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‘Boy Swallows Universe’ snaps up six AACTA Industry Awards as ‘Better Man’, ‘Furiosa’ take home five each Netflix series Boy Swallows Universe is well on its way to topping the winners’ list at this year’s AACTA Awards, converting six of its 11 nominations at the Industry Gala at the Gold Coast on Wednesday night. The Queensland-shot adaptation of Trent Dalton’s best-selling novel was recognised for casting, cinematography, direction, editing, production design, and sound to be the only multiple winner in the television categories. The film awards proved to be a two-horse race between George Miller’s Furiosa: A Mad Max Saga and Michael Gracey’s Better Man, which both snared five gongs. The Robbie Williams-inspired drama, which leads the overall film nominations with 16 nods, took home prizes for casting, editing, original score, screenplay, and visual effects, for which it has also secured an Oscar nomination. Miller’s Mad Max prequel won awards for cinematography, costume design, production design, sound, and hair and makeup. Elsewhere, Jack Clark and Jim Weir’s indie drama Birdeater was named Best Indie Film, while Madeleine Hetherton-Miau’s Mozart’s Sister was a multiple winner in the documentary section, awarded Best Original Score and Best Sound. Wednesday’s ceremony at HOTA, hosted by Stephen Curry, precedes the AACTA Awards on Friday evening, to be broadcast on Channel Ten at 7.30pm AEDT that evening. AACTA Award for Best Casting in Film presented by Casting Networks Better Man – Alison Telford, Kate Leonard, Kate Dowd AACTA Award for Best Editing in Film presented by Spectrum Films Better Man – Martin Connor, Lee Smith, Spencer Susser, Jeff Groth, Patrick Correll AACTA Award for Best Original Score in Film Better Man – Batu Sener AACTA Award for Best Screenplay in Film Better Man – Simon Gleeson, Oliver Cole, Michael Gracey AACTA Award for Best Visual Effects or Animation Better Man – Luke Millar, Andy Taylor, Craig Young, Tim Walker – Wētā https://if.com.au/boy-swallows-universe-sna...home-five-each/

Take That, Jeff Goldblum to perform at Baftas 2025 Take That and Jeff Goldblum are set to take to the stage at the upcoming Bafta film awards, with Take That performing their single ’Greatest Day’, which features in Bafta-nominated film Anora. Sean Baker’s Palme d’Or winner Anora has been nominated for seven awards, including best film, director and leading actress for Mikey Madison. Wicked star and member of jazz band the Mildred Snitzer Orchestra Jeff Goldblum will also perform, taking to the piano during the ‘In Memoriam’ segment. Jon M Chu’s Wicked is also nominated in seven categories, among them leading actress for Cynthia Erivo and supporting actress for Ariana Grande. As previously announced, David Tennant, will host the ceremony on Sunday, February 16 at the Southbank Centre’s Royal Festival Hall in London. The ceremony will be broadcast on BBC One and iPlayer in the UK, it will stream on BritBox International in North America, and available on demand on BritBox in the Nordics and Australia. https://www.screendaily.com/news/take-that-...5201572.article

I came across these interesting album reviews from back in the day ( ranging from 1997 - 2009 ) . Some 'very' passionate opinions :P ALBUM REVIEWS - ROBBIE WILLIAMS https://www.adriandenning.co.uk/robbiewilliams.html

Maybe this 2020 review of Escapology will help Alex , talks about the American market etc ... Is Robbie Williams my guilty pleasure? No, because I feel no guilt admitting that he has a special place in my heart. Escapology is in similar territory - a proud fixture of my childhood. Am I biased? Yes. Don't think that I don't recognise this. Have I rated this too highly? I truly can't say. I'll bring it down a few ratings, and then change it back frequently after a re-listen, or sometimes minutes later after thinking about it again. This was the fourth full-length studio album in a prolific streak in Robbie's discography (fifth if you include his swing music covers album,) and it was his golden era. I also include in this phase that covers album, and maybe his fifth album, Intensive Care (It was good but nowhere near the first four) - he could do no wrong with his albums, apart from in America. He's now the biggest selling non-Latin solo act in South America, conquered Europe and enjoys success in Australia and New Zealand, but he never really dented the US charts. And that's what this album was. A full on assault to finally take the US market by storm. A swift departure from Sing When You're Winning's disco-pop that produced his biggest club hits with Kids and Rock DJ, Williams returned to the rock influences of his first two albums, but cranks it up a few notches. Did the charm offensive work? You tell me, largely American website. However, the intention of this album makes it that much more desirable to me - it is the final gambit of a record company that sank £80 million pounds into a lad from Stoke who loved the dope. Even in today's money that is a ridiculous amount - it was record breaking in 2002. It is still only $25 million below the current holder, Lil Wayne ($150m v $125m.) It would only pay off if he finally captured the hearts of America. So the pressure is on, you're already on your way to become a legend in Britain, you're the biggest pop-star in the world - apart from America. Europe, Britain, South America will love it. It'll go no.1, and then some. Now that the scene has been set, let's get into the album. Now, I can only talk about my experience of the UK track listing, which places the bizarre How Peculiar first. Thank god they changed this for the American release - the opening track is one of Robbie's greatest, the emotional Feel. This isn't a superstar singing, this is that lad from Stoke. It reveals his actual true desire - not America, but a wife. Now a Stadium anthem, it came second in the UK listing, making a stark contrast from How Peculiar. The least rock-heavy song on the album, this track was rightly placed on both releases. Overall this song outgrew its album in the same way Angels outgrew Life Thru a Lens - it still gets significant radio play in the UK. How Peculiar still stands out to me, purely for its complete departure from Robbie's previous music. It is a Hail Mary - outlandish and definitely designed to grab your attention, the heavy usage of the vocoder on his voice throughout, mixed with off-the-wall lyrics makes this just an overall interesting listen. I've never heard it live, which is a shame because I wonder how he would convert it. Something Beautiful is a soppy tune which shared a lot of lyrical content with Feel, except that Robbie switches perspective, with the listener becoming the unlucky one in love. Definitely tongue-in-cheek (get used to that with Robbie) and a jab at the people around him giving advice about his love life, which Robbie now passes on, it is a pop song, with Robbie showing a decent range. A safe song, if you will. Monsoon is when the rock comes back. Track 4 in the UK, Track 3 in the US. Again I can tell why - this is a song with that American market in mind. And even if the US didn't love it, it works very well. Another that has become a stadium staple, Monsoon again laments Robbie's failings in love, and also in life, speaking of his regrets, but also making excuses. I wasn't me when we met / You haven't lost my respect / I'm here to serve and protect/ What shape of insanity /Keeps leading you back to me Robbie was at this point, the archetype of the Bad Boy British popstar that shed his youthful charms as a backup singer in Take That, to the cheeky chap that fancied a scrap with anyone, no matter their size. But America doesn't know that - and I don't think Robbie cares. He has an ego the size of California, he isn't going to pretend to get his foot in the door. Sexed Up follows, and the pace slows down again. This song details one of those loveless relationships Robbie has had, and he goes for the powerful, booming bridges and chorus that let his passable voice sort of shine. Robbie can sing, but he isn't winning any awards for his ability in that department. A smart single choice, sultry and sexy but with the air of a man who could get any woman he wanted. Love Somebody, unsurprisingly, comes back to finding the one, and is a short almost operatic piece that gets to the action quickly. Powerful, and probably made more so by the shortness of the track. Revolution is probably my least favourite track on the album. It slows the pace down even further after Love Somebody and Sexed Up, but overall it again showcases that Robbie can sing, over a slow and sort-of soul, easy beat. Surprise surprise, this was a last minute addition by Robbie (who was given more creative control on arguably his biggest project) who loved it so much he didn't want to wait to put it on another album. Some one should have told him to hold his horses tbh. I can see it fitting on Intensive Care a lot better, but not really. Leave it to Handsome Man to bring it back on track. This is Robbie, lyrically, at his most egotistical. For someone who has the public image of a f*cking big-headed c*nt, he plays up to it - before revealing : It's not very complicated/ I'm just young and overrated Totally in character, and a decent song. Come Undone is the highpoint the album needs after it went on its detour to multiple genres. Pop-rock heavy, it starts off slow before opening up - musically and lyrically. The washed out electric guitar and bass, the prominent slow kicks, this is probably the best display of production on the album. When we get to the chorus, Robbie lets out: Because I'm scum / And I'm your son / I come undone The song centres on his public image, cocaine use, and the monotony of being a hit-making machine. Oh Robbie. Me and My Monkey is too long. A childhood favourite, Robbie wrote this whilst on holiday, trying to chat up a fellow guest at a hotel. Write me a song about a monkey, she says, and we'll see what happens. Robbie accepts the challenge, and makes this literal ballad about him and an imaginary monkey hitting it large in Las Vegas, full of monkey pimps and prostitutes, a Mexican stand-off with accompanying mariachi band, and a general sense of a fever dream. "How did I get mixed up with this f*cking monkey anyhow?" Robbie remarks at the end. F*cked if I know mate, but somehow you made it bearable. Another track I would have dropped if I was trying to convince America to buy my album, because it is just bizarre. The next three songs don't end up on the US album, and that is such a travesty. Song 3 (named because Song 2 conquered America for fellow Britpop act Blur) and Cursed are the most rock forward songs on this entire album! What the f*ck were they playing at? They are decent pop-rock tunes, with direct references to the US - why would you not put them on the album? Sandwiched between the two is my favourite song of all time. I'll admit it. It's nowhere near perfect, but I just love it unconditionally. Hot Fudge is the perfect mix of Robbie's ego, showmanship and desire to break the US. Piano heavy with such a catchy tune, probably the opening lyrics of "Queen Bitch, eat the rich" put studio execs off straight away. A bridge about going to where the "sunshine flows" and a chorus about getting a green card, this would have been perfect for an assault on the US charts. High energy, it always gets me moving. The album dwindles down with Robbie opening up again on his first solo written track, Nan's song. Soft and gentle, I personally think it fits where it is on the track listing - a calming end to a record so chaotic. The production on this album is great - the tiny, crisp details of the latin being spoken during the instrumental on Feel, for example. The rock riffs from the guitars never dominate a track either, everything seems to be levelled well. Closing thoughts - RCM are f*cking idiots, but ultimately I can't complain. This album has this confusing aura around it (the addition of One Fine Day and a reprise of How Peculiar are the worst ideas on the US version) and frankly, Robbie feeds off it. His first three albums were relatively amazing - but were well-polished, event-free and about Robbie establishing his solo career. Robbie is now in a spot where he needs to grasp America - according to his executives, and whilst he failed them, he stayed true to himself. I've just realised I've written the longest review of mine, for what- like five people to read? No one is searching for this album. Oh well. I thought I'd explain why I find this album so enthralling, and my favourite Robbie album. Please give it a listen, maybe we can finally break the US for Robbie! https://www.albumoftheyear.org/user/jayarte...446-escapology/

Take That to Perform ‘Anora’ Hit at BAFTA Awards, Jeff Goldblum to Play Piano for In Memoriam British boyband Take That will take to the stage on Sunday, Feb. 16 and perform their number one single "Greatest Day", opener of Sean Baker's 'Anora', BAFTA has confirmed. British boyband Take That will take to the stage on Sunday, Feb. 16 and perform their number one single "Greatest Day", opener of Sean Baker's 'Anora', BAFTA has confirmed. British boyband Take That and Wicked‘s Jeff Goldblum are set to perform live at this year’s BAFTA Film Awards. Take That, comprising of Gary Barlow, Howard Donald and Mark Owen, will take to the stage on Sunday, Feb. 16 and perform their number one single “Greatest Day”, which famously opened Sean Baker’s nominated hit Anora. Goldblum, meanwhile, star of Wicked, will perform on the piano during the In Memoriam section of the ceremony. What audiences might not know about the Hollywood icon is that when not acting, Goldblum has a dedicated following of his jazz band, the Mildred Snitzer Orchestra. Their upcoming album, “Still Blooming,” is scheduled to be released on Apr. 25. Vatican drama Conclave, based on the novel by Robert Harris, leads the way with 12 BAFTA nominations — ahead of Emilia Pérez‘s 11 and The Brutalist‘s nine. It is the most genre-diverse year ever for the BAFTA Film Awards as horror movies Heretic and The Substance, musical (or music-inspired) films such as Wicked and A Complete Unknown, historical epics like Steve McQueen’s Blitz and big-budget action fare like Dune: Part Two and Gladiator II all earned nominations. You can read the full list of nominations for this year’s BAFTA Film Award The 2025 EE BAFTA Film Awards, hosted by David Tennant, will take place on Sunday, Feb. 16, 2025, at the Southbank Centre’s Royal Festival Hall in London. The awards will be broadcast on BBC One and iPlayer in the U.K., and stream on BritBox International in North America. It will be available on demand on BritBox in the Nordics and Australia, and on a number of other broadcasters internationally. https://www.hollywoodreporter.com/movies/mo...ked-1236127601/

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ROCK DJ - CD booklet ....

Op-Ed: ‘Better Man:’ Worthy of a Better Box Office? By Amit Sewnauth on February 1, 2025 Graphic by Canva AI A young Robbie Williams sits by his family’s television set, singing along to Frank Sinatra’s performance of “My Way.” His father joins in, using a beer bottle as a microphone. As they sit closer to the screen, Williams’ father points to Sinatra and says, “You can’t learn it. You’re either born with it, or you’re a nobody.” Robbie’s face drops. The father and son chorus resumes but is cut short when Williams accidentally knocks the TV antenna. As his father rushes to fix it, a disappointed Williams is called away by his grandmother. ‘Better Man’ centers on the life and career of British popstar Robbie Williams. The musical biopic debuted in the U.S. earlier this month. Despite receiving an 88 percent critic score and a 90 percent audience score on Rotten Tomatoes, the film has floundered at the box office and is struggling to recover its $110 million budget. When I watched the film, just a few days after its release, there were fewer than a dozen people in the theater. One person left during the second act. Though many Americans are not familiar with Williams (I was not either before watching the film), there had to be other factors contributing to lackluster ticket sales. Notably, there’s the bizarre decision to depict Williams as a CGI chimpanzee throughout the film. This likely alienated many viewers and added another layer of strangeness to a story that was already unfamiliar to most American audiences. If you were not interested in watching a film about a musician you had little knowledge of, seeing him portrayed as a chimpanzee was probably not going to change your mind. Williams’s appearance as an ape reflects the way he views himself and his role as a performer. This works well within the film, as Williams is always distinct from every other character. Still, the merging of a musical biopic with animation resembling “Planet of the Apes” seems to have resulted in a product that was too absurd to capture the interest of the average moviegoer. Those of us who did watch “Better Man” were treated to an intense, emotional spectacle that provides a deep dive into the consequences of pursuing fame. Aside from its lack of commercial success, the film succeeds in pushing the boundaries of what a musical biopic can be. Williams voices himself, recreating vulnerable moments from his life, including his first audition, break-up with pop group Take That, battle with substance abuse, and strained relationship with singer Nicole Appleton. During concerts, he struggles to overcome voices of self-doubt that have haunted him throughout his career. Biopics are often criticized for oversimplifying their subjects or for giving an inaccurate depiction of real-world events. “Better Man” avoids this by fully embracing the artist’s perspective, prioritizing Williams’s emotional state throughout the film over a purely realistic, “documentary-like” approach. Though “Better Man” is not everyone’s cup of tea, it’s refreshing to see a musical biopic that takes risks, throws audiences into the artist’s inner world, and broadens the scope of the genre. https://www.thesandspur.org/op-ed-better-ma...ter-box-office/

Slightly :offtopic: Take That make a very brief appearance at some Smash Hits Awards in the early 1990's in the Boyzone documentary currently on Sky. Louis Walsh & NMS have a lot in common in terms of management style but I would say that LW comes across even worse than NMS ...

I like the soundtrack version as well. I have been reading the booklet that comes with the CD & will post a picture with the credits for Rock DJ tomorrow. I cannot seem to upload now but will try again tomorrow .

Thanks for posting that video Alex. How lovely to hear Tom Grennan talk about Robbie like that . It's so refreshing to hear a young man like Tom not be afraid to speak his mind . He's so right about Robbie 'finding his own lane' when he left Take That & doing his own thing .

Sadly not Alex, I have other stuff going on in August when he comes to Dublin & I will not be visiting the UK this year ...

I agree & from talking to people a lot say that they found the trailers misleading . It's still a great movie. There are so many reviews & videos to catch up on , I am still reading through them ....

Robbie Williams Live 2025 tour: Tickets, prices, support acts and venues 4 February 2025 When is Robbie Williams going on tour in 2025? What venues is he playing and will he go to Europe? Here's all the concert details. Robbie Williams has made a huge name for himself as the ultimate entertainer ever since he left his band Take That in 1998 and took on the charts solo. Now, a huge music artist with songs like 'Angels', 'Rock DJ' and 'Supreme', Robbie is set to take his best tunes on tour across the UK. Playing at iconic venues in London, Edinburgh, Newcastle, Manchester, Bath and more, the singer has said this is going to be one of his "boldest" tours yet. Sharing the tour news on Instagram, Robbie said: "This tour is going to be my boldest yet - I can’t wait to see you next year. There will be songs from the movie ‘Better Man’ and some new music too…but more on that soon. RW." :unsure: Here's everything you need to know about Robbie's live tour from dates and venues, support acts, tickets and prices. What dates and venues is Robbie William touring in the UK? Kicking off in the summer, Robbie is playing a number of dates across the UK. These include playing concerts in stadiums and arenas. The dates and venues are as follows: 31st May - Edinburgh, Scottish Gas Murrayfield Stadium 6th June - London, Emirates Stadium 11th June - Manchester, Co-op Live 13th June - Bath, Royal Crescent Is Robbie William playing tour dates in Europe? It wouldn't be a bold Robbie Williams tour without it continuing across Europe would it now? The father of four will be taking his sounds across countries including Berlin, Amsterdam, Vienna and Munich. Dates and venues include: 19th June - Copenhagen, Parken 22nd June - Amsterdam, Johan Cruyff Arena 25th June - Gelsenkirchen, Germany, VELTINS-Arena 28th June – Belgium, Werchter TW Classic 30 June – Hanover, Germany, Heinz von Heiden Arena 2nd July - Paris, La Défense Arena 5th July - Barcelona, RCDE Stadium 9th July - Leipzig, Germany, Red Bull Arena 12th July - Vienna, Ernst-Happel-Stadion 17th July - Trieste, Italy, Stadio Nereo Rocco 21st July - Berlin, Germany, Waldbühne 22nd July - Berlin, Germany, Waldbühne 26th July - Munich, Olympiastadion 1st August - Lithuania, Darius and Girėnas Stadium 3rd August - Latvia, Mežaparks 7th August - Stockholm, Stockholm Stadium 10th August - Frankfurt, Deutsche Bank Park 13th August - Stavanger, Norway, Forus Travbane 16th August - Trondheim, Norway, Granåsen 23rd August - Dublin, Croke Park 7th September - Prague, O2 Arena 9th September - Krakow, TAURON Arena 12th September - Budapest, MVM Dome 20th September - Helsinki, Olympiastadion Are Robbie Williams Live tour tickets still available? Tickets are currently still available across many venues for Robbie Williams's tour. Ticketmaster is the official ticket purchase site so be sure to check as some venues, like Manchester, have low availability. How much are Robbie Williams concert tickets? Ticket prices vary across venues and also on what type of ticket you purchase. For example, at London's Emirate's Stadium you can either be seating or standing. While it is best to check your venue for exact ticket prices, a point of guidance is that seated tickets at the London venue are currently priced at £82.50. Handling fees are also added. Who is Robbie William's support act on his Live tour? Robbie has secured some pretty big support acts to help him on his tour including Rag'n'Bone man and the Lottery Winners. Rag'n'Bone man is famous for singles including 'Human' and 'Skin' while the Lottery Winners are best known for 'Letter To Myself' and 'You Again'. https://www.heart.co.uk/showbiz/music/robbi...rt-acts-venues/

The ad in the looks looks fab MARCH 28TH @1885161305516265595

This gif is rude but funny :lol:

Robbie @4.49 :lol: iaofNC-HLvc?si=6q4_InqmY9pjdZHa Video thanks to After Midnight ..

Well done Frogec :P

# Did Gary know that was gonna happen :lol:

Here's my Guru -_- SIN SIN SIN ... Released 22 May 2006 https://robbiewilliams.com/pages/timeline/e...-intensive-care Released as the fourth and final single from Intensive Care, Sin Sin Sin was another win win win for Robbie's videmaking partnership with director Vaughan Arnell, who shot Robbie as the prophet-like guru of a cult of adoring pregnant women. WE7PJVZyBhU?si=CN0kMkmwCJEfhF2y zBDR3ttfO-s?si=fuPWkAzq56no9WMz Video thanks to JoannaDarc Ccg3CYggrdQ?si=O2V9PXpVF5py168u QEXueWH2yt4?si=qQnlrDYkBtiKHKaF -1VrYxfDZVs?si=K1PQiYkgY6L_Mb_z gc8iTrMGfoA?si=30YHN7EHqLjAZkUR EtzyhDwBnVk?si=3kPDt5Df1UcGpczn XYhal0LwZz4?si=nHoKLzIsY84Hk-o6 Songfacts According to Robbie Williams, this song is written from the perspective of "a seedy old bloke." It appears to depict a one-night stand, with Williams acknowledging it's a sinful act, but desiring the casual sex regardless: "Don't let your eyes tell the brain you should feel ashamed. Everyone needs it, baby, and I feel the same." This was the first song Williams wrote with Stephen Duffy after splitting with his former collaborator, Guy Chambers. Chambers helped Williams write some of his biggest hits, including "Angels," "Let Me Entertain You," and "Feel," but the pair fell out during the making of Escapology. Williams subsequently started writing with Duffy, who was a former member of both Duran Duran and The Lilac Time. Duffy later said of "Sin Sin Sin": "As soon as we'd completed this track, I thought we might just have a future together." British author Chris Heath, who spent two years working with Williams on his biography Feel, is also credited as a songwriter on the track. The single version of "Sin Sin Sin" has a different production than the album original. The instrumentation is more upbeat on the single version, with the additional drums lending the song a poppier sound fit for radio. Directed by Vaughan Arnell, the music video for "Sin Sin Sin" was shot in Cape Town, South Africa a few days before Williams was due to begin his tour there. The video sees Williams transforming into the leader of a pagan cult, with the British singer doted on by a following of pregnant women. "Sin Sin Sin" was the final single released from Williams' sixth album Intensive Care, after "Tripping"/"Make Me Pure" and "Advertising Space." It was the first Robbie Williams single that didn't place in the UK Top 20, peaking at #22. https://www.songfacts.com/facts/robbie-williams/sin-sin-sin