Serena Williams weds Reddit co-founder


The couple met at a hotel in Rome – and while he had booked a room to attend a conference, she was staying there to play in the Italian Open.

As he was not a tennis fan, it took Mr Ohanian a little while to realise exactly who he was having breakfast next to, but the pair hit it off quickly.

He proposed 18 months later in the same hotel, at the same table where they had met.

Official. 📸 @melbarlowandco @allanzepedaphotography

A post shared by Alexis Ohanian Sr.🗽 (@alexisohanian) on Nov 17, 2017 at 9:28pm PST

They now have a daughter called Alexis Jr, whose own Instagram has more than 105,000 followers.

The Ohanians had around 200 people at their ceremony in New Orleans, including Beyonce, Eva Longoria, Caroline Wozniacki, and Vogue editor Anna Wintour.

They married on 16 November, the birthday of Mr Ohanian’s late mother, as a tribute to her.

Serena had three dresses for the occasion – the first being a £2.6m Alexander McQueen princess dress, with a beaded and feathered Versace dress for the reception.

When she stepped onto the dancefloor it was in a short, fitted Versace dress – perfect for dancing to Tale As Old As Time, one of her favourite Disney songs from Beauty And The Beast.

They wrote their own vows, and Mr Ohanian posted them on Instagram alongside a photo of their day. He said: “You are the greatest of all time, not just in sport–I’m talking about as a mother and as a wife.

“I am so excited to write so many more chapters of our fairy tale together.”

Serena Williams shared a picture of her baby on Instagram. Pic: Instagram/serenawilliams

Video:Baby diaries: Serena’s instagram pregnancy

Guests sat down to dinner, where menus ranged from Italian to Armenian fare, to Be Our Guest, before they tucked into dessert.

They took home trophies with their names written on the front as tokens of the day, as well Gatorade to help them “recover like a champ”.

E4y.net Info@e4y.net

Children in Need raises record on-the-night total of £50.1m


Media playback is unsupported on your device
Media captionA Blue Peter Strictly special was among the Children in Need highlights

Children in Need raised a record-breaking £50.1m during Friday’s show, which featured a Blue Peter Strictly Come Dancing special.

The five-hour programme also included a Weakest Link celebrity special, a singing EastEnders cast, and a teaser of the Doctor Who Christmas edition.

Tess Daly, Graham Norton, Mel Giedroyc, and Ade Adepitan presented the show, which was broadcast on BBC One and Two.

The total raised surpassed 2016’s previous on-the-night record of £46.6m.

Image caption Left-right: Mel Giedroyc, Rochelle and Marvin Humes, Graham Norton, Ade Adepitan and Tess Daly are the faces of Children in Need 2017

The show began on BBC One at 19:30 GMT with Daly and Adepitan hosting, and included some of the children and young people whose lives have been changed through support from Children in Need.

During the evening, Car Share co-stars Peter Kay and Sian Gibson announced that the comedy series would return in 2018 with two new episodes.

“It’s been a very tough secret to keep,” said Kay.

Hosts Norton and Giedroyc took over presenting duties later on, followed by Marvin and Rochelle Humes.

Viewers were given a first look at this year’s Doctor Who special, which included Peter Capaldi, in his last appearance as the 12th doctor, alongside a return from first doctor David Bradley and Mark Gatiss as a First World War officer.

Anne Robinson presided over the Weakest Link special. with celebrities John Thomson, Love Island winner Kem Cetinay and actress Chizzy Akudolu – the eventual winner – facing her questions.

Image caption Six current and former Blue Peter presenters are competing for the Strictly glitterball

Image caption EastEnders stars sang their way around Albert Square

Former Blue Peter presenter Mark Curry lifted the Pudsey glitter ball trophy in the Children In Need Strictly Come Dancing special after impressing judges with his high kicks.

Five other current and former Blue Peter presenters also donned Strictly’s sequins – Diane-Louise Jordan, Anthea Turner, Tim Vincent, Konnie Huq and Radzi Chinyanganya.

EastEnders fans saw their favourite characters sing popular numbers from classic West End musicals early in the show.

The cast of Countryfile also had a go at their own medley, opting for hit country tunes from John Denver, Dolly Parton and Nancy Sinatra.

There was also music from Rita Ora, The Vamps and Jason Derulo, while Joanna Lumley presented the Sir Terry Wogan Fundraiser of the Year award to people who “go above and beyond to raise money”.

Children in Need is the BBC’s UK corporate charity and raises money for disadvantaged children and young people around the country.

Follow us on Facebook, on Twitter @BBCNewsEnts, or on Instagram at bbcnewsents. If you have a story suggestion email entertainment.news@bbc.co.uk.

E4y.net Info@e4y.net

Review: Bryan Cranston stars in Network at The National Theatre ★★★☆☆

Will Gompertz Network

To say Ivo van Hove’s stage adaptation of Paddy Chayefsky’s 1976 movie Network is a bit gimmicky, would be like describing a mass murderer as a bit naughty.

There are more production bells and whistles in his 119-minute (no interval) show than on one of Lady Gaga’s more outré outfits.

The Belgian director and his designer Jan Versweyveld have turned the National Theatre’s expansive Lyttlelton stage into a shiny contemporary landscape with a massive screen acting as a backdrop for a set, divided into three principal components.

They are: A glass box TV production gallery, a newsroom studio (centre-stage), and a Manhattan-style restaurant and bar (at which audience members can book a table if they’re willing to take out a small mortgage).

It looks great and very glitzy. A stage set for some genuine A-list stars to come and entertain us. Which they do.

Image copyrightNAtional Theatre

First, Bryan ‘Heisenberg’ Cranston appears as Howard Beale, an old-time news anchor getting rubbish ratings who – not unlike Walter White in Breaking Bad – undergoes a dramatic character transformation (he even strips down to his underpants again – although not tighty whiteys on this occasion).

While White became a very good baddie, Beale turns into a deranged TV prophet, telling his viewers he is as “mad as hell” about media cover-ups and political corruption.

The crazier he becomes, the higher his ratings soar. Enter Michelle ‘Lady Mary’ Dockery as a ruthless TV exec out to milk his madness for every percentage point of audience share she can.

It is a play about a ratings-obsessed media, corporate cynicism, corrupting commercialism, and the dangers of fanaticism. It is, in other words, a play for today.

At least, it should be. But despite the largesse that has been lavished on this production, it is rather two-dimensional and a tad disappointing.

Image copyrightNational Theatre

From the moment you enter the theatre and see the stage you sense you are in for something very special – a night to remember; a glamorous theatrical blind date.

But, by 15 minutes in, ardour turns to apathy as it becomes apparent the cast and crew were having way more fun than you.

The problem is the directorial conceit. On-stage TV cameras relay much of the action we see onto the giant screen at the back. It’s a device that works at a rock concert in an arena where the performers are barely-visible far off figures.

But in the more intimate environment of a theatre, where you can see and hear the actors, it has the opposite effect and actually makes the players feel more distant.

The delay in the on-screen lip-sync doesn’t help. Not only is it annoying but also ruinously distracting. I started to worry about whether or not my car was due for its MOT.

Image copyrightNational Theatre

There are other smaller niggles. Like, why is there a fancy restaurant on the stage? To create another location for the actors and the story, I assume.

But why? If Shakespeare can ask us to imagine whole battles taking place “within this wooden O”, then surely we can be trusted to imagine a restaurant scene without a fully functioning bar and brassiere.

And why, in a narrative so specifically set in America, is the action momentarily taken outside the building and onto London’s Southbank with the National Theatre’s illuminated logo in full view?

We get the idea that the audience’s perception of what is real and what is fantasy is being toyed with, but it diminishes rather than enhances the action. There’s no point to it.

Perhaps the director wasn’t confident enough in the script and felt the need to dress it up like a stag party at a Dolly Parton convention. And, if so, I have some sympathy for him.

Lee Hall is magnificent writer, who has consistently produced outstanding scripts. But, on this occasion, he has missed an opportunity to explore and update the central themes inherent in the original film.

Image copyrightDoug Hyun/AMC
Image caption Bryan Cranston is best known for playing Walter White in Breaking Bad

Maybe it is due to an understandable reverence for the movie, or because it was technically impossible to do so. Or he didn’t want to.

Any which way, the light he shines on the nature of television news, undue corporate influence, and a culture of populism is too warm and a little weak. Any blows landed are glancing rather than knock out.

The point that newscasts are a form of entertainment is as old as the movie, what’s new is how a certain type of media operator has been able to exploit that weakness for world changing political gain.

The airtime devoted to big personalities, sometimes in stark contrast to their relatively low political status, has given rise to quick-fix merchants proffering simplistic solutions to a dispirited public who have then voted in their favour.

Howard Beale is not a good guy. He’s demented and arrogant and egotistical. And all the more so when he discovers the elixir of popular appeal. He’s no better than other hyperbolic narcissists plying the opinions on news programmes around the world.

But in this play he’s let off the hook. He is allowed to become a preachy, saintly figure. And thereby the profound prescience of Paddy Chayefsky’s Network is lost.

Follow us on Facebook, on Twitter @BBCNewsEnts, or on Instagram at bbcnewsents. If you have a story suggestion email entertainment.news@bbc.co.uk.

E4y.net Info@e4y.net

Strictly Come Dancing: Behind the scenes in Blackpool

Strictly in Blackpool
Image caption The dancers rehearse their circus-themed group routine

There’s a fibreglass donkey in the corridor, and someone’s moving a glittery model tram across Blackpool’s Tower Ballroom.

Paralympian Jonnie Peacock is eating chips in the canteen with Mollie King from The Saturdays, and Holby City’s Joe McFadden is looking for the physio in the rabbit warren that is the ballroom’s backstage area (he’ll eventually find him in a repurposed toilet cubicle).

Meanwhile – past host Claudia Winkleman’s dressing room and the row of clothes for the four judges – there is the thrum of sewing machines coming from the wardrobe department.

Thirteen people are busy working away inside. Among them are costumiers hand-sewing tiny emerald green crystals onto a dancer’s outfit.

It can only mean one thing – Strictly Come Dancing has hit Blackpool for its annual special.

Image copyrightPA
Image caption Aljaz and Gemma have their eyes on the prize

Image copyrightPA
Image caption Davood and Debbie do Blackpool

There is a buzz in the whole town, which started when the crew came up on Monday to start the laborious task of rigging up the ballroom, fitting all the cables and lights needed for the dance spectacular.

EastEnders star Davood Ghadami is even wearing an “I heart Blackpool” hoodie as he takes part in a rehearsal for Saturday night’s circus-themed group routine.

The day before the show, the celebrities and their dance partners are wearing trainers, not heels. The group routine is practised several times over, before they all gather round the choreographer’s iPad to watch the dance back, seeing how it’s going to appear on screen.

After that, couples snatch spare moments to practice their own routines as they wait to rehearse on the sprung dancefloor.

Image caption Sewing on the sequins

Image copyrightPA
Image caption Costumes arrive at the Tower Ballroom

Image caption The Strictly costume rail

There’s a sense of camaraderie as they whoop and applaud each other’s routines, bigger and bolder this week to mark the occasion, with extra dancers and props (hence the donkey) to fill the larger-than-usual space.

There are media interviews, including with Blue Peter. Receiving a Blue Peter badge, comic Susan Calman exclaims – with genuine feeling – that it’s the happiest day of her life, while Ghadami reveals he won one as a child for suggesting a way to make recycling easier.

There will be spray tans and the chance to catch their breath before the live show on Saturday – when the day starts with hair and make up from 07.30 (followed by top-ups during the day) before a full run-through of the show.

The only people not present for that are the judges, so there are stand-ins, who give their own comments to the celebrities and pro dancers.

Image caption Susan Calman: “I have a love of old Victorian splendour”

After that, there are last-minute adjustments to costumes (from that busy department, up several flights of stairs, where all the dancers’ dresses hang ready for action) – and a moment of calm before going live to the nation.

“It’s really beautiful,” says Calman, who’s dancing a paso doble with Kevin Clifton. He made it all the way to the final last year with Louise Redknapp, but is yet to lift the coveted glitterball trophy.

“I’ve never been to Blackpool before, let alone the Tower Ballroom,” she says. “I have a love of old Victorian splendour so it’s incredible to be here. They spent so much money here to make people happy, so they could dance. I think it’s beautiful.”

Dancing has indeed made Strictly superfan Calman very happy, and seeing her joy at performing has been one of the highlights of the series.

Image caption Mollie King: “I never thought I’d get here – it’s such an honour”

You can sense her awe at the surroundings as she says: “You can only imagine what it’s going to be like when this place is full. This is the home of ballroom – it’s better than the final, in a lot of ways.”

She admits she thought she’d be voted out “week two or three” and says how pleased she is that people are enjoying her performances.

“I’m doing things I never thought I’d do in my life before,” she adds.

Ghadami, EastEnders’ Kush, grabs a moment to eat a jacket potato with tuna after running through his 007-themed paso doble to Wings’ Live and Let Die.

“It’s a bit of a dream for any guy to pretend to be James Bond,” he says. “And this is four, five times bigger than [regular studio] Elstree. It’s such an iconic place and there’s such a build-up. It feels so warm – you feel held tightly in this big space.”

Image caption Another rehearsal on the Blackpool dancefloor

He says Blackpool is special for his professional partner Nadiya – she performed there in a competition when she was 11. “So many people have stepped foot in here and danced the dance of their lives,” he muses.

Mollie King has had the chance to get her family involved too – visiting her nan in Hull before the Blackpool show to perform for her, as she can’t be there in person.

“I feel like the luckiest girl ever,” she says of still being in the show. “I never thought I’d get here – it’s such an honour. The pros are your heroes, and to them, this place means so much.”

King says there are moments in the dance, a Charleston to Wings by Little Mix, when she feels like she’s “back in the Saturdays” because she gets to dance with other female dancers.

Debbie McGee says it feels like “being in one of the biggest shows in Broadway or the West End” in Blackpool, and that it brings back “wonderful memories” of times spent there with her late husband Paul Daniels, with whom she performed here years ago.

Image caption Jonnie Peacock says Blackpool “perks everyone up and adds some extra glitter”

Their act had a circus theme – much like one of the weekend’s group numbers.

“It’s just wonderful,” she says of the coincidence. While she’s been in the ballroom before, it feels like “another planet” now it has been given the Strictly treatment.

“This week has hit home what an achievement is to get this far,” she says – noting that she’s made it to Blackpool as the oldest contestant this year. “I feel really proud that I’ve been able to stand up for the older woman.”

Jonnie Peacock had a sneak peek at the ballroom on Thursday. “It adds a bit of adrenalin and excitement,” he says. “Blackpool gives the show a different taste – it perks everyone up and adds some extra glitter.”

He says reaching the Blackpool show – to do a tango to Eurythmics’ Sweet Dreams – has given him “the biggest buzz you can get”.

“It’s so much fun – and you don’t want the fun to end,” he says – speaking for all the celebrities and their dance partners.

Follow us on Facebook, on Twitter @BBCNewsEnts, or on Instagram at bbcnewsents. If you have a story suggestion email entertainment.news@bbc.co.uk.

E4y.net Info@e4y.net

Week in pictures: 11 – 17 November 2017

E4y.net E4y.net Info@e4y.net

Peter Kay’s Car Share to make surprise return

Peter Kay and Sian Gibson in Car ShareImage copyrightBBC/Goodnight Vienna Productions
Image caption Will John (Peter Kay) and Kayleigh (Sian Gibson) finally have a happy ending?

Fans of Peter Kay’s sitcom Car Share thought it had ended for good – but the comedian has announced there will be two more episodes.

Kay said he wanted to “quit while you’re ahead” after series two ended earlier this year.

But he’s announced a “special finale” to show what happened between John, his character, and Sian Gibson’s Kayleigh.

It will follow Car Show Unscripted, an improvised episode. Both will be screened on BBC One next year.

Image caption Gibson and Kay revealed the plans on Children In Need

The second series ended in May with Kayleigh declaring her love for John but walking out of his car and his life when he refused to say how he felt.

The lack of a twist bringing the two characters together at last surprised and disappointed many viewers who had convinced themselves the show was building up to the perfect romantic finish.

“People have been very angry that the series ended in that way,” Kay said.

“But [now] there is a series finale explaining what happened the next day, after the big argument.

“We’ve also done another episode called Car Share Unscripted, which is half an hour of us basically making the script up and improvising. It’s nothing to do with the story – just us having a laugh.”

After the series ended, he said there would be no third series or Christmas specials because he was worried about running out of ideas.

“There’s only so much you can do in a car and the last thing you want to do is ruin it, because I think it’s a lovely thing,” he said.

Kay announced the new episodes on Children In Need on BBC One on Friday.

He has long been a supporter of the charity, fronting a fund-raising single that went to number one in 2009. This year, he has raised more than £633,000 by auctioning 100 tickets to an intimate live show in Blackpool.

Car Share won two Bafta TV Awards in 2016 – best scripted comedy and best male performance in a comedy programme for Kay.

Follow us on Facebook, on Twitter @BBCNewsEnts, or on Instagram at bbcnewsents. If you have a story suggestion email entertainment.news@bbc.co.uk.

E4y.net Info@e4y.net

Taylor Swift cements her chart reputation with third UK number one album


Media playback is unsupported on your device
Media captionFirst impressions of Taylor Swift’s new album

I’m sorry, Taylor Swift can’t come to the phone right now. Why? Because she’s busy selling thousands of albums.

Reputation has shifted 84,000 copies this week, giving the star the third UK number one album of her career.

It has also become 2017’s fastest-selling record by a female artist, despite being unavailable on streaming services like Spotify and Apple Music.

Swift’s previous number ones are 1989, which sold 90,000 copies in week one, and Red, which managed 61,779 copies.

In her home country, Swift is set to top the Billboard charts after racking up more than a million sales of Reputation – the only record to achieve that milestone this year.

But in the UK, where the star has yet to give any interviews or make any TV appearances, her album has failed to match the commercial performance of Take That and Ed Sheeran (who happens to appear on Swift’s album track End Game).

Overall, Reputation has notched up the sixth-highest opening week sales of the year to date, according to the Official Chart Company.

Biggest first-week UK sales of 2017 so far
Artist Album Week one sales
1) Ed Sheeran ÷ 671,452
2) Rag ‘N’ Bone Man Human 117,101
3) Take That Wonderland 113,211
4) Liam Gallagher As You Were 102,660
5) Sam Smith The Thrill of it All 97,328
6) Taylor Swift Reputation 84,000

Elsewhere in the album chart, Sam Smith’s The Thrill Of It All drops to number two, while Michael Ball & Alfie Boe’s former chart-topper Together Again holds steady at three.

There are new entries for Elton John’s new greatest hits collection Diamonds at five, and Shed Seven’s long-awaited fifth album Instant Pleasures at eight.

In the singles chart, Camilla Cabello tops the rankings for a third week in a row, with Havana staving off a threat from Rita Ora’s latest single Anywhere.

Eminem scores his 28th top 10 single with Walk On Water, which features vocals from Beyonce, while Elbow make their first chart appearance since 2012 with their Beatles cover Golden Slumbers, which soundtracks this year’s John Lewis Christmas advert.

Follow us on Facebook, on Twitter @BBCNewsEnts, or on Instagram at bbcnewsents. If you have a story suggestion email entertainment.news@bbc.co.uk.

E4y.net Info@e4y.net

Illustrator Chris Riddell accuses John Lewis over Christmas ad

John Lewis Christmas adImage copyrightJohn Lewis/PA
Image caption The ad features a monster called Moz and a boy named Joe

John Lewis has been accused of copying a 1986 book by former Children’s Laureate Chris Riddell in its latest Christmas advert.

Writing on social media, the illustrator accused the retail giant of “helping themselves” to his book Mr Underbed in its festive campaign.

Both feature a small boy who discovers a giant cuddly monster under his bed.

John Lewis responded by insisting “the main thrust” of its advert’s story was “utterly different to Chris Riddell’s”.

It said: “The story of a big hairy monster under the bed which keeps a child from sleeping is a universal tale which has been told many times over many years.

“Ours is a Christmas story of friendship and fun between Joe and Moz the Monster, in which Joe receives a night light which helps him get a good night’s sleep.”

Image copyrightAndersen Press
Image caption Mr Underbed was originally published in 1986

Riddell’s story features a small boy whose attempts to find another place for Mr Underbed to sleep lead to the discovery that he shares his bedroom with various other hidden creatures.

Writing on Tumblr on Thursday, Riddell said it was “very generous of John Lewis to devote their Christmas advertising campaign to my 1986 picture book… in this age of shrinking publicity budgets”.

The author and illustrator said he was not interested in “a protracted and arcane legal action” but was merely concerned with having “the issue of accreditation” highlighted.

“Going forward, it’s important that young creative people have their work credited in the proper way,” he told BBC News.

Image copyrightGetty Images
Image caption Riddell’s other books include the award-winning Goth Girl series

The writer conceded that the advert’s plot was “different to the underlying story in Mr Underbed” but still said he felt there were clear parallels.

“What piqued my interest was that the actual premise was remarkably similar,” he said. “There are similarities there and I was just pointing that up.”

His accusations attracted support from fellow author Frank Cottrell-Boyce, who likened John Lewis to “grinches [that] nick something from under the spreading tree of other people’s creativity”.

The John Lewis advert was created by advertising agency adam&eveDDB, is directed by Michel Gondry and features a cover version of The Beatles’ Golden Slumbers by Elbow.

Brighton-based Riddell was the ninth Children’s Laureate, holding the post between 2015 and 2017.

The 55-year-old is the creator of the award-winning Goth Girl novels, a three-time winner of the Kate Greenaway Medal for illustration and The Observer’s political cartoonist.

Follow us on Facebook, on Twitter @BBCNewsEnts, or on Instagram at bbcnewsents. If you have a story suggestion email entertainment.news@bbc.co.uk.

E4y.net Info@e4y.net

Jamie Oliver bans daughter, 14, from posting selfies

Jamie OliverImage copyrightGetty Images

TV chef Jamie Oliver has said he has banned his 14-year-old daughter from sharing selfies, describing them as the unhealthy “sugar of social media”.

“We ban Daisy from doing selfies and mainly she doesn’t, but a couple slip up,” the father-of-five told the Lifestyle News Hound podcast.

Oliver, 42, says he is among the first generation of parents learning to deal with children sharing photos online.

He and wife Jools regularly post family photos on their own Instagram pages.

But Oliver, a prominent campaigner for healthy eating, described teenage girls’ use of Instagram as “frightening”.

‘Pouty lips’

He said: “I’m going to generalise massively here, but from my observation so far, at 13 to 14, the kind of pictures that girls are putting up, just from what I’ve seen, split off 50:50.

“[There’s] normal young girl, and then this weird hybrid of – dare I say it – quite porno sort of luscious kind of pouty lips, sort of pushing boobs out.”

He said he did not “even want to look” at photos of other girls that 14-year-old Daisy had shown him.

“I’m like really? Are their parents not over that like a rash?”

However, Jamie and Jools Oliver are not against Instagram itself – and frequently post snaps of family holidays and days out that they are happy to share with the public.

Skip Instagram post 2 by joolsoliver


A post shared by Jools Oliver (@joolsoliver) on Jul 27, 2017 at 12:35pm PDT

End of Instagram post 2 by joolsoliver

Skip Instagram post 3 by joolsoliver

What big sisters are for 😍 @georgessurfschool @bethdruce 💙

A post shared by Jools Oliver (@joolsoliver) on Aug 17, 2017 at 1:35am PDT

End of Instagram post 3 by joolsoliver

Oliver added: “Because of the ‘like’ thing, it’s kind of almost the sugar of social media.

“It’s a quick way to get some kind of pat on the back or love.”

The NSPCC charity has told parents it is vital to spot inappropriate behaviour online – and has a Net Aware guide to social media sites young people are using.

The charity identified a number of risks for children using Instagram, including strangers following them and people taking screenshots and sharing photos without their permission.

E4y.net Info@e4y.net

Star Wars: Princes William and Harry are stormtroopers in The Last Jedi

Princes Harry and William with John BoyegaImage copyrightGetty Images
Image caption Princes Harry and William with John Boyega and other members of The Last Jedi cast and crew

Princes William and Harry have cameo roles as stormtroopers in the next Star Wars film, actor John Boyega has said.

The royals visited the set of The Last Jedi in April 2016 and were rumoured to have filmed a scene in disguise.

Now Boyega, who plays reformed stormtrooper Finn, has confirmed that he shared a scene with the pair “wrapped in stormtroopers costumes”.

The actor also appeared to confirm that actor Tom Hardy appears beside them, also beneath a face-obscuring helmet.

Boyega’s confirmation came during a taping of a “round table” interview for the Hollywood Reporter. The film website has reported his quotes but has yet to make the audio available.

Image copyrightGetty Images
Image caption The Duke of Cambridge got a hug from Chewbacca while visiting Pinewood Studios

It quoted the British actor as saying it was “a great experience” to shoot the scene with the princes, and that it made for a “strange contrast of a weird family”.

In April, Boyega said “no comment” when asked whether William and Harry would be making cameo appearances. The royals were on the film set in 2016 as part of an official visit to Pinewood Studios.

Take That singer Gary Barlow has also revealed that he has a part in Star Wars: The Last Jedi, which is out in cinemas in December.

The BBC has tried to contact Prince William and Harry’s communications secretary and a spokesperson for Disney, owner of the Star Wars brand.

Follow us on Facebook, on Twitter @BBCNewsEnts, or on Instagram at bbcnewsents. If you have a story suggestion email entertainment.news@bbc.co.uk.

E4y.net Info@e4y.net