Hollywood hunk, Chris Salvatore is spending more and more time undressed – and we don’t mind… We don’t mind at all.
The Eating Out and Paternity Leave actor Chris Salvatore, 31, has taken to Instagram to show off his best ass…ets. The openly gay actor and singer
The openly gay bearded beaut and singer has certainly got his fans hot under the collar with these two pictures, with one fan questioning whether the actor had something to “talk about”!
So are you having trouble sleeping at night? Well apparently you’re not the only one.
CREDIT: Dmytro-Sidelnikov-bigstock
So the peeps at Dreams commissioned some research to find out what’s bugging us all before we go to bed… Here’s twenty things that are keeping Brits up at night!
1. You’re too hot
2. Stress
3. You struggle to get comfortable
4. Worries about money
5. Your partner is snoring
6. You are nervous about something you have to do the next day
7. Health issues
8. You’re not tired
9. Worries about your relationship/family
10. You’re too cold
11. You often have bad dreams or night terrors
12. Worries about work
13. You hear noises during the night
14. Young children keep you awake
15. Your partner fidgets a lot
16. You spend too long looking at your phone/tablet before bed
So here’s some things you probably didn’t know about Dillon St. Paul.
He’s 37 and he lives in Dublin and is an art director at a Fashion Magazine.
Describing himself as super-creative, Dillon is currently a freelance Art Director at a fashion magazine. He describes himself as talented, kind and very funny. He intends to be ‘Machiavellian’ about tasks and says he will tell white lies if he needs to.
He says: “Sometimes batting the eyelashes can get you a lot in business. Hence, the mascara comes in handy – so they can see those lashes.”
Is Dillon St. Paul gay?
Well, we did some digging and for those who want to know whether Dillion is gay, it looks as though is he is. He’s been spotted attending prides and is known to use a few famous Instagram hashtags like: #Instagay and #Gay.
Tonight’s episode of Red Dwarf (Thursdays at 9PM on Dave) might be the series strongest yet!
After it’s release on UKTV Play last week fans called it the “Most Dwarfy Episode since series 6”.
And it’s easy to see why: Rimmer (Chris Barrie) is at his most Rimmer-esque while Cat (Danny John-Jules) has never been more Cat-like (both are acting at an almost series 1 to 3 type level).
Kryten (Robert Llewellyn) on the other hand gives off a strong series 5 to 6 vibe as he tries to help Lister (Craig Charles) with a huge problem.
Explaining this episode in detail would be very spoilery as the story is rather intricate and revealing too much would spoil it. Let’s just give you a few keywords: An evil being, time travel a mistaken identity and Rimmer trying to sort through some deeply rooted issues.
With strong and exciting episodes like this you often forget that you are watching a comedy series and wish it would last at least forty instead of thirty minutes.
In the late 70s, before they became household names and still just teenagers, two pioneers of 80’s queer culture met in a Swiss Cottage flatshare. And yes there was a boy involved.
CREDIT: PR Supplied
We’re gathered in the basement of a swanky hotel in central London. We’re about to witness the coming together of two of 80’s queer culture’s pioneers. Marilyn and Boy George are about to have a sit down with Kate Flett and 50 journalists.
M: We met around someone’s (house) I think her name was Jane in Swiss Cottage. BG: Punk Jane…
KF: Nobody had surnames did they? M: Punk Jane – Jane was her surname… (laughter) A mutual friend of ours took me round. I didn’t know what the subtext of the script was, but I was being used by said friend to… BG: Piss me off. M: That was a bonus…
KF: So there was always a subtext? M: Always a subtext. BG: My best friend and I had fallen out and I had been replaced by Marilyn, who was a year younger than me. So replaced by a younger model… M: I’ve never grown out of the role. BG: My friend was going around with this young blonde person and it was kind of tense. M: Very. I was completely unaware of what was going on. I didn’t know the dynamics between (George) and Philip Sallon… It was like walking into a lion’s den. This one (pointing to Boy George) was back-combing his hair and giving me looks, I was so terrified.
KF: So when was this? BG: ’77? M: Everything was still in Black and White. KF: You were super young. M: What are you implying?
KF: Nothing at all… I just thought it might be ’79 / ’80. BG: No no, it may have been the end of ’76!
KF: You were children! BG: Yes… mental. The second time we met was at a club called the Sombrero, which was a run down 70s disco we used to go to on the weekends. He came with Phillip to this club and I done this whole new look, a complete transformation. So Phillip came up and spoke to me, not realising it was me. As he spoke to me, he realised it was me and kind of ran off. I believe that Marilyn walked up to me and said, “What do you think of Phillip?” which is one of Marilyn’s famous lines when he wants you to bitch about people… M: I wanted to know what was going on… that’s why I asked. BG: Can we just establish at this point (he) was in full Marilyn Monroe drag. M: I still wanted to know what was going on. Since the first meeting and then the second one I had a little more info and I knew there was some kind of… Philip was… I’m editing myself. Philip’s wonderful, he really is wonderful, but he has an opinion, a very strong opinion and his perception of what went on. I like to hear both sides before I make up my own mind. The more info the better. BG: You’re padding this out. I was fabulous, you were fabulous, we were destined to be friends. M: In a nutshell. BG: It was kind of instant really. I loved the way he looked, I think he quite liked the way I looked. At that time, the New Romantic scene was quite tiny, it was a scene with a massive ego. There was only 200 people at the most. So when you met other people that were like you, you tended to kind of befriend them. I just saw another freak and was like, “You’re going to be my friend,” it was kind of destined that we would end up friends. M: That’s all great, the way you look and everything, but for me when you look into someone’s eyes, what I see beyond whatever the facade is, that’s the thing that’s important to me. When I looked at him there was a connection… BG: Are you being romantic? M: It wasn’t that kind of look.
KF:You just clicked? M: On a really deep level… That doesn’t happen very often.
KF: Where did ‘Marilyn’ come from? Let’s find out how you ended up being in that room with Phillip, wearing your full Marilyn Monroe drag. What’s the journey? M: I started off at school. I had huge problems at school. I was hiding. I was always hiding and trying to get through the experience. I had it from every angle. I felt really repressed. I started getting into punk. I was attracted to the freedom of it because I felt so repressed. I started going to these nightclubs and there was this one club, called the Embassy Club. By this time, my hair was bleached and I put on a little bit of makeup and I was sitting on this stool at the bar and there was a group of guys standing next to me and one of them turned round and went, “Oh my god! Look at him!” There was a spotlight above the stool I was perched on. He was going, “Look, he could be in my front room he’s like a work of art!” and for me, who had that repression, it was like, ‘oh my god’ I was used to getting attention, but not that kind of attention. He was going, “Oh, you’re beautiful, I could have you in my front room under a spotlight and I found out after that his name was Roy Miles, who was the Queen’s art dealer. That validation felt amazing to me. In my head it was obviously to do with the makeup. I had a little bit of blusher on. So the next week I had a little bit of lip rouge on, and I got more attention, I kept thinking it was to do with that. I didn’t think it was anything to do with people liking me for the inside.
KF: It gave you a confidence? M: Yeah. I was being noticed and in an appreciative way. That felt good and I wanted more of it.
KF: What kind of life were you living outside of the nightclubs? M: I just didn’t exist. I stuck black bin liners on my bedroom walls and windows. I would sleep. I was like hibernating until the next nightclub I went to.
KF:Were you more unhappy than your average teenager? M: I think something had snapped in me by then, I was like, “Oh f*** off”. It might sound bitchy, but something inside me snapped. I would look at people and go, “You are picking on me? Get a mirror.” I started being really judgmental of how other people looked. “Don’t f***ing tell me about me, take a look at yourself before you start picking on this”. It went from one extreme to the other. I turned into this creature.
KF: (to Boy George) did you meet ‘the creature’? BG: My story is quite similar. I think what happens when you’re a kid, your defensiveness becomes a powerful tool. When I met my first manager Tony Broaden, and he was trying to get me signed to a record deal, he said that I would walk along the road with him and I’d be really dressed up and people would stare and make comments and I’d scream at them, “What you looking at”… That weird defensiveness was very much part of the 70s. You don’t know whether people are laughing. A lot of eccentric people don’t like be to honed in on. You dress up, but you don’t really want people to make comments. Which is odd because obviously they’re going to. I recognise a lot of myself in that weird defensiveness and becoming a bit spikey to manage yourself getting through… You were always running the gauntlet. Particularly in the 70s because you had all that fabulous tribal stuff, with Mods and Rockers and Skinheads. There was always someone to punch you. It was quite brave. When you’re a kid, long before you start dressing up, you’re made aware that you’re different. Because you’re not interested in the same things as other boys, in football… You’re made to feel different. Later on you start to discover fashion and music and start to build an identity and then people pick on you for different reasons. I guess you make a choice. You either fold in on yourself or become… fabulous.
You can read the entire Q&A in the latest issue in THEGAYUK. Subscribe now to never miss another issue.
So the Office for National Statistic released some interesting stats today about the number of young people who identify as Bisexual.
Wavebreak-Media-Ltd-bigstock
The ONS released statistic today that show that the number of young people who identify as bisexual has increased by 45 percent in just three years.
This is the first time that more young people have described themselves as bisexual rather than gay or lesbian. A survey by YouGov last year revealed that 50 per cent of people aged 18-24 defined themselves something other than purely heterosexual. Overall a quarter of the entire population revealed that they felt this way.
Overall a quarter of the entire population revealed that they felt this way.
In the most recent statistic released by the ONS 1.8 per cent identified themselves as bi, while 1.5 per cent said they were gay or lesbian.
However, it hasn’t stopped some social media users commenting that people are referring to themselves as LGBT+ because it’s “trendy” or fashionable rather than you know, the truth.
Reports have emerged from Jedward’s entertainment company that show hundreds of thousands of Euros in losses!
The super-excitable duo, from the X Factor, have an entertainment company called, Planet Jedward, which is registered in Dublin and it seems to be in a financial sinkhole. The last two years of account both show losses of over €100,000.
The company has two sole directors, Edward and John Grimes.
According to Heat Magazine, the latest accounts for the company show a loss of €130,182 (£114,888) last year and €104,447 (£92,177) in 2014. A combined loss of over €234,000.
Things were starting to look down for the duo when Louis Walsh revealed that the flamboyant brothers were his most embarrassing career move. Despite this, the boys have managed to rack up some incredible achievements. They’ve released three number one studio albums and 11 singles, three of which went to number one in Ireland.
They’d better start getting back on the road before Bratavio takes their place.
Surprisingly same-sex marriage is not yet permitted in Austrailia and they’re not happy about it.
Kylie’s husband-to-be, Joshua Sasses, 28 helped launch the equality campaign, “Yes” and the “Say I Do Down Under” and said even though the pair would like to get married in Melbourne they won’t until the laws change to allow gay couples to get civilly partnered.
Speaking to Australia’s Seven Network Joshua said,
“When I found out that gay marriage was illegal in Australia, I was astounded,”
“..we will not get married until this law has passed in Australia”.
The Australian government has proposed a public referendum on the issue in February 2017.
Joshua continued,
“I simply can’t fathom on any level, whether it’s moral or religious or anything, that I have the right to get married and to marry the person that I love and that somebody else doesn’t because of their sexual orientation.”
Despite being seen as progressive Austrailia’s laws affecting LGBTs are quite regressive. There’s no same-sex marriage and there are no adoption rights in some territories. The age of consent was only recently equalised in Queensland.
The lovely Andrew Smyth was made star baker in last night’s episode of Great British Bake Off.
BBC
Fans rejoiced at the rather dishy 25-year-old Andrew as he was made Star Baker in last night’s episode of Bake Off with his showstopping 24 mini mousse cakes.
In fact, it sent thousands of people to THEGAYUK to find out a little bit more about the aerospace engineer.
“There’s one thing to be said about masturbation: you certainly don’t have to look your best”
What was shocking to American theatre audiences in 1968 (and cinema goers in 1970 when the film was made) isn’t going to be daring or titillating anymore. The only thing that’s shocking is that viewers less than 50 years ago would be so outraged by a play about a group of gay men having a party with a lasagne and salad instead of Crystal Meth. So what does ‘The Boys in the Band’ have to offer to the contemporary viewer? The answer is that the issues facing the men are scarily pertinent, still. The play came under fire from some for its negative portrayal of gay men but there’s something chillingly familiar about these boys.
Uptight materialist Michael (Ian Hallard) has a drink and spending problem, although he’s currently on the wagon from the booze. He’s hosting a birthday party in his New York apartment for waspish self-proclaimed ‘pock-marked fairy Jew’ Harold (played by Hallard’s real life husband Mark Gattiss). Camp and flamboyant Emery has hired a muscular hooker as a gift. Soon to be divorced father of two, Hank is trying to make his relationship work within the constraints of monogamy whilst his partner Larry’s has a distinct inability to keep it in his pants in a world where sex is freely available. Bernard is struggling with the casual racist jibes of his friends and bookish Donald (Daniel Boys) is undergoing analysis to help him come to terms with being gay.
I don’t know about you but these are a lot like the people in my social circle. Issues with drugs and alcohol, poor self-esteem, self-hatred, shame, looking down on effeminate gays, cruising the saunas too much, open-relationships versus monogamy versus the compromise of the odd threesome here and there? The boys of 1968 might have had different drugs and clothes and lived in a more oppressive society but the songs remain the same.
It’s a funny play, starting with a sit-com-like first act where a random heterosexual re-surfaces from Michael’s past and lands at the party like a fly in the ointment. There are one-liners that pack a punch and Gattiss is the master of the arch eyebrow movement and gives a seemingly effortless performance as Harold. Act Two is darker and becomes a sub ‘Who’s Afraid of Virginia Woolf’ as the men get steadily more drunk and play a caustic party game. The climax is poignant and dark in equal measures and there are some deeply affecting moments.
Despite the odd patch where the script is heavy-handed, shows its age and the occasional clunky plot device flails, overall this is a great play and a worthwhile revival with a triumphant staging from director Adam Penfold. Well worth a visit.
After the run at The Park Theatre in London the play moves to Manchester from the 3rd to the 6th of November, Brighton from the 8th to the 12th and Leeds from the 14th to the 19th of November.
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