The former ITV presenter’s restaurant chain was in deep trouble (Picture: Ken McKay/ITV/REX/Shutterstock) Gino D’Acampo’s restaurant chain was saved from the brink of collapse after falling into £7million worth of debt. The scandal-ridden TV chef was booted from ITV programming earlier this year after a […]
TVIt’s out with the old and in with the new in the world of Harry Potter (Credits: Reuters) Keen-eyed muggles have spotted a problem with the cast of the upcoming Harry Potter TV show, but is there really an issue? Over the last few weeks, […]
TVAmanda Seyfried has claimed she is owed money for Mean Girls (Picture: Paramount/Kobal/Shutterstock) Amanda Seyfried has claimed that Paramount Pictures owes her money for using her likeness in Mean Girls merchandise. Mean Girls was a 2004 phenomenon written by Tina Fey and starring the likes […]
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With so much darkness in the world right now, David Attenborough is here to restore your hope for the planet in the emotional new trailer for his latest documentary, Ocean.
Coinciding with the broadcaster and biologist’s 99th birthday, Ocean with David Attenborough sees the star partnering with National Geographic for the first time to shine a light on the health of the world’s oceans.
The Blue Planet creator is set to tell ‘the untold story of the ocean’, according to a synopsis, with the feature-length documentary coming to cinemas across the world on May 8.
To tease the breathtaking scenes and jaw-dropping findings to come, a trailer has been released that is sure to leave viewers in tears.
‘After living on this planet for almost 100 years on this planet, I now understand that the most important place on Earth is not on land, but at sea,’ the documentarian says, standing on a beach with the camera panning over a vast ocean scene.
The two-minute-long trailer shows breathtaking clips of pods of whales embarking on arduous voyages, baby birds nestled under their mothers, and colourful creatures great and small from the depths of the sea.
‘Through the course of my life, we have been on a voyage of ocean discovery,’ Attenborough continues in narration.
‘Only now are we understanding what it means for the future of our world. What we have found could change everything.
‘For once you’ve truly seen the sea, you’ll never look at Earth in the same way again.’
Attenborough goes on to describe the ocean as ‘Earth’s support system’ and ‘our greatest asset against climate change’, stressing the importance of environmental and conservational efforts to maintain its delicate ecosystem.
‘We are draining the life from our ocean,’ he says, as the trailer cuts to scenes of vast boats and marine life caught in nets.
‘Today, it is in such poor health I would find it hard not to lose hope were it not for the most remarkable discovery of all,’ the Planet Earth creator teases.
‘The ocean can recover faster than we ever imagined.’
Attenborough goes on to explain how the sea can ‘bounce back to life’, signalling hope for those who may feel bogged down by the constant bombardment of bad news lately.
He describes this as a ‘lifeline’, and speculates that the ocean may not just recover, but ‘thrive beyond anything anyone alive has ever seen.’
‘If we save the sea, we save our world,’ Attenborough says, adding ‘After a lifetime of filming our planet, I’m sure nothing is more important.’
A synopsis for Ocean reads: ‘In the film, the celebrated broadcaster and filmmaker reveals how his lifetime has coincided with the great age of ocean discovery.
‘Through spectacular sequences featuring coral reefs, kelp forests and the open ocean, Attenborough shares why a healthy ocean keeps the entire planet stable and flourishing.’
It continues: ‘Stunning, immersive cinematography showcases the wonder of life under the seas and exposes the realities and challenges facing our ocean as never-before-seen, from destructive fishing techniques to mass coral reef bleaching.
‘Yet the story is one of optimism, with Attenborough pointing to inspirational stories from around the world to deliver his greatest message: the ocean can recover to a glory beyond anything anyone alive has ever seen.’
Following its theatrical run, Ocean with David Attenborough will stream via National Geographic, Disney+, and Hulu later this year.
Ocean with David Attenborough comes to cinemas on May 8. Tickets are available to buy now from oceanfilm.net
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What are you wearing to Coachella? It’s one of the most important questions you’ll hear or answer in early April as music fans, musicians and celebrities head to the desert for two weekends of unbridled fun. Lucky for us — and you — we spoke […]
MusicWhat are you wearing to Coachella?
It’s one of the most important questions you’ll hear or answer in early April as music fans, musicians and celebrities head to the desert for two weekends of unbridled fun. Lucky for us — and you — we spoke to Dizzy Fae, who gave us the ins and outs of what to wear this festival season and even gave us a new phrase — ghost outfit — to define clothing that really makes you embody your most badass energy.
We met up with the singer in the Lower East Side to hear her new single live as she celebrated her fresh music and newest looks from her collab with clothing brand CIDER. “I’m so excited for [my new single] ‘My Baby Loves Me,'” Fae tells PAPER. “I’m so excited because I’m very big on self-care and self-love and unlearning things and learning things again and breaking my foundation down to build it back up. I’m a habit girlie. And that song really represents just me having the most self-care and self-love for myself.”
After suffering the loss of her mother and rebuilding her foundation both emotionally and creatively, she’s confident and ready to share new music again, telling us, “Can’t nobody tell me about myself but me.” Below, check out our interview with Dizzy Fae and get her advice for personal style for this festival season and beyond.
How are you feeling? Are you excited about tonight?
Yeah, I’m so excited. This has been such a breeze.
The timing’s good?
The timing’s great. The timing’s perfect.
I know you’re giving fans a sneak peek of your new song tonight. You mentioned this has been a long time coming — can you tell us a bit about the single?
I’m so excited because I’m very big on self-care and self-love and unlearning things and learning things again and breaking my foundation down to build it back up. I’m a habit girlie. And “My Baby Loves Me” really represents just me having the most self-care and self-love for myself like “I’m a baby and I love me!” It feels almost like a chant and a call out for anyone else who needs that type of love for themselves and feels the same way.
I love that. How do you hope your fans feel when they get to hear it either live tonight or tomorrow when it officially drops?
I hope people feel like it amplifies their aura. I hope people feel like it amplifies their energy. I hope people feel just empowered when they listen to my music in general.
You also mentioned you’d been doing a lot of writing and now you’re ready to be back in front of audiences. What was going on mentally and emotionally from that point up until now?
I mean I was really in a space of rebuilding my foundation, understanding what I stand on. So that when I’m ready to walk, my ground is solid. And so I’m in a space where my ground is extremely solid. I know who I am. You know the trials and tribulations that life brings to you. Grieving has been such a big thing for me, but it has allowed me space and opportunity to, again, build that ground, and it’s so strong. Can’t nobody tell me about myself but me.
For our readers and for me, who would love to hear your thoughts on this, what are some of those practices or habits that helped you build that foundation to get to a place where you’re like, “Ok, sturdy ground, we can walk on this again?”
I think the most important thing was understanding myself from a bird’s eye view. Seeing how I move every day and always making sure that I ask myself, “Is this my most authentic self?” when I’m doing something. Really understanding my energy, really understanding my body and honestly, believe it or not, a lot of it comes from fashion for me. I’m very into being my most authentic self. I have this thing called “ghost outfit.” I wear every outfit as if I were going to die today. If I were to die today, I’m wearing this outfit for eternity. Am I cool with that? So that helps me a lot. It’s really the bird’s eye view. “Am I happy doing this? Or am I not?” I can’t remember her name but she’s like “Does this bring me joy? Does it not?”
The woman that cleans and is like “Does this spark joy?”
Yes! “Does this spark joy or not?” I do that with everything in my life. And it’s allowed me to really figure out my foundation and who I am and who I’m doing this for.
@papermagazine It’s giving renaissance fairytale 🪩 we caught up with @Dizzy Fae <3 on the lower east side about her new single “my baby loves me” and more on the way 💋
Love “ghost outfit.” Let’s talk fashion. Obviously you have immaculate style and taste, what has been the thing that’s inspiring you right now?
I think what inspires me the most is, first and foremost, myself. I love to see how I can bring myself to anything. It doesn’t matter what I’m in, can I bring my authentic self? So right now, I’m wearing a CIDER blazer and then I had them send me a bunch of different jewelry also from the collection. But I put a lot of different jewelry and stuff on the jacket. It really feels authentic to me. I just try to figure out how I can put Dizzy Fae in everything I do.
I love that. So let’s talk about CIDER. You’re clearly instilling your energy into their clothing line. What was it about them that excited you and made you want to be a part of it?
CIDER really allowed me to be my most authentic self, which was so exciting for me. I can be a little edgy and I feel like everything that I do fits with what they’re doing. I’m the face of the festival campaign and I’m an artist, so I’m like ok y’all ate that. CIDER ate that. But honestly, I feel like me and the brand go hand-in-hand when it comes to making sure we can just be our most authentic selves.
Not too long from now, Coachella is happening. It’s gonna be sunny; we’re gonna be in the desert. What are your tips or advice for people, like me, who are getting ready for festival season? How do you find those looks?
That’s a great question. I would say, first and foremost, what can you dance in? Something that’s suitable for whenever the weather changes. Can you bring a bag that you could put a rain jacket in? Or can you bring a bag that can hold something if it starts raining. Usually, it’s pretty hot, so is this going to be sweat-friendly? Sweat friendly is serious! And then, I would say, whatever makes you feel sexy. Whatever makes you feel good and what makes you feel like you can be the best version of yourself. Those are my tips.
I love it. So what are you most excited about next? I know you mentioned that you have a backlog of songs. You’re going to be performing more. What’s the thing that you’re looking forward to the most?
I’m just excited to release music. Release videos. Release more of Dizzy Fae. I’ve been holding on for so long to build that steady walk on the ground. I feel like I’m in the space where the music I’m about to put out is really going to change my life.
Photos courtesy of CIDER/ BFA
WWE has slammed its way into Clash of Clans and Cody Rhodes looks very different (Picture: Supercell) Cody Rhodes is leading the charge for WWE in Clash of Clans with a very different look. The current Undisputed WWE Champion, who will defend his title against […]
GamingCody Rhodes is leading the charge for WWE in Clash of Clans with a very different look.
The current Undisputed WWE Champion, who will defend his title against John Cena in the main event of WrestleMania 41 later this month, is one of eight wrestling superstars reimagined as iconic characters in Supercell’s hit game.
Although his WWE look is iconic, the typically clean cut American Nightmare has become a bearded Barbarian King for his in-game avatar.
‘I’ve spent years building my legacy in WWE, but it’s time for fans to know where I’ve landed most of my victories, in Clash of Clans,’ said the avid gamer.
‘As OverlordRhodes, I don’t defend, I conquer. Villages will fall, and any opposition will be crushed under my command. This isn’t about playing fair in the ring, it’s about ruling the battlefield.
‘Just like at WrestleMania 41, I’m stepping in with one goal – absolute victory. I’ve waited a long time for this moment, and now that I’ve arrived, there’s no stopping me.’
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The partnership will also see The Undertaker (Grand Warden), Rhea Ripley (Archer Queen), Bianca Belair (Royal Champion), Rey Mysterio (Minion Prince), Kane (P.E.K.K.A.), Becky Lynch (Valkyrie) and Jey Uso (Thrower) get their own Clash of Clans characters.
Fans can also enjoy WWE themed environments, cosmetics, Easter Eggs and gameplay events.
Given Cody’s near-decade run playing the game under his OverlordRhodes handle, it was a no-brainer to get him involved.
However, it’s a far cry from his heroic persona in the wrestling ring, as his gameplay style is built more on ‘villainous destruction and domination’.
Sara Bach, Head of Live Games at Supercell, said: ‘When the game team found out Cody Rhodes and other Superstars were long-time Clash of Clans fans, they didn’t hesitate to reach out to WWE.’
The studio has teased a partnership ‘on a scale we’ve never created before’, with a special Clash of Clans-sponsored match coming at WrestleMania 41 in Las Vegas.
Thankfully for fans, Cody’s in-game heel turn doesn’t look like it’ll be happening on WWE television any time soon.
Instead, he’ll be battling John Cena after the wrestler turned Hollywood megastar turned his back on the fans for the first time in over two decades.
Elsewhere at WrestleMania, Charlotte Flair will battle WWE Women’s World Champion Tiffany Stratton, and Jey Uso faces GUNTHER for the World Heavyweight Champion.
The Clash of Clans x WWE partnership is available now. WrestleMania 41 airs live on Netflix on April 19 and 20.
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Probably not approved by Pagan Min (Ubisoft) Ubisoft has quietly rolled out a bizarre update to the PC version of Far Cry 4, which appears to have covered up some of the characters. Censorship in video games has always been a thorny issue, especially as […]
GamingUbisoft has quietly rolled out a bizarre update to the PC version of Far Cry 4, which appears to have covered up some of the characters.
Censorship in video games has always been a thorny issue, especially as the dominance of the US market means extreme gore is usually always okay and yet the slightest hint of sex or nudity is discouraged.
A particularly strange case has now cropped up with a 10 year old game; the PC version of Far Cry 4, which was originally released in 2014, received an update on April 3, 2025 that appears to have censored certain characters – with no explanation as to why.
Ubisoft hasn’t released any patch notes to acknowledge the changes but the sizeable update has been recorded on SteamDB. While it’s unclear what exactly has been altered, players have started reporting some of the changes on Reddit.
As posted in the Far Cry thread, a previously topless woman at the Shanath Arena is now wearing a bra following the update. A Reddit user has also claimed protagonist Ajay ‘is no longer naked’ during the Shanath Arena mission and now wears a loincloth, posting a screenshot as proof.
The sequence with Ajay, where a ‘man’s genitals are briefly exposed’ is highlighted in Far Cry 4’s ESRB rating, so it’s unclear why it has been changed nearly 11 years later, and only on PC. We’ve reached out to Ubisoft for comment.
While any belated censorship is odd, it feels particularly strange in the case of Far Cry 4. The game’s predecessor, Far Cry 3, features an actual sex scene between protagonist Jason and Rakyat tribal leader Citra, where her bare breasts are covered in blood, and yet that hasn’t been changed.
The last instalment in the series was 2021’s Far Cry 6, and Ubisoft has yet to officially announce a follow-up. Two separate Far Cry games were believed to be in the works at one point, between a mainline sequel (presumably Far Cry 7) and a multiplayer spin-off, but the latter was reportedly cancelled this year.
As announced last month, the Far Cry franchise is now part of a separate subsidiary co-owned by Ubisoft and Tencent. This same company also houses Ubisoft’s other big franchises, such as Assassin’s Creed and Tom Clancy’s Rainbow Six.
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Mike Flanagan’s chilling 2013 horror Oculus has arrived on Amazon Prime Video (Picture: John Estes/THA/REX/Shutterstock) Before finding success with his smash hit Netflix horror shows and his terrifying big-screen hits, Mike Flanagan released the ‘underrated’ chiller Oculus. Released in 2013, Oculus is told through two […]
FilmBefore finding success with his smash hit Netflix horror shows and his terrifying big-screen hits, Mike Flanagan released the ‘underrated’ chiller Oculus.
Released in 2013, Oculus is told through two inter-woven timelines in which siblings Kaylie (Karen Gillan/Annalise Basso) and Tim (Brenton Thwaites/Garrett Ryan) confront a supernatural force that tore their family apart years earlier.
They are convinced an antique mirror is the source of the misfortune and deaths their family has faced for decades, with Tim reconnecting with Kaylie after a stay in a mental institution to discuss the traumatic events of their childhood.
The ‘visceral’ film has finally arrived on Amazon Prime Video to stream from the comfort of your own home – if you dare.
Oculus premiered at the Toronto International Film Festival in 2012, receiving a theatrical release shortly after.
It garnered overwhelmingly positive reviews, currently sitting at a 75% rating on Rotten Tomatoes with the critics’ consensus reading: ‘With an emphasis on dread over gore and an ending that leaves the door wide open for sequels, Oculus could be just the first spine-tingling chapter in a new franchise for discerning horror fans.’
In their review, Sci-Fi Now said: ‘By rooting its clever narrative structure in a tragic story, Mike has created a horror that pulls on the heartstrings as often as it grabs you by the throat… Nail-biting, mind-bending, and very, very scary, Oculus is a must-see.’
Los Angeles Times wrote: ‘Less concerned with fake shocks and show-me violence than the grimly calibrated rotting of personalities, Oculus is one of the more intelligently nasty horror films in recent memory.’
Washington Post compared it to another ground-breaking horror film, adding ‘Oculus director Mike Flanagan has crafted a satisfyingly old-fashioned ghost story that, in its evocation of shivery dread, is the most unnerving poltergeist picture since The Conjuring.’
IndieWire commented: ‘Director Mike Flanagan turns the fragile nature of consciousness into a better fear tactic than any visceral shocks could possibly achieve.’
Meanwhile, film expert Mark Kermode said in his Observer review: ‘This unpretentiously efficient affair handles its dual-narrative past/present intercuts with aplomb and keeps a couple of nicely nasty tricks up its sleeve.’
Oculus was the second feature film from revered horror director Flanagan, following his 2011 debut Absentia.
He has since gone on to direct Hush, Ouija: Origin of Evil, and Stephen King adaptations of Gerald’s Game and Doctor Sleep.
Flanagan is set to release The Life of Chuck, based on the Stephen King novella of the same name, on August 22 starring Tom Hiddleston, Matthew Lillard, Mark Hamill, and Oculus star Gillan.
On Netflix, he was the creator of the award-winning horror series The Haunting of Hill House, The Haunting of Bly Manor, Midnight Mass, The Midnight Club, and The Fall of the House of Usher.
The director is also attached to an upcoming remake of Stephen King’s Carrie as well as his take on The Exorcist in a sequel to David Gordon Green’s 2023 film The Exorcist: Believer.
Oculus is available to stream now on Amazon Prime Video.
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Set to launch on June 5 (Nintendo) SHOPPING – Contains affiliated content. Products featured in this Metro article are selected by our shopping writers. If you make a purchase using links on this page, Metro.co.uk will earn an affiliate commission. Click here for more information. […]
GamingSHOPPING – Contains affiliated content. Products featured in this Metro article are selected by our shopping writers. If you make a purchase using links on this page, Metro.co.uk will earn an affiliate commission. Click here for more information.
More UK retailers have started Nintendo Switch 2 pre-orders, but there’s signs they’re already starting to run out of stock.
Nintendo officially revealed all the major details about the Switch 2 this week, including the console’s price, release date, and launch line-up.
The Switch 2 is set to launch in two variants on June 5, 2025, with the console alone priced at £395.99, while a bundle with Mario Kart World costs £429.99. The latter will save you a whopping £32.99 in total if you were planning to buy Mario Kart World digitally separately (£66.99), and a huge £40.99 from the cost of the physical version (£74.99).
While Nintendo isn’t rolling out pre-orders for the Switch 2 until April 8, several retailers have already put listings up in advance.
Argos, Smyths, and Very have gone live with pre-orders and have sold out their initial stock. It’s worth checking back on the pages below, however, as they might get more in the future.
As of today (April 4), Amazon has started sending out pre-order invites to those who registered interest in the Switch 2. You can still register for a pre-order invite for the console and the Mario Kart World bundle at the links below.
You can pre-order at Currys too, albeit only in-stores at the time of writing. You can find your nearest store on the retailer’s website.
EE.co.uk has also set pre-orders live, with payment taken once you place your order.
Pre-orders through the My Nintendo Store will be available from Tuesday, April 8 in the UK and Europe. This, however, will only be via invitation at first, and you’ll have to meet certain criteria in order to be eligible.
Invites will be prioritised to those who have been a subscriber to Nintendo Switch Online for at least two years, consecutively, by March 31, 2025, with an active membership on the day that the pre-order is placed.
If you have a family membership, the person who purchased the subscription will only be eligible for an invite.
Whether you receive an invite will also depend on your overall play time on Switch games, along with whether you opted to share usage information and receive promotional emails from Nintendo.
It’s too late to bump up your chances for the first wave of invites, as the eligibility is based on data as of March 31, 2025, but Nintendo states the selection criteria ‘may be lowered’ in the future.
‘Over time, the selection criteria thresholds may be lowered and more people could be invited to pre-order a Nintendo Switch 2 console. Throughout, we will remain focussed on prioritising the most dedicated Nintendo Switch players (while stocks last),’ a notice on Nintendo’s website reads.
Invites to pre-order will be sent to the email associated with your Nintendo Account, with the invitation valid for 72 hours.
Pre-orders for Nintendo Switch 2 digital games, upgrade packs, and amiibo will be available on My Nintendo Store from April 24, 2025.
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It’s not OLED, but it’s still impressive (DIMITAR DILKOFF/AFP via Getty Images) Nvidia has confirmed details about the Switch 2’s capabilities, including the use of DLSS and ray-tracing technology. Nintendo highlighted a surprising amount of technical specifications during its Switch 2 Direct, but it still […]
GamingNvidia has confirmed details about the Switch 2’s capabilities, including the use of DLSS and ray-tracing technology.
Nintendo highlighted a surprising amount of technical specifications during its Switch 2 Direct, but it still left some hanging questions around the console’s capabilities.
The company posted detailed specifications on its official website after the presentation, with the Switch 2 possessing a larger 7.9 inch LCD screen, HDR10 support, a variable refresh rate up to 120Hz, 256GB of storage, and a battery life comparable to the original console.
One area Nintendo is being vague about though, is the power of the Switch 2’s CPU/GPU, which it describes vaguely on its website as being a ‘custom processor made by Nvidia’. However, we now have a better idea thanks to a post from Nvidia itself.
In a blog on Nvidia’s website, it states the Switch 2’s custom-made processor features an Nvidia GPU ‘with dedicated RT Cores and Tensor Cores’ for ‘AI-driven enhancements’.
According to Nvidia, the Tensor Cores ‘boost AI-powered graphics while keeping power consumption efficient’. The RT Cores, meanwhile, ‘bring real-time ray tracing’ and ‘enhance in-game realism with dynamic lighting’.
The post confirms the Switch 2 utilises Deep Learning Super Sampling (DLSS), a technology which uses AI to upscale images from lower to higher resolutions. Nintendo also confirmed this in an interview with IGN, although it was somewhat vague about the minutiae behind it.
Elsewhere, Nvidia boldly claimed the Switch 2 has ’10x the graphics performance of the Nintendo Switch’ overall, boasting ‘smoother gameplay and sharper visuals’. While this sounds impressive, the Switch 2’s actual performance is likely less of a leap – and highly dependent on the game you’re playing.
For example, Metroid Prime 4: Beyond supports 4K and 60fps with HDR in quality mode when docked, and 1080p/120fps with HDR in performance. Cyberpunk 2077, meanwhile, is targeting 30-40fps and 1080p docked on Switch 2, while reports suggest Hogwarts Legacy is similarly not quite up to par with the PlayStation 5 and Xbox Series X versions.
As a lower-priced hybrid system, the Switch 2 was never going to match the PlayStation 5 and Xbox Series X in terms of power, but the system is more impressive on a technical level than many anticipated. In some areas, like its handheld screen resolution and variable refresh rate support, it surpasses Valve’s Steam Deck.
More details about the Switch 2’s specifications will likely emerge as we get closer to launch, with the console set to arrive on June 5, 2025.
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‘It’s giving spring-summer asshole from the waist down, and then autumn-winter asshole from the waist up’ – this is Will Poulter describing his character in new film Death of a Unicorn.
The 32-year-old Brit stars alongside Paul Rudd, Jenna Ortega, Téa Leoni and Richard E. Grant in the entertainingly gory and silly horror-comedy from A24, which has drawn comparisons with Jurassic Park: namely, foolish humans discover an extinct (or in this case, mythological) creature, get drunk on the possibilities of its power and it all ends very badly – and bloodily – indeed.
Poulter plays one of the greedy humans, Shepard, son to cancer-stricken pharmaceutical magnate Odell Leopold (Grant) and his very expensive wife Belinda (Leoni), who welcome Odell’s employee Elliot Kintner (Rudd) and his distant daughter Ridley (Ortega) to their retreat in the middle of a donated nature reserve.
But on the way, Elliot accidentally hits a unicorn foal with his car, panics and hides it in the boot. When a hoof later smashes through the window and a horn pierces the roof, it’s too late for him to hide the truth anymore, especially when the animal’s incredible therapeutic properties are subsequently revealed.
While Ridley worries over the morality of what’s happening when a research team descends on the property to further probe at the unicorn, and Elliot is desperate to go along with things to keep his employer happy, the Leopolds are united in their goal: exploiting this find for maximum profit.
Poulter appears to have the most fun of all as Shepard, a man who wears chino shorts paired with polo-necks, talks about his ‘diversified portfolio of entrepreneurial activities’ and takes to sniffing powdered unicorn horn – we all know someone like him.
‘It’s one of the funniest scripts I’ve ever read. Alex [Scharfman, writer-director] created so many brilliant characters, and I just sort of adored what an idiot Shep was,’ Poulter says.
‘It was really fun to play a character who is totally lacking in self-awareness, both when it comes to getting dressed in the morning, and also with virtually everything that comes out of his mouth. He’s a full-blown idiot.’
I ask if he perhaps had any specific inspirations for the part, but the Midsommar actor doesn’t name any names, suggesting that ‘no one’s actually that much of an idiot, I don’t think’.
‘He’s an amalgam of lots of different people – and I suppose anytime I’ve met someone obnoxious, lacking in self-awareness and hyper-privileged, I’ve been keeping a mental notebook.’
Obviously, a big draw of Death of a Unicorn, the debut feature from Scharfman, is its star-studded cast, whose characters bounce off each other in the Leopolds’ lavish home, building to an excited frenzy as they become more and more intoxicated by the bountiful opportunities this baby unicorn represents.
‘I loved the one shot that we did in the living room, where we’re all making plans to sort of harness the power of the unicorn,’ Poulter recalls of his best memories on set. ‘A lot of the scenes are a lot longer than what you see on screen because there was so much improvisation and fun stuff added.’
Rudd was the main culprit here – ‘just little silly things, like saying “danke” to me kind of caught me by surprise in the hot tub scene’.
He continues: ‘There are multiple Paul moments throughout the film, [such as] when we’re getting that projector demonstration from Stephen Park’s character [scientist Dr Song], and Paul is there sort of justifying his question before he asks it, about being the guy who made the discovery – it was just so, so funny. And every time he did it, he added a new bit; it was hard to get through the scene sometimes.’
Poulter is also a fan of what is likely to be one of the movie’s most oft-quoted lines, where a flustered Belinda comments on the ‘girthsome’ nature of the unicorn’s horn during a dining scene.
‘She [Leoni] ate like an entire hedgerow of blackberries as well, doing it, and figs – and she was eating throughout that whole scene. It was very impressive.’
The Maze Runner actor calls himself ‘a bit of a scaredy cat’ when it comes to horror films – ‘I like acting in them, I just don’t like watching them much’ – but he has seen the final cut of Death of a Unicorn in all its gruesome glory (there’s a lot of impalements) and coped.
‘As gory as it is, I think the laughs prove to be a good antidote to any of that scary stuff. It’s the spoonful of sugar along with the medicine,’ he suggests. And when I describe an especially grisly bit of the film that had me laughing in shock, Poulter is encouraging.
‘Don’t judge yourself. Be a Leopold about it!’ he says, recommending audiences embrace the approach of his entertaining, if grotesque, onscreen family – and that includes looking out for any inspired group costumes based on the Leopolds come Halloween. (A tip for would-be Sheps: ‘If he’s not in shorts, he’s in a bathrobe: the shins are always out.’)
Poulter has already starred opposite Leonardo DiCaprio in The Revenant, done Marvel with Guardians of the Galaxy Vol. 3 as Adam Warlock and had his early breakthroughs with 2008’s Son of Rambow and, later, The Chronicles of Narnia.
Oh yes, and he kissed Jennifer Aniston in 2013 black comedy We’re the Millers (still the thing he’s most recognised from, Poulter confirms).
However, it feels like 2025 is another major moment for him thanks to the close releases of this film, his other A24 project – Iraq drama Warfare (alongside Kit Connor, Joseph Quinn and Riverdale’s Charles Melton) – and his return to Charlie Brooker’s groundbreaking TV anthology Black Mirror for Netflix.
As he stands at this juncture at his career, what’s the lesson he’ll file away as having learned from Death of a Unicorn? What did he discover?
‘I think it was the fact that you can have fun, have a real laugh and enjoy yourself and let yourself go and be free, and the results still be funny,’ he puts forward.
‘There’s this slightly old-hat idea that if it’s funny on set and you’re having fun doing it, it’s probably not going to be funny in reality. It’s just not true – and that was debunked by Paul Rudd himself and then further by the experience.’
I take a moment to praise Poulter for his openness when it comes to talking about mental health; he’s just recently opened up on his experience with OCD.
He’s thankful to friends and family offering him support and the chance to talk about it regularly, ‘so I’ve naturally been less affected by the stigmatisation of the subject’.
In terms of how he’d like to see things change in this regard in order to support young actors when entering an industry often perceived as toxic, as he did, he’s keen that we continue to ‘address it as a subject matter and make projects about it’.
‘The only way to challenge stigmatisation is to destigmatise it and talk about it and try and help folks feel less alone. So if I can do that for my work, I’d love it.’
Poulter has already made a name for himself by switching between broad comedies and more serious fare and I ask if he navigates between these decisions – between light and dark – with his mental health as a determining factor as well?
‘I definitely try and explore a range, if I can. That keeps it interesting for me, and I hope it keeps it interesting for audiences. But yes, I think I try and just do the healthiest mix I possibly can manage,’ he responds.
To lighten the mood a little at the end, I ask a few more quick-fire questions before I’m ejected.
Although he does briefly ponder over an unnamed celebrity he saw in the lifts at the hotel that morning – a regular junket venue – Poulter has no comeback for the last time he was starstruck.
‘I make an idiot of myself so regularly that I try not to get starstruck too much,’ he gamely offers.
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However, he brings up a surprising answer to the most bizarre thing he’s ever read or been told about himself.
‘Someone told me that I had a twin. I was in an interview, and they said, “Yeah, because I’m a twin too,” and I said, “Too – with who, what?”
‘And they said, “You know, because you’re a twin,” and I said, “Not that I’m aware of!”,’ he laughs.
‘Mind you I look back at baby photos [and] I’m so large as a child I could have eaten my twin. There is that possibility. But as far as I know, I’m not a twin.’
Death of a Unicorn is in UK cinemas from today.
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Death of a Unicorn offers a fun premise delivered with heavy Spielberg-esque nostalgia (Picture: A24) Death of a Unicorn is undoubtedly one of the more imaginative and gory films you’ll see in 2025, silly and savage in equal measure – even if it can’t quite […]
FilmDeath of a Unicorn is undoubtedly one of the more imaginative and gory films you’ll see in 2025, silly and savage in equal measure – even if it can’t quite live up to the promise of its juicy premise.
The A24 comedy–horror, written and directed by Alex Scharfman in his feature-length debut, has attracted a star-studded cast led by Paul Rudd and Jenna Ortega thanks to its wacky tale of corporate greed and magical unicorns.
When Elliot (Rudd) and his teenage daughter Ridley (Ortega) accidentally injure a unicorn foal on the way to the estate of Elliot’s sickly but pharmaceutically wealthy boss Odell Leopold (Richard E Grant), they discover the healing properties of its blood spatter, which fixes her acne and his allergies and long-sightedness.
Ridley is also left with a mental link to the unicorns after she touches the foal’s horn and experiences visions on a cosmic level, causing her to worry over its treatment.
However, the cancer-stricken Odell and his grotesque family – luxury wife Belinda (Téa Leoni) and their vacuous son Shepard (Will Poulter, having the best time of anyone) – very quickly see how they can benefit thanks to the medicinal power of these mythical beasts.
Or as Shepard crows: ‘They’re going to hate us on the non-profit circuit – nice knowing you, cancer charities, am I right?’
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Death of a Unicorn is reminiscent of both Jurassic Park and E.T. the Extra-Terrestrial in its approach to its unbelievable central creatures and the intoxicating level of their extreme desirability to humans, despite imminent threat.
It has lashings of Spielberg in its nostalgic monster approach – we know the greedy baddies will have their comeuppance and that tension will be built by sound, shadow and our hero being charged in a car at some point – but there’s a frivolous edge to it all.
After all, Leoni’s Belinda utters the immortal line, ‘Not to be a size queen, as they say, but that horn was rather girthsome’, with undisguised lust, while one of Shepard’s most resolute lines in the whole film is that ‘gloss is gauche’ when it comes to printing photographs.
The movie’s carnage is unexpectedly graphic and disgusting, even with Ridley’s warning ringing in our ears that unicorns are a ‘bloodthirsty and vengeful beast’ after she digs up historical research.
We are then shown that this is very much the case, as these massive creatures snarl and growl, bare their fangs and curl their ominous grey tongues while disembowelling and destroying the humans who have done them wrong.
Although there is humour in the deaths, I would have welcomed a little more variety away from people being impaled on unicorn horns – although there a head is cracked under a hoof like a coconut, while someone else is literally torn in two.
There’s also plenty of literal guts, with one hole left by a horn in a body so big Elliot can peer right through it before the victim’s intestines start falling out.
It is satisfying to see the morally bankrupt answer for their crimes in a world right now where this seems more like a fantasy, even if the payoff isn’t quite the slam-dunk expected.
Death of a Unicorn is unsubtle if entertaining in its social commentary, but ultimately none of the characters have the depth required – even Ortega’s Ridley spends most of her time wavering between pouting and panicking.
Although it’s somewhat refreshing to demonstrate such a clearly broken family dynamic, Elliot is so spineless that it’s hard to root for him in the relationship he’s supposed to be rebuilding with his daughter.
Grant regurgitates the eccentric flavour he provided in Saltburn although with more of a vicious, unicorn steak-eating edge, thanks to his instincts for comedy – although there’s less of a reward, character-wise, to work with here.
Meanwhile Poulter is weirdly lovable as Shepard, who’s always ready to provide buzzword salad (his ‘diversified portfolio of entrepreneurial activities’, for instance) as he struts around in his chino shorts offering nothing else of value.
Death of a Unicorn is also particularly evocative of its clear inspirations when one irritated unicorn is prowling around outside, its fearsome jaws shown in silhouette against the tent Odell’s employees set up on site (The Lost World: Jurassic Park), while a hunting party later traipses through the misty woods in search of their creatures (E.T.).
Although it’s unlikely to enter the cinematic canon next to such greats, Death of a Unicorn is still an entertainingly silly romp if not as sharp as you’d hope to truly stick the satirical landing.
Death of a Unicorn is in UK cinemas from today. It’s also in US cinemas now.
This review was first published on April 1.
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Hitman World Of Assassination VR Access – simply shooting someone is barely even trying (IO Interactive) Gaming’s most famous accident man takes another crack at VR and this time the technology is good enough to elevate IO Interactive’s murderous sandbox. The first game in the […]
GamingGaming’s most famous accident man takes another crack at VR and this time the technology is good enough to elevate IO Interactive’s murderous sandbox.
The first game in the Hitman series was released 25 years ago and while it featured the same bald-headed, nameless anti-hero, its action and tone were quite different from more recent outings. The sea change came with the franchise’s 2016 reboot, which saw Agent 47 taking on more open-ended, set piece driven levels, which were never quite out-and-out comedy, but featured a range of zany, contrived ‘accidents’ you could trigger to finish off targets.
That atmosphere persisted in Hitman 2, which came out two years later, and 2021’s Hitman 3, which eventually rebranded itself as World Of Assassination, bringing all the content from the three post-reboot titles together into a single package. To enhance replay value, it also added a variety of new game modes to take advantage of its collection of detailed, sprawling maps packed with opportunities for amusing Final Destination style demises.
Hitman 3 was also released in VR, although it was somewhat hampered by the motion tracking limitations of the original PlayStation VR, and its release on PC and eventually Meta Quest 2 proved even more disappointing. The concept of putting you directly into the soft soled shoes of Agent 47 was sound enough, but technology hadn’t caught up with the ambitions of developer IO interactive.
It’s a pleasure to report that World Of Assassination’s new experiment with current generation VR is considerably more successful. The first thing you notice is the enhanced visuals, which while still a little blurry, in a way that will be all too familiar to VR players, is now more than enough to convey the setting and atmosphere. The next improvement is the far greater range of interactions available, performed using motion controls, rather than simply hitting a button.
That means you’ll be putting your hands around a target’s neck and squeezing the triggers to choke them out, rapidly shaking back and forth to speed up the job, and you’ll find the scope of your sniper rifle works as expected, where previously it brought up a disappointing 2D view every time you wanted a closer look at a distant quarry.
There’s also more you can do at room scale, so moving and reaching for things feels far more natural, or at least it does if you’ve got a big enough area to play in. You can just about get away with sitting down, but as is often the way with VR games featuring guns, it makes some actions tiresome to complete.
Holstering your weapon and grabbing new magazines often seem to result in fruitlessly punching the controller into your sofa cushion, and reaching for door handles and waist height buttons usually means crouching in order to get your hands on them.
It’s manageable though, which is just as well given the enormous mountain of VR content on offer. While you won’t be able to play Freelancer, its excellent roguelite mode, range-orientated Sniper Assassin or Contracts – which let you choose your own set of targets from amongst each level’s numerous characters – you can do practically everything else from the vantage point of your VR headset.
That includes every mission from all three games, in itself a vast labyrinth of discreetly targeted killing, with multiple sub-plots surrounding each hit, taking place in a series of spectacular and glamorous worldwide locations. There’s also Elusive Target Arcade, which pits you against various enemies from all three campaigns, in singular missions where even a small mistake can end your run.
You can also play Escalations, where you take on a series of objectives in a single map, with each one adding new strictures, like having to kill using a particular weapon, the inability to use disguises more than once, or having to remain unseen throughout. Even without the additional takes on the core game, each campaign mission offers a broad range of optional challenges, from making use of specific props, to activating each level’s more devious methods of offing your marks.
They’re all cleverly designed to extend replay value but also encourage you to immerse yourself in each map’s subtly designed playground of lethality. Overhearing a conversation can clue you into side stories and deeper intrigue, as well as revealing some of the more abstruse assassination options available to you.
There’s no way you could see even a quarter of a map’s possibilities in a single run, making it a pleasure to keep coming back to winkle out the bits you missed, unlocking new areas as you go.
It’s inspiring the way VR brings that process to life. Gazing out from a high balcony in the Burj Al-Ghazali (the game’s versions of the Burj Khalifa) or admiring Sapienza’s beach are much more affecting in a real first person view; as is moving through a crowd of people and tuning into the chatter around you as you silently scout unlocked doors, or ways to isolate a staff member whose uniform would be a useful disguise.
There are a few graphical glitches and occasional crashes, but almost as jarring are the moments where the game’s working fine, but pulls you out of first person, jumping awkwardly into third person. Climbing ladders, getting frisked by guards, blending in by pretending to do a job, and for some reason certain conversations, change the viewpoint so you’re watching Agent 47 from a short distance away. It’s a small reminder that this isn’t a game originally designed for VR.
There are also times where the jankiness of gesture control gets in the way. Trying to grab a door handle that won’t acknowledge your presence, or flailing about with a garrotte as your target turns round and starts shouting for help are unfortunately par for the course, although there’s no doubt you get better at managing them as you play – and it’s fair to say the base games suffered from a bit of that even on a flat screen.
Some of these problems are remedied by making it a save-scummer’s paradise, with regular saving important not only to allow for occasional control malfunctions, but also because the sandbox level design lends itself to endless crafty experimentation. Trying out different approaches and taking daring risks that might easily lead to your cover being blown are all part of the fun.
If you love World Of Assassination and have a VR headset, this is an essential purchase, especially given the lacklustre state of VR release schedules at the moment. Its three (admittedly ageing) triple-A games with full VR implementation are a rare treat. It may have the odd wobble in its implementation, and you can’t access every single play mode, but there’s still well over a hundred hours of immersive exploration, planning, and assassination to get lost in.
In Short: A well executed VR port of Hitman World of Assassination, that brings motion control and higher resolution visuals to Agent 47’s lightly comedic sandbox of global contract killing.
Pros: Every mission of all three recent Hitman games is playable, along with many of its replayability-extending game modes. The new motion controls deliver a more visceral sense of immersion.
Cons: Playing seated has some downsides, the usual clunky VR control issues, occasional crashes, and all three games are starting to show their age.
Score: 8/10
Formats: PlayStation VR2 (reviewed) and PC VR
Price: £7.99 (base game: £57.99)
Publisher: IO Interactive
Developer: IO Interactive
Release Date: 27th March 2025
Age Rating: 18
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