers but seeing them brought to life in these new and interesting ways really does make Better Man a better film than we’d even hoped for and it’s certainly good enough to be performing a lot better than it is at the box office right now. Maybe give it a go.
As far as I’m concerned, big stunning set pieces like this are just the tip when it comes to what makes the Robbie biopic a good film.
Featured Images — Paramount Pictures/Chrysalis Records
UK News
The new Match of the Day presenter lineup has been confirmed
Danny Jones
The brand-new presenter lineup has been confirmed for Match of the Day (MotD) following the departures of Gary Lineker and Ian Wright.
Lineker had been the lead anchor on the BBC’s flagship football programme for 25 years, spanning generations of fans after taking over the equally iconic Des Lynam back in 1999.
The 64-year-old ex-pro and England star is still in post at present but will be stepping down after the conclusion of the current Premier League season.
Following months of speculation around who would be taking over in the main chair across from regular pundits like Alan Shearer and Micah Richards, the corporation has now confirmed its new core team.
After reports began appearing earlier this month, popular presenter Kelly Cates is making the big switch to become one of three main hosts, though she does already host BBC Radio 5 Live’s Tuesday night sports coverage.
The daughter of Liverpool legend Kenny Dalglish and a familiar face on Sky Sports weekly matchday on-screen talent since 2016 after first appearing as part of Sky Sports News back in 1998, she’s a recognisable face to anyone who regularly watches football. A great appointment.
‘Chappers’ continues in post
In at number two – a number he’s become more than familiar with during his time as part of the existing Match of the Day team – Mark Chapman isn’t going anywhere and will now be sharing an equal third of the presenting duties as co-host.
Chapman joined MotD back in 2013 following the departure of Colin Murray and has gone on to present various other BBC Sport productions, including their NFL coverage. ‘Chappers’ isn’t going anywhere and rightly so.
Gabby Logan remains a BBC Sport stalwart
Third and finally, Football Focus mainstay, multi-discipline sports presenter and BBC veteran, Gabby Logan, is taking her rightful place on the Match of the Day panel. About time if you ask us.
Also the son of a famous footballer – Leeds legend and Wales international Terry Yorath – and a retired athlete herself, having competed as a rhythmic gymnast, she’s been a household name on British telly for as long as most of us can remember.
As for Lineker, you can expect an emotional send-off when he does call it this May.
The former Leicester, Everton, Barcelona and Spurs player will still be serving as a key part of the BBC’s FA Cup presenting team as well as future Euros and World Cups.
We’ll always have the memories, eh, Gary?
The new Match of the Day presenters have some big shorts to fill.
Daisy Jackson -
20th April 2022 
