Seward has been covering the royal family since the ’80s and has written over 20 books on the subject.
Meghan Markle's ring on her engagement day (left) and during Trooping the Colour (right). Reuters/Getty
“I find it a bit odd Meghan would want to alter a ring that her husband had especially designed for her,” Seward told Fabulous Digital on Tuesday. “A royal engagement ring is a piece of history not a bit of jewelry to be updated when it looks old fashioned.”
According to the outlet, eagle-eyed fans first noticed the ring underwent a makeover when the new mother attended Trooping the Colour alongside her husband, 34. The original ring had a thick gold band with three diamonds — two of which belonged to Harry’s mother, the late Princess Diana of Wales. The seemingly newer version has a thinner, “diamond-studded micro-pave gold band.”
The outlet also shared it’s not been confirmed why or when the ring changed. However, Markle was first spotted without it toward the end of her pregnancy.
Prince Harry, Duke of Sussex and Meghan, Duchess of Sussex ride by carriage down the Mall during Trooping The Colour, the Queen's annual birthday parade, on June 08, 2019 in London, England. (Photo by Samir Hussein/Samir Hussein/WireImage)
During their official engagement interview, Harry revealed he designed the ring himself.
“The ring is obviously yellow gold because that’s her favorite and the main stone itself I sourced from Botswana and the little diamonds either side are from my mother’s jewelry collection, to make sure she’s with us on this crazy journey together,” Harry said at the time.
Buckingham Palace did not immediately respond to Fabulous Digital’s request for comment.
Back in February of this year, Markle raised eyebrows when she was spotted in New York City for her lavish baby shower. A the time, Vanity Fair reported the festivities were organized by Serena Williams, who booked out the penthouse suite of the Upper East Side hotel The Mark.
Meghan Markle was accused of being a social climber before meeting Prince Harry. The Duchess of Sussex allegedly ghosted several of those close to her when she began dating her now-husband.
(Getty)
The tennis pro reportedly covered the cost of the $75,000-a-night room bill. And while Markle was flown out to the U.S. on a private jet, which is estimated to have cost over $100,000, Vanity Fair noted that the plane belongs to one of her close friends in Toronto, who covered the cost as a present for the then-expecting royal.
At the time, Seward told Fox News that the one downside to the baby shower was how high profiled it was. She said Markle could have benefitted from a more top-secret affair to avoid ruthless paparazzi and backlash from the press.
“Baby showers are now regular events here in the UK as they are in the U.S.,” explained Seward. “Not everyone has them but almost. Certainly, the Duchess of Cambridge had one, but it was very private, and we had no idea who attended. I am pretty sure [Princess] Diana didn’t have one, as they were not so fashionable then, but I think Fergie did and the Countess of Wessex. They are, of course, an American invention, which has crept over here in the last 20-30 years. They are not considered in any way vulgar for members of the royal family to enjoy, just a nice way for friends to be able to say congratulations.
Britain's Prince Harry and Meghan, Duchess of Sussex, during a photocall with their newborn son, in St George's Hall at Windsor Castle, Windsor, south England, on May 8, 2019. (Dominic Lipinski/Pool via AP)
“It is a little unfortunate it was so high profile and she was seen flying in and out on a private jet. But it would have been privately funded and nothing to do with the British taxpayer, so I see no reason for her not to have fun and enjoy it all, which she obviously did.”
The 21-year-old makeup mogul and reality star took to Twitter to respond to comments Alex Rodriguez made about their conversation at the ball.
In an interview with Sports Illustrated published Tuesday, the former professional baseball player said he and Jenner were seated at the same table at the Met Gala in May.
"Kylie was talking about Instagram and her lipstick, and how rich she is," he told the sports magazine.
Not true, Jenner shot back on Twitter. She said they -- like nearly everyone else at the time -- were talking about the television show "Game of Thrones," which was nearing its series finale.
A-Rod later seemed to walk back the comment, saying in response to Jenner's tweet that he had been the one to talk about her makeup line.
Forbes magazine named Jenner, 21, the world's youngest self-made billionaire in March, putting her in the No. 23 spot on its 2019 list of America's Richest Self-Made Women. The magazine has estimated that Jenner's company, Kylie Cosmetics, is worth at least $900 million. She owns a 100% stake in the enterprise, Forbes has reported.
The designation, however, stirred up some drama because some argued that having a wealthy, famous family makes it hard for her to be "self-made."
Well, it’s official: The Office is leaving Netflix .
Michael Scott and the rest of Dunder Mifflin will be heading for another streaming service come January 2021.
By far the most popular show on Netflix in 2018, The Office was bound to leave the service eventually — or, at the very least, see some HUGE contract renegotiations.
The show’s departure had been rumored a few times before now, but were quickly debunked. Now word of the end date comes straight from Netflix itself:
We're sad that NBC has decided to take The Office back for its own streaming platform — but members can binge watch the show to their hearts' content ad-free on Netflix until January 2021
NBC backs this up with a press release here, saying that they plan to hold it for a “soon-to-be-launched streaming service” of their own. In other words: ‘yeah, it’s the most popular on-demand show on the Internet, of course we’re taking it back.’ (Or, to paraphrase Michael G. Scott: ‘Sometimes I start a [streaming service] and I don’t even know where it’s going. I just hope I find it along the way.’)
It’s been a good run. The Office has been on a more-or-less endless loop in our household for the past few years (though, admittedly, sometimes that loop restarts a few seasons before the actual end because, well, come on.)
On the upside, you’ve got well over a year to finish watching it, be it for the first time or the 81st. Will its departure make me sign up for yet-another-streaming service? Probably not. Will it make me just buy the whole damned thing outright on iTunes/Google Play/whatever so I can keep streaming it in the background until the end of time? That’s a bit more likely.
I can’t decide whether to end this with a Michael Scott “NOOOOOO” GIF or a Kelly Kapoor “Number one, how dare you?”, so imagine that the sentiment is something of a combination of the two.
Today, police confirmed the death of Desmond “Etika” Amofah, a well-known gaming YouTuber, after discovering him in Manhattan’s East River yesterday evening. Amofah’s body was found two days after police recovered his belongings on the Manhattan Bridge. Last week, he had published a video that appeared like a suicide note.
Amofah, 29, was born in Brooklyn, New York. He began creating videos on YouTube in 2012, and over the course of seven years, amassed a following of over 800,000 dedicated fans across YouTube and Twitch. He referred to them as the JoyCon Boyz, after the Nintendo Switch controllers.
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Playing and commentating on Nintendo games for his fans, Amofah imbued what he loved with electricity and personality. Amofah’s charisma, candor, and ingenuity as a content creator launched him into the constellation of internet stardom.
Amofah began to publicly struggle with mental health last October, when he self-destructed his YouTube channel and, on Reddit, made references to suicidal ideation. In April, police detained Amofah after he threatened suicide in his apartment, they told Kotaku, citing his “psych history.” The incident resulted in Amofah’s admission into a hospital. In May, Amofah had an altercation with a security guard or police officer that led to another hospital visit.
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Last week, Amofah published a video, which YouTube took down, apparently saying goodbye to fans. “It was a fun life,” he said. “I had a great time. It was great. But for it to be cut so short—it’s fucked.” Friends and family had been unable to contact Amofah since before the video was posted.
Reached over the phone today, an NYPD representative offered this comment: “At approximately 18:18 hours [yesterday], police responded to a 9-11 call with a person floating in the water in the vicinity of the South Street Seaport in the confines of the 1st Precinct. Upon arrival, officers discovered an unresponsive, unidentified male at that location. The NYPD harbor removed the male to Pier 16, where EMS pronounced him deceased. The medical examiner will determine the cause of death and the investigation is ongoing.”
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The National Suicide Prevention Hotline in the U.S. is available 24 hours a day at 1-800-273-8255. A list of international suicide hotlines can be found here.
From the first chapter of his mind-bending FX series Legion, creator Noah Hawley (Fargo) aimed to subvert the expectations of comic book culture. Legion took place in the X-Men universe where “mutants” and man mixed and mingled, but gone was the blockbuster bombast. David Haller (Dan Stevens) resembled his super-powered counterpart — a telepath with dissociative identity disorder — but his fight against the Shadow King was psychological and fraught with ideological peril.
Then the end of season 2 happened. Now David is the villain, Syd is on the hunt, Amahl Farouk is working with Division 3, and the dynamics we thought we knew have been subverted once again. Polygon had a chance to talk to Hawley about his creative decisions for season 3, which introduces David’s father, Charles Xavier, grapples with the antihero’s sexual assault against Syd, and will ultimately wrap up the series.
Polygon: What was your creative timeline after Legion season 2 ended last summer? You found time to write and direct a movie, Lucy in the Sky, which bows later this year, and you signed Chris Rock on for Fargo season 4. Somewhere in there you wrote and shot this final season.
Noah Hawley: To be fair to myself, I was meant to have more time. I sat down with both Searchlight and FX together to talk about when I could make Lucy and Legion season 3. The initial conversation was that I would make Lucy and then we would push season 3. That didn’t end up being what happen, so ... it’s a bit of a blur to me. I guess I made season 2 of Legion, went into prep on the movie, then shot the movie. And then the day that we wrapped the movie, I was 12 weeks out on Legion season 3 and had to write all of those scripts while I was editing the film. The film is in its final mix stage right now, even as the show is in its final mix stage. Somewhere in the last three months I did a Fargo writer’s room and have written three scripts.
FX
Season 2 ended on a dark note that essentially turned David into the series’ villain. Did you have a jump on writing season 3 since you knew where the story was headed?
I don’t know how to tell a story that I don’t know how it ends because the ending is what gives the story its meaning. I always had a sense of where the story was going to end, but that doesn’t mean it’s easy to figure out exactly how to get there in a satisfying way. And for a show that hopefully undermines some of the tropes of the genre, it becomes even more important to stick your landing. If you’re not going to have Avengers: Endgame, everybody fighting for 45 minutes, and you want to have an alternate approach on how to end one of these stories, you better have thought it through and delivered something that’s satisfying.
If Avengers: Endgame and most comic book storytelling is about going bigger and bigger, was the idea of Legion always to go smaller and smaller?
Here’s what I would say: if the metaphor for a lot of these movies is war, the only way to resolve conflict is through war, I think we have to say that you have a winner but the loser doesn’t change. Defeat doesn’t equal change, right? Only change equals change. So if you’re looking for a character to make some kind of change or transformation, then winners don’t change because they won. And losers don’t change — they just get angry if they’re not dead. You know what I mean? So you need to find some other way to create real change in your story and characters other than war.
The season 3 premiere is almost entirely focused on a new character, Switch, a Japanese woman with the ability to time travel. How did you wind up starting there?
This story was designed to be a subjective show from David’s point of view, so in the first two seasons, we saw the world through his eyes, and he was our hero. And as season 2 went on, and as it ended, we realized that he was a conflicted and unreliable narrator. So it felt, to me, what we needed to do in season 3 is to step out of his point of view into an objective point of view and then tell the rest of the story from that point of view. In order to do that, you have to actually switch points of view. The idea of starting from a true outsiders vantage felt better to me than simply switching to another character in the show, which I thought might be confusing on some level.
Coming in through an outsider’s eyes allows you to to really see David as a stranger. To go like, oh, this guy’s a bit nuts. He’s a guru. He’s surrounded himself with acolytes who love him unconditionally, most likely because he’s planted that idea in their minds. And he talks about when he was in the psych hospital and there was a monster in his head, and you’re like, this guy’s a bit crazy. Like when we were in his head, it all made sense. She also then sees Syd and the others from an objective point of view. So it’s not that we don’t go back into David’s point of view, or switch to Syd’s or any of the other characters, but it did allow the show to switch its approach.
FX
The show is known for disorienting perspectives, and now you’ve added time travel to the mix, which seems tricky. How did you incorporate that
What’s great is that it does provide you with an opportunity to be playful. Often it’s used in a very serious way, but what I love about how that first hour came together is that, because we live in linear time, we can’t help but assume that the story that we are going to watch is going to unfold in linear time. And it does — we stay with Switch until the moment where something traumatic happens, and then she’s able to travel back. It reminds us! We knew she was a time traveler, but we didn’t really know how that would impact the story. I think that makes her a very dynamic and exciting character because, if he can always change his own path now, how could they ever get ahead of him? Then obviously as the season goes on, we start to play with time in a visceral and structural way, both for the characters and also for the audience.
You wrote a Doctor Doom movie for Fox that may or may not see the light of day. Did you learn anything about writing for a villain on that script that you could apply to David?
It’s always interesting to think about these words, “heroes” and “villains.” There’s a trope that you’re only as good as your villain, which I think is true, but I think it also means that the show or the movie is only good if the villain is dynamic and compelling and interesting and comprehensible. So much of what you face in the escalation of these movies in the last 15 years has been ... you end up with a villain who wants to destroy the world ... why? It never really makes much sense. But you need the scale of the destroying the world in order to justify the scale of the action required to stop him.
What I’m concerned with, in Legion especially, is the nature of everyday evils, the evils that we do to each other. We projected [the drama] onto a global scale, but really it’s about what David does to Syd, and what his parents did to him. That’s where the real evil, those problems, are addressed: in actual human interactions. Doctor Doom is a bit of a different character just because he’s the king of his own country and he wasn’t my way into the story, he’s an enigmatic character, but the movie, if we make it, if it’s done right, there is a compelling story there about this guy who it’s not clear if he’s a villain yet.
What I appreciate about the X-Men is, if you look at Magneto’s character, he’s a guy who can and does walk on both sides of the moral spectrum. Sometimes he’s working on the side of good and sometimes he’s working on the side of evil and that seems more realistic then just the mustache twirling villain.
If Doctor Doom wasn’t the main character of your Doctor Doom movie, who was?
Wouldn’t you like to know? Maybe we’ll make it. He’s not our way into the movie, let’s just put it that way. That doesn’t mean he’s not the star of the movie, just not our way in.
FX
Last season provoked a major reaction from viewers when David mentally “drugged” and sexually assaulted Syd. How does the arc of season 3 respond to that turn, and perhaps the reaction itself?
There’s a quote in the second episode that Syd says to David, which is a Margaret Atwood quote, I believe, where she says, “Men are afraid that women will laugh at them. Women are afraid that men will kill them.” It’s a profoundly unsettling idea.
I guess what I would say in addressing this whole issue is that, I’m very aware that, the comic book audience historically, and the comic movie audience [seeing] family movies, there is a strong faction of young men and boys, 15 and up, 13 and up, who read these stories, who love these stories, and I think it’s important to have a conversation about power, and male power, in our culture. If we don’t talk about these things than then they’re not addressed.
The idea that no means no, and stop means stop, and consent is real, if you make that part of these stories, which are entertaining, certainly, and satisfying, hopefully on an action level and viscerally, now you’re having a real conversation with your audience about things that are important in that matter. I focus on the young men and boys, but it’s also important for all genders to be able to have this conversation and to have it as part of our public discourse and also in our art so that we all understand that might doesn’t make right.
Season 3 introduces us to Charles Xavier, David’s father. What was your approach to writing for that character considering the mainstream viewer’s knowledge of “Professor X”?
I think we have some range, given the fact that Legion exists in a bit of an alternate universe from the X-Men movies, and because it’s a bit of a subjective look from inside the mind of someone who doesn’t really perceive reality the way that everybody else does. If you look at the show, it’s both 1964 and the future. And we don’t know exactly where it is and the world, so it’s a bit of an allegory. I think the conversation about Xavier and bringing it in to the story, which we had to do because of course he’s David’s father, and in our story, David was given away as a baby to protect him. And any adopted child wants to find their birth parents and understand where they came from and why their parents didn’t raise him. So we had to go there.
And then the question was, which Charles Xavier is it? Is he a young man? Is he an older man? I think in the mythology he’s obviously a younger man, and I thought it was interesting that if we could travel through time, that when David faces his father, they’re basically the same age. That was interesting.
In several interviews during season 2, you said that the mathematical feeling of constructing plot drove you to write “Chapter 14,” an episode that imagines different outcomes of David’s life. Did season 3 push you in a similar way, and what were the results?
The sixth hour functions a lot as a standalone, and is definitely a whimsical departure from the story, but also, I think, a really critical way to examine Syd’s character and to talk about something that’s really critical to this show, and to this season specifically, which is about parenting, and how we raise our children. If we raised them with love and the right tools and the right understanding of the world, then they’re going to be healthy people who create a healthy world. And if we don’t, then they’re not.
To the degree that this show has proven to me to be a kid show for adults and an adult show for children of a certain age, I think it’s important to look at the way we raise our kids. Obviously David wasn’t raised properly, and that contributed to his character. And character is everything in a story, so if we have the chance with Syd to really look at her character ... she grew up too fast. She talks in the season about how she had her first drink when she was nine years old. When we saw our in season 1, she talked about how, if anyone can just come into her body and change places with her, then she doesn’t really own her body, and that’s okay.
Well, it’s not okay. We all need a healthy sense of self and then also a sense of the responsibility that we have to others. What I love about this show is that, because it’s a genre show, I can just make those departures and do an episode that is a multiple alternate universe episodes, not for plot reasons, but for theme and character reasons.
Very important final question: the premiere reveals that David now owns a giant pig. Why a giant pig?
I guess the only answer to that is: why not a giant pig?
The highest-browed superhero TV series ended on a low note for both characters and viewers last season. Last night’s Legion season three premiere—the final season—was a sort of recalibration to season one, where David is dealing with several mental health issues, and also everything else in the world is weird as hell, too. It’s a solid start…I just don’t know if that’s enough.
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The problem is, of course, David Haller’s (Dan Stevens) abominable sexual assault of Syd (Rachel Keller) in the season two finale. It remains to be seen how—and how much—Legion will handle this storyline going forward, and if it explores it with honesty, and with its victim as much as its main protagonist. I’m not particularly optimistic in this regard, but it’s certainly plausible that a showrunner of Noah Hawley’s caliber knows what he’s doing here.
The two previous season premieres have been packed with a wide assortment of nonsense bordering on gibberish, some of which turn out to have deeper meanings and ties to the overarching story being told. It rewards careful viewing and patience, so making any real determinations based on 45 minutes of screentime about what’s going to end up mattering by the end is a crap-shoot.
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Previously, it’s helped that David has been such a charismatic character, drawing us to him, and with him through the craziness until it started being rewarding. Now that he’s much less likable—and let’s not forget, he’s also still technically destined to destroy the world—getting through all that deliberate weirdness is more of a drag than it used to be. It also really doesn’t help that when we finally find David, he’s in charge of a cult of pregnant virgins and providing some kind of blue drug juice to keep them all happy. There are about a hundred explanations of what David is actually doing here, and after his heel turn last season, it definitely feels gross. I doubt he’s actually supposed to be something as reprehensible as the situation implies, but it’s a bad call to start him there.
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Honestly, the only reason I’m optimistic here is because of the new character Jia-Yi, who seems perplexed by what she sees, and not disgusted. More importantly, the main reason I cared about David here is because Jia-Yi cared about him. Jia-Yi is a wonderful addition to the cast, played by Lauren Tsai. She’s a newcomer, which gives the whole show that “fresh start” feeling as she slowly meets the characters and learns the narrative.
She’s also a time-traveler, who David lures using very Legion-y instructions (“Follow the yellow bus; don’t trust the mustache.”) because he wants a time traveler to fix things—not his past mistakes with Syd, but with Amahl Farouk (Navid Negahban), who somehow crawled his way into David’s head when he was a baby, and Charles Xavier (who will eventually played by Harry Lloyd, a.k.a. Game of Thrones’ Viserys), David’s dad, who fought and defeated Farouk, but somehow failed to protect his son. That’s the source of his problems, he reasons, seemingly trying to push that “unpleasantness” with Syd under the proverbial rug. Then a Division 3 strike team led by both Farouk and Syd take out everyone in his compound, and Syd shoots down David herself.
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But…time travel.
Jia-Yi creates a door to enter the timestream, which looks like a curving hallway, very on brand for Legion. As a narrator explains time travel rules—don’t come back too soon, don’t go back too far, don’t go back too often to the same time or you’ll wake up the demon—Jia-Yi, now calling herself Switch (no, not that one), after she’s dubbed such by the blissed-out Cisco Ramon of the commune, travels back an hour or so to warn David of the attack. It takes some convincing, but once the attack starts he’s ready...until someone cuts off his arm with a samurai sword and Syd shoots him in the chest again, killing him. So Switch pops into another stream, into...a pleasant garden, where Farouk awaits.
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It’s certainly a look.Photo: FX
It’s mostly a get-to-know-you chat, and Switch escapes, at which point Farouk tells the others at Division 3 that David now has a time traveler pal and will be tougher to catch. Yes, Farouk is now a full-fledged member of the team, alongside Sid, Cary (Bill Irwin) and Kerry (Amber Midthunder), Barry (Hamish Linklater), and a robot that Cary built that looks exactly like the sort of deceased Ptonomy (Jeremie Harris) who is still Mainframe, the computer which is the heart of Division 3. Yes, it seems like a supremely bad idea to keep Farouk on the team, but on the other hand, he’s the only person who can really stand a chance against David’s powers. Also, Farouk did zap everyone with a bit of mind control at the end of last seasons, which is probably still holding firm. He is, after all, a pretty bad dude.
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And yet, so amiable! After his run-in with Switch, it’s still two hours til the attack, and he asks Syd not to go on the mission. Syd explains she’s not in love with David anymore and this is just a job. But Farouk explains, “Revenge is not a job.” He also states, “Love must be turned into another emotion,” which I genuinely love—exactly like matter cannot be destroyed, only changed in form. Syd’s passion has turned to a deep desire to see David dead, but Farouk doesn’t change her mind about the mission, at least. She’s with the team when they land—at which point David teleports his whole commune away, house and all. Switch got to him in time. The end!
There’s enough good stuff in there that I’m looking forward to watching play out over the season, and it’s mainly Jai-Yi-related. How did she develop her time travel powers? Why did her father only visit her via remote TV access? Why does her dad own so many robots, and why does Jia-Yi hate them so much? (Jia-Yi tells Farouk she’s helping David and not him because David is a man and he’s a robot is weird but definitely interesting, so I expect much more robotics going on in the future. Plus, robot Ptonomy!)
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But there are a few others: What was up with Scottish David hanging out in Cult Leader David’s backroom? What’s the deal with the “first” tattoo on Syd’s wrist? And what are the plans for the Blue Drug Juice? Dude was making a lot. I’m definitely intrigued, but I’d be lying if I said I wasn’t nervous. I can easily see this show taking another bad turn, and few more after that. But I certainly hope not, and I think there is some reason to hope. Here’s what Hawley told the Hollywood Reporter about season three:
“‘What the show is following is this cycle of mental illness. We met David [Dan Stevens] who had been at his lowest point and tried to kill himself, then he meets Syd [Rachel Keller] and he gets balanced out. He’s on his meds. He gets out and everything’s going great for a while, and he thinks maybe I don’t need these meds. He goes off the meds and spirals down, which is where we find him now,’ Hawley said. ‘The question now is can he get back to some kind of good place, or is he gone for good?’”
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That’s a good story to tell, and part of recovery is accepting that you’ve hurt the ones you love, and how you need to do your best to atone for that hurt, according to their needs, not yours. That’s a very good story to tell, and I hope it’s the one Legion’s final season is about to tell.
Assorted Musings:
Lenny, the Breakfast Queen, Froster of Flakes, first of her name.
Switch is indeed a Marvel comics mutant. He’s a dude. Anyone who gets upset over Switch getting a gender change for the character’s TV debut depresses me immensely. He also has different powers than this version.
Cary has developed collars that hide people’s minds from David, which is why they were able to get in a sneak attack. I imagine they’ll be wearing those every minute of every day forever. I sure would.
I know Legion has never been afraid to get silly, but I laughed every single time the tactical assault team pulled out a giant hook to grab that guy. Every. Single. Time.
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It was a scaled-down, but just as energetic version of her Enigma Las Vegas residency show, with 90 minutes of music and multiple costume changes.
"Thank you, Apollo Theater! What a historical moment for me, in my life," Gaga told the crowd at her first New York City show in two years, and her first at the Apollo.
She also cursed up a storm, yelling "Are you ready to f-----g party tonight? Are we making history?"
Gaga kicked off the show with "Just Dance," "Poker Face," and "LoveGame." She told the crowd: "Ask the question: What is your pronoun?" before launching into "Million Reasons." Then came "Born This Way." She ended with "Shallow" from "A Star Is Born."
Spotted in the crowd were Michael Douglas and wife Catherine Zeta-Jones, Amy Poehler, Adam Lambert and Clive Davis.
Gaga also gave a shout out to Pride Month and acknowledged the 50th anniversary of the Stonewall Riots.
The show was for SiriusXM subscribers and Pandora listeners to mark SiriusXM and Pandora coming together as one company. It will air in its entirety on SiriusXM Hits 1, Howard Stern's Howard 101 and Pandora.
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