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Rabu, 18 Desember 2019

CBS and 'Survivor' admit they could have handled Dan Spilo incident 'differently,' set new procedures for show - Fox News

CBS and “Survivor” have issued a statement in regards to the recent Dan Spilo controversy.

The statement comes in the wake of Dan Spilo’s ousting from the show following several alleged misconduct incidents in which Spilo was accused of touching contestant Kellee Kim and a female production member in an inappropriate manner.

The abrupt exit of Spilo, for what CBS said was an off-camera incident, didn't end questions about whether the network fumbled a #MeToo-era issue that it knew about months ago.

EX-'SURVIVOR' PRODUCER CRITICIZED WIFE IN EMAILS TO MISTRESS

Dan Spilo was removed from "Survivor: Island of the Idols" last week. After the show, a message appeared on the screen for viewers, reading: "Dan was removed from the game after a report of another incident, which happened off-camera and did not involve a player." (Robert Voets/CBS Entertainment)

“Season 39 of ‘Survivor’ has been unprecedented for all of us, with important social issues and inappropriate individual behavior intersecting with game play in complex ways that we’ve never seen before,” the statement to Fox News began. “During the course of the production, we listened to the players intently, investigated responsibly and responded accordingly, including taking the unprecedented step of removing a player from the game.”

“At the same time, we are responsible for the final outcome of this season. We recognize there are things we could have done differently, and we are determined to do better going forward,” the statement continued.

'SURVIVOR' PRODUCER CONVICTED OF WIFE'S MURDER RELEASED FROM MEXICAN PRISON AFTER 7 YEARS

The statement then addressed what steps the network and the “Survivor” production teams will take to ensure a smooth operation following the latest season’s controversy.

“For Season 40, which has already filmed, the show added to its pre-production cast orientation specific guidelines regarding personal space, inappropriate behavior, and how to report these issues. For Seasons 41 and beyond, the producers are reviewing all elements of the show to further support appropriate interaction, including how the players live during, as well as after they are eliminated from, the competition,” the statement noted.

'SURVIVOR' SPARKS OUTRAGE AFTER CONTESTANT OUTED AS TRANSGENDER ON SHOW

Dan Spilo's departure was the first time in "Survivor" history that a cast member had been removed from the CBS show. (Screen Grab/CBS Entertainment)

CBS’ statement then discussed the additional measures that will be implemented for “training, reporting of issues and prohibited forms of game play.”

“The production will add another on-site professional to provide a confidential means of reporting any concerns, so that the production can address them promptly apart from the game. The full range of reporting processes will be communicated clearly to the players during pre-production orientation. The new executive will add to a support system that already makes mental health providers available to players on location and after they leave the island.”

More new rules include, “[Enhanced] pre-production orientation with new anti-harassment, unconscious bias and sensitivity training for cast, producers and production crew on location,” in addition to the introduction of “a third-party expert in the field to review, evolve or add to these new policies and procedures going forward.”

Furthermore, “A new rule will be implemented stating unwelcome physical contact, sexual harassment and impermissible biases cannot be brought into the competition and will not be permitted as part of gameplay. This will be covered in the cast orientation for each season, along with clear instructions on how to report violations.”

CLICK HERE TO GET THE FOX NEWS APP

The statement concludes: “CBS Entertainment will develop appropriate enhanced policies and procedures equivalent to the new “Survivor” measures and adapt them for the network’s other reality programming going forward.”

The Associated Press contributed to this report.

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2019-12-18 13:56:18Z
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Prince William and Kate Middleton Are a 'Great Double Act' as They Prepare for the Throne - Yahoo Entertainment

Kate Middleton and Prince William stole the spotlight at Queen Elizabeth‘s Buckingham Palace last week, making it clear that they are ready for the next step on their royal journey.

Entering the glittering palace ballroom behind the monarch and Prince Charles and Camilla, Duchess of Cornwall, Kate and William mingled expertly with partygoers at the Dec. 11 reception for diplomats.

“They combine grace and regal presence with a lovely human touch,” a guest who attended the annual bash tells PEOPLE in this week’s cover story. “They are gracious and natural and yet able to really connect.”

The future King and Queen, who have been married for eight years, are honing their expertise as they go.

“They are being prepared every day,” says royal biographer Ingrid Seward. “There was no school for princesses when Princess Diana was around, and there is no school today for monarchs. They learn by observing and by experience.”

Their teamwork was also on display during the couple’s triumphant tour of Pakistan in October.

“They are a great double act,” says a senior royal source. “People make much of William giving the big speeches, but Kate is there too, asking questions of presidents and their wives. These things are easier when they are side by side.”

For more on how Prince William and Princess Kate are making new strides in their royal work, pick up a copy of PEOPLE on newsstands on Friday.

Increasing travel and work commitments bring added pressures on their own family, especially as older children Prince George, 6, and Princess Charlotte, 4, are more aware of their parents’ away time. (Little Louis is 19 months.) And occasionally, something’s got to give. Kate recently had to cancel an appearance with William at an evening event for the Tusk Conservation Awards because of a childcare issue. A source close to the royal household says, “That is good for other mothers out there.”

Next week, the family of five will spend Christmas with the Queen at her Sandringham estate in Norfolk. While Prince Harry and Meghan Markle have opted to spend the holiday apart from the royal family, William and Kate will take their place alongside the Queen for their annual church walk — with George and Charlotte possibly making their Christmas Day debut as well.

They are also preparing for a busy year ahead. The couple are expected to go abroad on at least two overseas visits and continue with their efforts at home in the U.K. promoting mental health initiatives and supporting families with young children.

Can’t get enough of PEOPLE‘s Royals coverage? Sign up for our free Royals newsletter to get the latest updates on Kate Middleton, Meghan Markle and more!

As they near 40, both royals are also keenly aware of the passage of time — and how much closer it brings them to the throne.

“The monarchy is approaching a very challenging period of change,” says royal historian Robert Lacey. “Charles is going to have his work cut out coping with the transitions. It’s good to have that reassurance in the new generation that there is someone stepping up to the plate.”

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2019-12-18 13:00:00Z
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Review: An Exciting But Effortful 'Rise Of Skywalker - NPR

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Chewbacca (Joonas Suotamo), Poe (Oscar Isaac), Rey (Daisy Ridley) and Finn (John Boyega) take on the Empire one last time in Star Wars:The Rise of Skywalker. Lucasfilms hide caption

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The thing about the act of plate-spinning is: It's not about the plates. Not really.

We sit there in the audience, watching those various dishes spin atop their dowels; while it's aesthetically pleasing, in the abstract, to see so many pieces of Wedgwood china twirling away contentedly, what matters — the compelling drama of the whole affair — comes not from watching them, but from watching the poor schmuck running back and forth behind them. If we happen to notice one plate starting to wobble, after all, the first thing we do is look away from it, to see if the plate-spinner sees it, too.

We want them to succeed. The whole cheesy novelty act is predicated on this. The sheer skill it takes to keep the plates from falling — the eye, the timing, the light touch — that's what we're drawn to, really. The work of the thing.

J.J. Abrams is spinning a great many plates in Star Wars: The Rise of Skywalker, the final chapter in the third and final trilogy of what we are now apparently supposed to call "The Skywalker Saga." He's not simply called upon to end the trilogy he began in 2015, with The Force Awakens, but the whole space-operatic, science-fiction-with-generous-helpings-of-fantasy, embrace-your-destiny, Joseph-Campbell, daddy-issues megillah. He's got to land a Corellian light freighter that's been loaded down with everything that got kicked off in 1977, when the saga's first film (but fourth chapter — long story, literally) A New Hope debuted, establishing the Star Wars formula:

1/3 epic space battles
1/3 high-adventure narrow escapes for our doughty heroes
1/3 characters intoning blissfully hokey dialogue about the Force and the Dark Side

He nails that 42-year-old recipe dutifully — effortfully, it must be said — but the flavoring's off. The story doesn't require him to toss in as many ingredients from earlier films in the saga as he does here, but he dumps them all (callbacks, references, echoes, events, characters) into the mix anyway. The result leaves you feeling not so much bloated — the film moves too quickly, and is too much fun for that — but certainly overstuffed.

The Rise of Skywalker is ostensibly positioned as a culmination, but it seems less momentous, less inevitable than the term would suggest. Instead, it's an accretion — a buildup of plotlines and characters that rolls toward its conclusion by dint of momentum lent to it by all that's come before.

That lack of clear focus is largely a result of this most recent trilogy's peculiar provenance. In The Force Awakens, Abrams created its main characters and teased some intriguing mysteries for future films to explore before handing the reins to Rian Johnson, whose The Last Jedi in 2017 proceeded to explore some and (justifiably, in my opinion) abandon others, in an effort to shake things up. Now that Abrams is back at the helm, several plot threads that Johnson had summarily sealed away in boxes — including the parentage of Rey (Daisy Ridley) — get hauled back down from narrative deep-storage and unpacked for fresh inspection.

It's the directorial equivalent of a particularly petty game of Exquisite Corpse, wherein one partygoer writes the first sentence of a story, then hands it to a second partygoer who writes a sentence undercutting the first sentence, then the first partygoer takes the paper back and doubles down on what they'd written in the first place.

But then, that first sentence — The Force Awakens, in this case — was powered by the easy chemistry among its leads: Rey's steely resolve, Finn's (John Boyega's) comic timing, and Poe's (Oscar Isaacs') preternatural charm. Johnson's The Last Jedi, for understandable story reasons, split them up — and for all the good and worthy risks that film took, the sundering of our trio was the one that didn't pay off. In Skywalker, Abrams reunites our heroes and pointedly keeps them that way, allowing their interpersonal energy and humor to ground us through an extended series of planet-hopping fetch quests that can't help but blur together.

The mysterious connection between Rey and Kylo Ren (Adam Driver) is allowed to become less so, as is only fitting in the final chapter of their story. Abrams shows an admirable willingness to maintain the shades of gray that Johnson introduced into Star Wars' black-and-white cookie of a moral universe. Here again, characters make choices that do not always strictly accord with their wardrobe's color scheme.

Less successful are the return appearances of various characters from previous trilogies, most of whom have been forcefully (heh) inserted into events. (Abrams wields a shoehorn with the same determination that Rey wields her lightsaber.) Some viewers will cry "fan service!" Many more will consider themselves fans, and be grateful for being so rigorously and exhaustively serviced.

The blockbuster conclusion to an era-defining film franchise is a spectacular feat of plate-spinning --with one vital difference. With The Rise of Skywalker, the spinner — Abrams — wants us to focus on the plates alone. And there are certainly moments when we do: tender scenes featuring previously unused footage of the late Carrie Fisher (and her back-of-the-head stand-in), a chase through the desert, a lightsaber battle on some familiar wreckage amid a roiling ocean.

But there are many more moments — especially towards the film's conclusion, when a sequence showing just how hopelessly dire things get for our heroes just goes on and on and on -- when the spinning plates disappear, and all we can see is poor J.J. Abrams darting back and forth and back again, frantically struggling to keep them going.

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2019-12-18 11:47:00Z
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The Rise Of Skywalker rebalances Star Wars into a force of safe, familiar fan service - The A.V. Club

You almost have to feel sorry for The Rise Of Skywalker. Yes, this is a guaranteed blockbuster, the very opposite of an underdog, the latest entry in one of the most popular media franchises in human history. It will make a billion dollars, and you will not. Yet the movie, the last in a new trilogy of Star Wars sequels produced without George Lucas’ involvement (or, it must be said, his acid-trip imagination), is so freighted with obligation that it almost groans under the weight, flashing a weak smile as it vaguely approximates the appearance of a zippy good time. Of course, most concluding chapters of a saga with a capital S carry burdens their predecessors don’t: They often end up feeling like the last act of a movie stretched to feature length—all falling action, no remaining mystery. But in the case of this ninth official episode, the batting-cleanup responsibilities are compounded by the expectations of a fanbase on the cusp of mutiny. Skywalker wants desperately to please them, a potentially impossible task it tackles with transparently ingratiating caution. This is a space opera animated not by joy but insecurity—the anxiety, evident in almost every moment, that if it’s not very careful, someone might feel letdown.

Technically, Skywalker picks up from the ending of the previous entry in the series, Rian Johnson’s imperfect but often spectacular and genuinely daring The Last Jedi. Johnson had the nerve to muck a little with the assumed trajectory of this ongoing story, and to toy with the characterization of a legendary hero like Luke Skywalker. So of course, plenty of diehards (and cast members) wanted to turn the Death Star on him. To their presumed relief, the reigns have been passed back to J.J. Abrams, who made the first movie of the new trilogy, The Force Awakens. That astronomical hit was designed, in its savvy but safe tracing over of A New Hope, to operate as a big reset, winning back those who hated Lucas’ prequels. Watching The Rise Of Skywalker, you realize that J.J. has been hired to do the same thing here; he’s made what feels sometimes like a glorified apology for his successor’s choices. Remember in Last Jedi when fallen son Kylo Ren (Adam Driver) smashed his Vader-esque helmet to bits as a symbolic rejection of the past? It takes him all of 15 minutes to weld it back together in Skywalker, the little red cracks across its surface evidence of a “mistake” that’s been mended. In other words, the thing’s still a metaphor.

In the first of Abrams’ many supposed course corrections, Skywalker inserts Kylo right back into the Empire chain of command he emancipated himself from in Last Jedi. He may have killed the wannabe Snook, but he’s not impervious to the offers of his replacement: the real emperor Palpatine (Ian McDiarmid), raised from the grave by some far-side-of-the-galaxy zealots. (Before anyone gets upset by this revelation, can we all agree that the very first line of the opening Star Wars text crawl isn’t a spoiler?) Part of what made Kylo such an interesting villain was that his ambitions weren’t strictly Sithian; caught in the shadow of his famous family, he reached for an alternative to the series’ good-evil dichotomy—call it a free-agent evil, maybe? But The Rise Of Skywalker wants him back in the familiar tug of war, his soul the stake in another battle between the light and dark sides of the Force. It’s all very Return Of The Jedi. And having made seductive appeals to Rey (Daisy Ridely) last time around, Kylo simplifies his pickup line: “I’m going to find you and turn you to the dark side.”

The plot is a busy thing, especially during Abrams’ heavily expositional first act, when he keeps leaping across the usual stock library of planet types. (Would you believe there’s another desert world that’s neither Tatooine nor Jakku?) Rey, tormented by visions of herself in a black robe, goes looking for one of the film’s various MacGuffins. Along for the ride is reformed Stormtrooper Finn (John Boyega), very Han-like flyboy Poe (Oscar Isaac), and ageless fuzzball Chewbacca (Joonas Suotamo). Addressing another item from the complaint box, Abrams doesn’t split up the gang like Johnson did, instead sending them on bantering group expeditions. The new class remains a likable lot; they’re the strongest element of this third trilogy. And The Rise Of Skywalker gets some light ensemble fun out of their misadventures, including the rare C-3PO subplot that’s both funny and even a little poignant. Not that everyone has an equal role. Kelly Marie Tran’s Rose, introduced in Johnson’s film, has been largely sidelined by popular/toxic demand. And the late Carrie Fisher has only a few scenes, thanks to some awkwardly integrated archival footage. (A franchise long haunted by the ghosts of the past, Star Wars now involves both dead characters played by living actors and living characters played by dead actors.)

Abrams likes to dig around in sandboxes he didn’t build. His only non-franchise picture, Super 8, still feels like one, in the sense that Steven Spielberg is basically his own franchise. In many ways, the director’s bookending what he started in 2015; this is another Star Wars movie that seems more interested in echoing old pleasures—through crowd-pleasing cameos, through recycled plot beats—than pushing this franchise in new directions. But The Force Awakens, for all its play-it-safe retread, was a more stirring blast of pop entertainment. It was better paced, at least, with a first act that took the time to reinvest in the mythic scale of the galaxy far, far away. And it offered a sense of rediscovery after a decade with no new episodes. Arriving at a time when the novelty of Star Wars as a cultural event has given way to something like appointment-viewing fatigue, The Rise Of Skywalker can’t conjure the same excitement just playing the hits. There’s a certain desperation to its action: The lightsaber duels and deep-space dogfights and close encounters arrive at a steady clip, but they’re more like items on a checklist than anything else. The director’s own Force is a phantom survey conducted in the narrow cracks between perfunctory set-pieces, nervously and implicitly demanding to know if we’re having fun yet.

These movies have been always been about legacy: Going back to the 1977 original, in which a plucky farm boy got drafted into a cosmic struggle, they’ve followed characters trying to find their place in a story older and bigger than themselves. The new trilogy makes that aspect both text and subtext—these are Star Wars films about how difficult it is to live up to Star Wars. Rey and Kylo, especially, seem to carry the anxiety of their creators on their backs, sometimes wondering aloud how they could possibly compete with the reputations of those who came before them. Yet if Abrams preaches the importance of creating your own destiny, and of not letting your lineage determine it, the plot of The Rise Of Skywalker betrays that message: By the end, everyone has fallen into their proper place in the grand mythology, like the holo-chess pieces on the Millennium Falcon. What’s the point in introducing so many interesting new characters and then pushing them through the blueprints of old adventures? It leaves you pining for a Star Wars movie that charts its own path, until you remember such a movie exists already, and it’s being all but retconned before your eyes. Save the sympathy for that billion-dollar blockbuster.

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2019-12-18 10:20:00Z
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Kelly Clarkson on other coaches missing 'The Voice' champ Jake Hoot in auditions: 'Thank you!' - USA TODAY

Bill Keveney USA TODAY

Published 3:56 AM EST Dec 18, 2019

LOS ANGELES – Kelly Clarkson can instantly pinpoint the moment she knew Jake Hoot would win Season 17 of "The Voice."

"The Blinds," she said Tuesday, referring to the Blind Auditions, the first time coaches hear the singers in the NBC singing competition.

What still surprises her is that none of the other three coaches - John Legend, Blake Shelton and Gwen Stefani - hit their buttons to spin their red chairs around, leaving the Cookeville, Tenn., country singer to Team Kelly.

"I don't know (why). They had lost their damn mind," Clarkson said, noting the rarity of a "one-chair turn" singer winning the whole contest. "I remember looking specifically at Blake going, 'What is wrong with you? But thank you!'"

Moments after Hoot's victory in Tuesday's season finale, Clarkson, who has had the winner on her team three times in four seasons, listed some of his talents: an ear for music, great song choices and the ability to project. "Like I'm not joking, there's a microphone in his vocal cords."

New champ: 'The Voice' finale: Jake Hoot wins Season 17, handing Kelly Clarkson her third win

A day after the pair sang Sarah McLachlan's "Wintersong" in Monday's competition finale, Clarkson was still bowled over by Hoot's song choice and performance.

"That Christmas song we did, I'm going to be talking about it until I die. It's the most beautiful song. I've done a lot of things in my career (and) that's one of my favorite things I've ever done," said Clarkson, host of "The Kelly Clarkson Show."

Hoot's original song, "Better Off Without You," moved the coaches on Monday's show. He co-wrote the ballad while going through a divorce and he explained Tuesday how life's experiences, good and bad, shape an artist's music.

"I sang songs like 'The Dance' and 'Goodbye Time' for years at shows and they're beautiful songs. But it wasn't until after going through something hard that it actually means something," he said. "Any time you go through heartache and stuff like that, no matter what it is, those lyrics and melodies become real. It definitely changes how you perform them and the emotion you put behind it."

Beyond the music, Clarkson admires Hoot's decency and humility. As "I grew up, my parents told me to have a servant's heart. That's how you should live your life. And like he is a walking, breathing servant's heart. He's such a good dude," she said.

Hoot, 31, returned the praise, which started during Tuesday's live show when he told Clarkson that she had helped him become a better person and parent.

"Having Kelly believe in me from the get-go and to be here tonight is just an incredible thing. … She's helped me get out of my shell on stage," he said, turning to her, "and you're just like the biggest cheerleader and that means more than you know. I really do appreciate it."

When asked what's next in his budding music career, it was clear this is new territory for the 31-year-old dad.

"I mean, I've been working in radio for the past five years as a sales rep. And so now taking that next step," he said, as Clarkson interrupted.

"I didn't know that," she said, explaining she learns new things about Hoot all the time.

"Actually, funny story," he continued. "I worked in a zinc mine for a while. I've done every type of construction, plumbing, HVAC. So, thinking about that next step has been something that's been on my my mind. I write all the time, so hopefully I can get there" in music.

Clarkson briefly became Hoot's cheerleader again when he said he would like to make an album that's country with "probably more of a '90s-ish style."

"I'm so happy," Clarkson said, before pointing out Hoot's versatility and influences, which include the Eagles and Fleetwood Mac.

After Hoot performed with Little Big Town on Tuesday's show, just a little bit before host Carson Daly announced him as the winner, some in the studio audience could be heard breaking into what has become a familiar chant: "Hoot! Hoot! Hoot!"

Down to the wire: 'The Voice' finale: From Jake Hoot to Katie Kadan, who will win it all?

Clarkson herself was part of that group, affectionately known as the Hooters. "I was hootin'. I had my arm going like Arsenio."

Hoot enjoys that connection with listeners. "The Hooters have been unreal. Back home, you have that same small group of people at your shows and it's incredible. But to see it on the level it got to, it's unreal. People that reached out or commented that I would have never met otherwise, it's incredible that they feel a part of it."

Clarkson seconded Hoot's sentiment. "Music. It brings people together and we're very divided right now as a country. It's cool."

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2019-12-18 08:45:53Z
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The Surprising Reason Why It Took Queen Elizabeth and Kate Middleton a Long Time to Build Their Relationship - Showbiz Cheat Sheet

Relationships between different members of the royal family always elicit curiosities from fans. Since the family in general is very private, it’s hard to know for sure who are truly close and who are really feuding.

Queen Elizabeth and Kate Middleton’s relationship, for instance, is something many onlookers have been curious about since Middleton became a royal in 2011. While there does not seem to be bad blood between the two women, it has been said that they did not become close until recently. And there is actually a surprising reason for this.

Queen Elizabeth and Kate Middleton did not bond right away

Kate Middleton and Queen Elizabeth | Anwar Hussein/WireImage

Middleton began dating Prince William in the early 2000s. The two of them dated for a very long time, and she eventually met Queen Elizabeth for the first time in 2008.

Back then, there were multiple reports that Queen Elizabeth did not initially like Middleton. Queen Elizabeth was a hard-working royal who took on numerous engagements a week, but Middleton did not have a stable job even when she was in her late 20’s. The tabloids even gave Middleton a mean nickname — “Waity Katie” — because it seemed as if she was simply waiting around to marry Prince William.

“Privately [Queen Elizabeth] had grave concerns and believed that Kate needed to have a job and an identity in her own right before an engagement was announced,” royal expert Kate Nicholl said.

Middleton and Prince William eventually married in 2011, and it took a while for Queen Elizabeth to warm up to her new granddaughter-in-law. In fact, the queen did not do a solo engagement with Duchess Kate until 2019. Yet, her first solo engagement with Meghan Markle came just a month after Duchess Meghan joined the royal family in 2018.

These days Queen Elizabeth and Kate Middleton get along well

Although it seems like they might not have gotten off on the right foot, it’s clear that Queen Elizabeth and Duchess Kate get along better these days, especially since Middleton has been showing her best self as a royal.

A source told Best Life: “The Queen is very pleased by the way in which Catherine conducts herself, supports William, and is wonderful with their young children. She never seeks to be the center of attention which is something Her Majesty admires about her.”

Meanwhile, another insider told Vanity Fair that, although Queen Elizabeth raised some concerns about Middleton not being able to fit into the royal family at first, it has become evident nowadays that the two women actually have a lot in common.

“Her mantra is very like the Queen’s keep calm and carry on approach in life,” the source said, “and she has the added benefit of making the Royal Family seem almost normal and in touch.”

The reason it took Queen Elizabeth and Kate Middleton so long to become close

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On #RemembranceSunday The Duke and Duchess of Cambridge joined Her Majesty The Queen and members of @TheRoyalFamily, as the nation honoured those who have lost their lives in conflict. The Duchess of Cambridge joined The Queen and The Duchess of Cornwall on the balcony of the Foreign Office for the National Service of Remembrance, as The Prince of Wales laid a wreath at the Cenotaph on behalf of The Queen, who is Head of the Armed Forces, followed by The Duke of Cambridge, The Duke of Sussex, The Duke of York, and Members of the Royal Family. Every year, the nation unites on Remembrance Sunday, traditionally held at 11am on the second Sunday in November, to honour the service and sacrifice of our Armed Forces community, the British and Commonwealth veterans, the Allies that fought alongside us and the civilian servicemen and women involved in the two World Wars and later conflicts PA / Crown Copyright #WeWillRememberThem

A post shared by Kensington Palace (@kensingtonroyal) on Nov 10, 2019 at 5:25am PST

According to Nicholl, Queen Elizabeth and Duchess Kate took a while to warm up to each other because they are both very shy. Nicholl shared: “Both women are actually quite shy so it’s taken time for them to get to this stage, but they have a very easy relationship now they’ve both made the effort.”

One thing Duchess Kate does to get on Queen Elizabeth’s good side is to put her family first. Middleton has three children and lets the queen be involved in their lives as much as possible, such as bringing them to Sandringham to spend Christmas with the queen and the rest of the family.

“I imagine that spending Christmas at Sandringham with her grandchildren and great grandchildren will be something [Queen Elizabeth] is very much looking forward to,” Nicholl said. “So Kate and William are doing the dutiful thing and putting the royal family first.”

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2019-12-18 08:31:47Z
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Star Wars: The Rise of Skywalker Review - IGN

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2019-12-18 08:00:02Z
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