Holly Willoughby: Does not flaunt her boobies. Pic: ITV

Holly Willoughby has insisted that she does not flaunt her boobs to help “lure” TV viewers.

The This Morning presenter told a Sunday newspaper that she does not deliberately highlight her assets.

She told the Sun on Sunday: “When you’re a curvy girl it’s difficult to wear something that doesn’t do that anyway.

“My boobs are my boobs — they’re there. And there’s not much I can do about that.”

“I don’t have the producers telling me what to wear — I’m very anti that.

“I’m not a model so I have to wear what suits me, so I stick to my guns on that one.”

Holly said that she blames Celebrity Juice pal Keith Lemon for turning her boobs into a “national obsession”.

She added: “I kind of blame Keith actually.

“The fact he calls me Willoughbooby has given everyone permission to talk about my boobs constantly.”

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Panicked producers are also concerned that viewing figures have dropped by nearly half.

Just 6.5million tuned in to Saturday’s live show, which was dogged with problems including Jessie J’s microphone failing to work, host Holly Willoughby having a wardrobe malfunction and contestant Becky Hill mouthing a swear word.

A source said: “It’s a shambles. The show is getting half the viewers it should. It needs more drama not wardrobe and technical mishaps.

“There are two shows left to win viewers back. Someone needs to do something radical.”

The results show of The Voice — which was pulling in 11.4million viewers last month — is recorded straight after the live show and broadcast on Sunday to save on production costs.

And yesterday fans were moaning that someone leaked the result on an online forum late on Saturday night which led to it being spread across Twitter.

One disappointed viewer tweeted: “So somebody has just tweeted The Voice results and ruined it.”

This week fans saw the public vote to save Bo Bruce on Team Danny O’Donoghue, leaving Aleks Josh, Max Milner and David Julien facing the chop. Danny chose to save Max.

On Team Jessie J, Vince was saved leaving Jessie to pick one out of Becky, Toni Warne and Cassius Henry to stay. She chose Becky to join Vince in the semi-final.

A source added: “The Voice is really struggling in the ratings and if the results are leaked then what is the point of watching it?”

Rihanna, Gwyneth Paltrow, Chris Martin, Rita Ora, Tinie Tempah, Fazer and
Stella McCartney joined the rapper at the DSTRKT venue, where bubbly flowed
all night.

Jay-Z’s wife Beyonce couldn’t make it but his rap partner Kanye West pitched
up with his missus Kim Kardashian — who flashed a fair bit of cleavage as
she adjusted her top.

Kim also revealed once again who wears the trousers in their relationship.

A source said: “Kanye was loving it on the dancefloor with Jay—Z and spoke at
length to Stella about fashion.

“Kim was all over Kanye at the start, but when he started to mix with other
people she had a stern word and took him away from the party.

“He followed her orders with minimum fuss. He knows the deal.”

Kim has already banned girls from going backstage on Kanye and Jay-Z’s Watch
The Throne tour.

Fellow guests Stella, Gwyneth and Chris had earlier watched the chart-topping
duo’s second night at the O2 Arena.

Gwynnie also went along to the first show on Friday.

But Chris only popped his head into the birthday bash, as Coldplay had a gig
in Madrid yesterday.

The band were supported by Rita, whose single R.I.P is at No1 for a second
week.

She took boyfriend Rob Kardashian to the party, barely leaving his side during
sets by Shortee Blitz and DJ Kayper.

Rihanna got a piece of Rita too, kissing her then posting the snap on Twitter.

The Bajan ended up missing a flight to LA yesterday after admitting she was
still drunk when she woke up — to find a McDonald’s in her bed.

She Tweeted: “You know it was a good night when u wake up n run to your BFF’s
room like… How did I get in my bed? Did I walk? Stumble? Get carried?”

Jay-Z was quick to take advantage of Rihanna’s missed flight.

He sorted her out with a guest slot on the bill for their final O2 gig last
night.

Has to be more enjoyable than an in-flight movie.

:: Jive Talkin’, the first single off the album, became their second American
number one single, and was followed up with Nights on Broadway and then the
album Children of the World, which yielded the hits You Should Be Dancing
and Love So Right.

:: Recorded in Miami, it put the Bee Gees at the forefront of the disco
movement, which their work on the sound track album of the film Saturday
Night Fever (1977) would popularise and define.

:: The trio’s contributions to the Saturday Night Fever soundtrack album
pushed sales past the 40 million mark. It also reigned as the top-selling
album in history until Michael Jackson’s “Thriller – an album that
Jackson acknowledged was inspired by Saturday Night Fever – surpassed it in
the 1980s.

:: Saturday Night Fever and 1979′s Spirits Having Flown combined to yield six
number one hits, making the Bee Gees the only group in pop history to write,
produce and record that many consecutive chart-topping singles.

:: In 1997 the band was inducted into the Rock and Roll Hall of Fame and this
led to a resurgence of interest, which heralded the release of the live
album “One Night Only” (1998), cut at their first American concert
in almost a decade.

:: Their success was not limited to recordings issued under their own name.
Individually and together they’ve written and produced major hits for
artists including Barbra Streisand, Diana Ross, Dolly Parton and Kenny
Rogers, as well as Frankie Valli.

:: The Bee Gees remained active until the death of Maurice in January 2003,
from cardiac arrest during surgery. Following his death, Robin and Barry
decided to cease performing as the Bee Gees

(UKPA)
–
10 hours ago 

The first public screening of the teaser for the highly anticipated new Bond film, Skyfall, will take place at the Cannes Film Festival, it has been announced.

New Bond girl Berenice Marlohe, who plays Severine in the new 007 thriller, will be at the south of France event to unveil the teaser trailer on Monday night.

Original Bond girl Martine Beswick, who starred as Zora in From Russia With Love and as Paula in Thunderball, will also be present to introduce a special screening of From Russia With Love immediately afterwards.

The screening of the trailer and the film will take place as part of the CannesClassics Cinema de la Plage outdoor screening series that is celebrating 50 years of Bond this year.

The series represents the first time the franchise has ever been to the festival.

Other James Bond films on the schedule include Dr No, Diamonds Are Forever, On Her Majesty’s Secret Service and Casino Royale.

Copyright © 2012 The Press Association. All rights reserved.

copyright BBC

Moffat will receive the award at the television BAFTA’s which will take place in London on May 27th. The special award is presented in memory of the playwright Dennis Potter. Other recipients include former Doctor Who show-runner Russell T Davies and Above Suspicion Prime Suspect creator Lynda La Plante.

Blimey! A Special Award! I didn’t even know I was ill! So thrilled by this – especially after two years of Sherlock and Doctor Who, my two favourite shows ever. Of course the work, and the people I get to work with, has always been all the reward I need – a fact I’m very glad that BAFTA has disregarded.” – Steven Moffat

Moffat’s work is being recognised because of his long standing contribution to television across a number of genre’s. In the late 1980s co-created the fondly remembered CITV series Press Gang which starred Julia Sawalha, Dexter Fletcher and Gabrielle Anwar. Moffat also wrote several episodes of the 1990s Dawn French comedy series Murder Most Horrid. He also created the popular BBC Two sitcom Coupling which starred Jack Davenport, Sarah Alexander and Ben Miles.

In 2007 he penned the six-part BBC series Jekyll starring Michelle Ryan, James Nesbit and  Gina Bellman. When Doctor Who was revived in 2005 under Russell T. Davies the writer was chosen to pen a number of episodes such as The Empty Child, The Girl in the Fireplace and Blink. When it was announced that Davies was stepping down as show-runner Steven Moffat was hired as his replacement and has so far over-seen two seasons in charge with his third currently in production.

In 2010 as well as continuing to act as show-runner on Doctor Who Moffat co-created Sherlock with writer Mark Gatiss. So far two seasons have aired with a third in development with a likely air-date of next year depending on the availability of Benedict Cumberbatch and Martin Freeman.

[Written by Dominic Knight]

Griffiths and DeVito look right – which is to say mismatched – as a resurrected (just) vaudeville comedy duo who were once dependent though bickering, and are, in old age, estranged. It’s not just the sheer difference in size – the Mountain and the Molehill – but the gait, the gestures, the speed across the stage, that makes the two men appear to have crash-landed from different planets.

Griffiths presides over his huge bulk like a kindly ruler quelling a potential revolution: even when flustered he moves with a light-footed grace. For much of the time he seems simply to loll, beaming out big expressions – no one shoots up an eyebrow to more quizzical effect – and making a chicly small twist of the wrist look like a major proclamation.

DeVito, a ball of compressed energy, is pugnacious, restless, quick as a whippet with the gag and the business: the opening scene is an extended sequence of his tripping over wires, mistaking a whistling kettle for a ringing phone. They are opposites – Griffiths’s jaw drops and DeVito’s juts – who occasionally chime, and the best parts of Thea Sharrock’s production involve actors collaborating in elaborate exhibitions of ritual hostility. Has any stage ever seen such an extravagant display of spitting: an accidental hazard for both actors and audience is here turned into a feat of aqueous acrobatics. In a ballet of malice, DeVito and Griffiths tweak the furniture in a rehearsal to upstage each other.

What a waste, though, to have these actors in such a tired drama. The first half limps, desperately over-extended; the second (which is enlivened by a crisp and snapping appearance by Johnnie Fiori) has more bite, but its real high points are triumphs of acting over content. You have to be very keen on a nostalgic notion of vaudeville to find the rehearsal of big-boob jokes truly hilarious, and very devoted to the idea that the primary relationship in life is that of a buddy to find The Sunshine Boys other than thin.

AirHotel, an eco-camp installation perched in the woods of Holt Hall by the Belgian theatre collective TimeCircus, gets high billing at the Norfolk and Norwich festival. Yet it’s hard to make the case for this as site-specific theatre: it is really just a site.

Shellsuited, spaced-out, tree-and-people-hugging hosts embrace the audience/visitors and guide them around highly ingenious and often beautiful temporary structures strewn up and under the trees. There’s a skimpy narrative involving a cod-scientific experiment that claims to demonstrate that “sap streams” from trees lead to “nocturnal revelations”. There is a weeny performance element: at midnight the shellsuits hum outside your bedroom and go on humming as they bring cinnamon tea to your bedside. Still, this is really performance as experience: the actors are you.

Dramatic suspense at AirHotel’s Lotus pod in Norfolk. Photograph: Joris Casaer

You can sleep in the Drop, a blue wooden structure tiered like a fairy’s cap which is snug to the ground, and drink in the tiny wooden bar which has a stuffed parrot and backs on to a mini-sized but maxi-hot sauna. The lavatory is its own all-too-special drama, a hut perched on the top of steps, open to the fields at the front, with facetious comments scrawled near the pan and a red light to warn those stumbling through the woods behind that someone is enthroned.

If you’re a theatre critic you are guided to the Lotus pod, hung about five metres high in the trees. It looks like a paper lampshade until, at the command of one of the shellsuits, it obligingly, charmingly opens out, unfurling four red petals: these are the critical bedspaces. You climb up to your bed in the wet and the dark by two (very slippery) ladders, at the top of which you turn to go down another, popping yourself down a hatch into a mildly bouncing sack made of parachute material, wood and aluminium. You slither around with fleece and sleeping bag and sheetbag and pillows. You look at the book in which you are supposed to record your dreams and find that those already inscribed are all in Flemish. You lie down squinting at the porthole in the roof with its view of wet trees (there are no windows). You feel your feet turning to ice. You hear a hornet which has somehow elbowed its way in. And then you realise you are bursting for a pee.

Perhaps if it had been warm. Or at least dry. Comfort breeds indulgence. As it was, after the first intoxicating sight of the woods bearing their unaccustomed fruit, and the admiration of the engineering, AirHotel combined the worst aspects of camping and the theatre: uncomfortable and inescapable.

Here we are again: the American suburbs revealed as a snakepit of sad sex, drunkenness and seething. Lisa D’Amour’s new play, first produced at Chicago’s Steppenwolf theatre, is brisk, yelping and sometimes very funny, but it does not have much new to plant in well-tilled territory. A very skinny, very febrile couple move in next door to an apparently more established, solid pair. No one is quite what they seem and, after much high-pitched keening from the women and some barbecuing swagger from the men, mayhem breaks out.

Detroit begins with domestic mishap – the parasol that won’t stay up, the sliding door that is perpetually stuck, the verruca that causes agony. It ends with disaster and a scene change (Kevin Depinet is the designer) so cleverly drastic that describing it would be to obliterate one of those memorable moments of the evening.

The actors in Austin Pendleton’s production are really sharp: jittery, sly Will Adamsdale; dolefully gangling Clare Dunne; apparently blunt but actually secret-filled Stuart McQuarrie, who has the best joke of the evening, and Justine Mitchell, who disintegrates with finesse. Nevertheless, this is not penetrating enough to earn a place alongside Clybourne Park nor wild enough to disrupt the suburban-play genre. Not so much Detroit as De Trop.

The Independent on Sunday last week got its hands dirty by helping to create one of the centrepieces of the Fringe: the Oranges and Lemons Garden in Shoreditch, east London.

A young designer, Daniel Shea, has transformed the courtyard of St Leonard’s Church – renowned for the Bells of Shoreditch in the nursery rhyme “Oranges and Lemons” – in the edgy east London quarter into an oasis of citrus fruit, bay and olive trees, where passers-by can sink into deckchairs and eat French-Vietnamese food. The church is also the setting for the BBC 2 comedy Rev.

Created with the support of volunteers from the New Hanbury Project, a rehabilitation centre in the grounds of St Leonard’s, the local Women’s Institute branch, Shoreditch Sisters, and Clifton Nurseries, the garden encapsulates the community-inspired spirit of the Fringe.

Mr Shea, 28, said: “Chelsea Flower Show is the greatest show on earth but it’s quite expensive now. It’s also quite inaccessible for a new designer like me who doesn’t have the budget, portfolio or contacts to build a garden, hence the reason I immediately latched on to the Chelsea Fringe idea. It’s a great platform for me to launch a career, and it goes to show what can be achieved.

“I’ve lived and worked in this area for the past five years, and it’s a wonderful thriving hub of a community, very creative and diverse.

“Unfortunately, there is a lack of green space where people can relax and take time out of their hectic lives. Our cities need a balance of hard landscaping and successfully designed green spaces.”

Matthew Wilson, presenter of Radio 4′s Gardener’s Question Time and Channel 4′s The Landscape Man, as well as managing director of Clifton Nurseries, said he was delighted to provide the plants and trees for Mr Shea’s garden.

Mr Wilson added: “I’ve been going to Chelsea Flower Show for 20 years, and I love it, but at the same time there is a need for something a bit edgier and different and more challenging.

“For younger designers like Dan, it is really difficult to get anything off the ground, and if you are going to back something, choose someone who is doing something different and needs some help.

“I like Chelsea, but for a lot of people it means exclusive, and not exclusive in a good way. It prevents people from feeling involved. People feel Chelsea is a bit too posh for them.

“It is not a place for children. One of the great things about the Fringe is that you can bring your kids.”

The majority of the 77 gardens and events are taking place in London, but the festival director, Tim Richardson, hopes to broaden the festival for the second Fringe in 2013.

Read more about the Oranges and Lemons Garden and the broader festival at chelseafringe.com

‘This is the realest shit you’ll ever see’ Kanye tells audience

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Photo: PA

Jay-Z and Kanye West’s ‘Watch The Throne’ tour made its debut in London last night (May 18), marking the first of five consecutive shows at the city’s O2 Arena.

Fans may have been disappointed by the lack of special guests – there was no sign of ‘Watch The Throne’ guest stars Beyoncé, Bon Iver or Frank Ocean. But the two hour, 40-song set dug deep into the pair’s collaborative 2011 album ‘Watch The Throne’ – including ‘No Church In The Wild’, ‘That’s My Bitch’, ‘Welcome To The Jungle’ and ‘Niggas In Paris’ – with long detours into their respective solo catalogues.

An elaborate stage set saw the pair backed by fiery pyrotechnics, or facing each other over the heads of the audience on huge illuminated square platforms that rose and fell.

Kanye West performed a lengthy solo segment that drew heavily on the Autotune stylings of his 2008 album ’808s Heartbreak’, while Jay-Z seemed to pay tribute to his daughter, Blue Ivy Carter, on ‘New Day’, dedicating it to “those thinking of their loved ones tonight” and encouraging “everyone in the house who takes care of their kids, make some noise!”

The set also took a political turn, as the pair turned their back to the audience and faced images of the Ku Klux Klan, images of black American slaves and footage of the aftermath of Hurricane Katrina to the sound of Louis Armstrong’s ‘What A Wonderful World’.

The two-hour set concluded with not one but four runs through ‘Watch The Throne’ single ‘Niggas In Paris’, with West proclaiming: “This is the realest shit you’ll ever see!”

The Watch The Throne tour plays at London’s O2 Arena until next Tuesday (May 22).

Jay-Z and Kanye West played:

‘H.A.M’
‘Who Gon’ Stop Me’
‘Otis’
‘Welcome To The Jungle’
‘Gotta Have It’
‘Where I’m From’
‘Jigga What, Jigga Who’
‘Can’t Tell Me Nothing’
‘All Falls Down’
‘Flashing Lights’
‘Jesus Walks’
‘Self Conscious’
‘Diamonds From Sierra Leone’
‘Public Service Announcement (Interlude)’
‘U Don’t Know’
‘Run This Town’
‘Monster’
‘Power/Power Remix’
‘Made in America’
‘New Day’
‘Hard Knock Life’
‘Izzo (HOVA)’
‘Empire State Of Mind’
‘Runaway’
‘Heartless’
‘Stronger’
‘On To The Next One’
‘Dirt Off Your Shoulder’
‘I Just Wanna Love U (Give It To Me)’
‘That’s My Bitch’
‘Good Life’
‘Touch The Sky’
‘All Of The Lights’
‘Big Pimpin”
‘Gold Digger’
’99 Problems’
‘What A Wonderful World’
‘No Church In The Wild’
‘Lift Off (Interlude)’
‘Niggas In Paris’

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