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Wes Anderson has reflected on being a father to his seven-year-old daughter Freya at the age of 54. The filmmaker lamented that he is an “old father” to his child, whom he shares with his partner, designer and author Juman Malouf. In a new interview published on Saturday (10 June), the Asteroid City director said he did not give his own mortality any thought until he became a parent. “I never used to think about having not much time left for this or that, or noticing how the time had disappeared so fast,” he told The Times. “It didn’t have an emotional effect on me whatsoever.” However, parenting a young child has made him think about it more often. “But now my daughter will be, well, I will be very old when my daughter is still very young,” he continued. “I am an old father. And maybe with modern medicine it’s better than it used to be, but you know…” Anderson, whose family home is in Kent, was reminded that he had once said he hoped to die at the age of 90 on a film set. He said: “Yes. That’s good. But I do feel a different thing now, which is somehow my family is more part of it now. And the only thing about [dying on] the film set is that they won’t be there. “But, you know, they don’t need to see me die. They have enough to worry about. They can just take my ashes.” Elsewhere in the interview, Anderson shared his thoughts about a popular TikTok trend that sees users creating short clips about their everyday lives in a film style similar to his. He revealed that he does not watch the TikTok videos and erases them “immediately” if someone sends one to him. Anderson and Malouf have been together for more than two decades, and she has collaborated with him on a number of his projects. The couple curated an exhibition at Vienna’s Kunsthistorisches Museum in 2018, comprising of 537 objects from the museum’s collection. It was titled Spitzmaus Mummy in a Coffin and Other Treasures, and also exhibited at the Prada Foundation in Milan the following year. Read More Wes Anderson tells friends not to send him TikToks of people impersonating his style: ‘I’ll immediately erase it’ Asteroid City, Cannes review: Wes Anderson’s enrapturing cosmic comedy is an offbeat Close Encounters Wes Anderson on his new '50s-set film 'Asteroid City,' AI and all those Tik Tok videos Fans react to rumours that Kelis, 43, is dating Bill Murray, 72 Amy Schumer reveals the reason she stopped taking Ozempic Debate sparker over parent who wouldn’t give her daughter any birthday cake

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YouTube has stopped Russell Brand making money on its platform because of the rape and sexual assault allegations made against him. The Google-owned company said it has suspended the monetisation of the 48-year-old’s channel because he was “violating” its “creator responsibility policy”. The BBC has also announced it was removing some content from its iPlayer and Sounds apps which “now falls below public expectations”. An episode of QI and a Joe Wicks podcast, both featuring Brand as a guest, have been removed, the PA news agency understands. It comes as the Commons Culture, Media and Sport Committee chairwoman Dame Caroline Dinenage has written to the BBC, Channel 4 and TikTok to request for further details on what actions they are taking in response to the allegations and to GB News in relation to their coverage of the claims. Brand’s YouTube account, which has 6.6 million subscribers, has been suspended from YouTube’s Partner account “following serious allegations against the creator”, meaning the channel is no longer able to make money from advertising on the platform. In a statement, YouTube said the decision applied to all channels that may be “owned or operated” by Brand, adding: “If a creator’s off-platform behaviour harms our users, employees or ecosystem, we take action to protect the community.” The news comes after the remaining shows of Brand’s Bipolarisation tour were postponed and the Metropolitan Police said they had received a report of an alleged sexual assault in the wake of media allegations about the comedian and actor. A BBC spokesperson said: “The BBC does not ban or remove content when it is a matter of public record, unless we have justification for doing so. “There is limited content featuring Russell Brand on iPlayer and Sounds. We’ve reviewed that content and made a considered decision to remove some of it, having assessed that it now falls below public expectations.” Dame Caroline has said: “This weekend we have seen some very serious and disturbing accusations about Russell Brand’s behaviour and we understand that the police are now looking into some of these allegations. “As a first step, our committee has decided that we will today write to media outlets, including the BBC and Channel 4, to understand the actions they are taking as we consider some of the issues around these allegations.” In separate letters to Channel 4 chief executive Alex Mahon and BBC director-general Tim Davie, the committee chairwoman asked for a timescale and regular updates on their internal investigation. The letters also requested updates on the investigation being conducted by Banijay UK, which bought Endemol, the company commissioned by Channel 4 to produce the Big Brother spin-off shows Brand hosted, into his behaviour while he was working on their programmes. She added: “We urge both the BBC and Channel 4 to do everything possible not only to ensure that employees, contributors and suppliers feel safe at work, but also create an environment whereby people can speak out when procedures are breached.” Meanwhile, TikTok’s director of Government relations, Theo Bertram, was asked whether Brand could monetise his posts on the video sharing platform, where he has 2.3 million followers. Dame Caroline also asked “what the platform is doing to ensure that creators are not able to use the platform to undermine the welfare of victims of inappropriate and potentially illegal behaviour”. Brand still has a presence on video platform Rumble, where his channel has 1.4 million followers and he hosts a weekly live show at 5pm BST, but there was no new episode on Monday. His most recent video on Rumble is the short clip from Friday when he denied the allegations against him, which were published the following day. His Rumble channel description reads: “Everybody knows that the old ideas won’t help us. Religion is dead. Capitalism is dead. Communism is dead. Where will the answers of the next century lie? Particularly, when we’re facing a mental health epidemic and ecological meltdown.” He also has a dedicated subscribers’ area on the online community platform Locals, where members can sign up for a minimum 60 US dollars (£48) a year – or enter a higher amount if they wish to donate more – in order to access special bonus content from Brand, as well as the opportunity to interact with him directly. Brand has been accused of rape, assault and emotional abuse between 2006 and 2013, when he was at the height of his fame and working for the BBC, Channel 4 and starring in Hollywood films, following a joint investigation by The Times, Sunday Times and Channel 4’s Dispatches. He has strongly denied the allegations, which also include claims of controlling, abusive and predatory behaviour. His YouTube channel includes coverage of news stories, including alleged misinformation surrounding the Covid-19 pandemic and being an outspoken sceptic of the vaccine. Last year, one of his videos was taken down on YouTube over the site’s policy on Covid-19 disinformation, which prompted Brand to move his channel to Rumble. On Tuesday, The Times reported that several other women have since come forward with fresh claims about Brand. One woman, using the fake name Lisa, told the paper the comedian had sung about Soham killer Ian Huntley during a consensual sexual encounter in 2008. Another woman, known as Esme, told The Times that Brand had been threatening and verbally abusive towards her when she refused to have sex with him. In a now deleted YouTube video, Brand can be heard joking about raping a woman during a recording of Richard Herring’s Leicester Square Theatre Podcast in 2013. Before the first allegations were published, Brand posted a video on Friday saying he has been “promiscuous” but that all of his relationships have been “consensual”.

Alex Greenwood claimed she “cannot put it into the words”, so she just kept repeating the words that made her feel like that. “We’re in a World Cup final.” “I just keep having to say it,” she laughed. It is a glorious fact worth actually reflecting on, even as thoughts quickly turned to Sunday, what next, who starts, whether Lauren James comes in. If actually winning the World Cup is the great ambition of any career, the final itself is the great stage. Those who step onto the pitch will leave their own mark on history, the very line-ups part of the record that makes football so rich. “We wanted to take England and women’s football to a new level and we have certainly done that over the last 12 months,” Ella Toone said. They’ve taken it all to the highest level for the very first time. That is worth celebrating, as Sarina Wiegman and the players insisted they would be doing. The squad were loving it out on the pitch but, as the Stadium Australia sound system played the Fifa-approved songs, they quickly realised they wanted to get into the dressing room and play their own music. This was the overriding feeling as they then made their way through the mixed zone. “We will celebrate tonight, I’d rather be in the changing room than talking to you lot,” Toone smiled. Everything they said still captured all it means. Some of them might have been cliches, but they’re cliches for a reason. They’re just what comes to mind as you try to make sense of something that goes beyond your imagination; your hopes. “It’s unbelievable, this is what dreams are made of,” Chloe Kelly said. “It is history,” Lucy Bronze added. Toone, meanwhile, graciously spoke a lot despite pleading she was so eager to get away. “This is going to be the biggest game of our careers.” That’s apt, because this - to quote their manager - has been a team that has grown with this World Cup. That is the major theme of, and explanation for, England’s historic run to the final. Performances have gotten better. Key players, and especially the attackers, have found form. Solving so many problems has honed the team. It meant they were supremely primed for what was supposedly their biggest test so far, a semi-final against a fine Australia in front of a fervent home crowd. There was even the shock of Sam Kerr’s thunderbolt, and a brief period where it seemed like it could all turn. Not a bit of it. Weaker sides, or even previous England teams, might well have wilted at that point. England turned it into their second biggest win of the World Cup so far, three of their attackers fittingly scoring again. “We just have this belief, nothing fazes us,” Toone added. “We face a lot of challenges this tournament and we have come through every one of them.” Lucy Bronze echoed that. “This tournament we’ve had so many things go against us, red cards, key players getting injured before the tournament, during the tournament, going a goal down in the last game, going against the host nation, everyone’s throwing everything at us including the kitchen sink. And we’ve just won games.” The variety of ways they have to win was pleasingly followed by the variety of the goals. One was just a straight contender for goal of the tournament, even as it swerved into the top corner, a moment of pure quality. “Honestly, that’s the best shot I’ve hit in my life,” Toone said. The second was a classic piece of opportunism, if from a rudimentary approach. Lauren Hemp had to be there, though, just as she was almost everywhere throughout this semi-final. “She has been like that the last few games,” Toone said. “She is just a nuisance. She runs in behind, she comes to feet, she is fast and she is strong. I think she would be a nightmare to play against and she has shown that today with a goal and an assist too . But it’s a team performance, we all dug deep.” The last from Alessia Russo was a classic striker’s finish, after some deft play from Hemp. It all makes it very difficult for Wiegman to bring Lauren James back in. This has been another irony of the World Cup, that shows how well England have adapted. Wiegman generally doesn’t like to change a team that works, but has been forced to do so at pretty much every step. Now, as the path clears to the grand stage, she will surely keep it as is. James might even be better value as a potential game-changer to come on. Even someone as meticulous and forward-thinking as Wiegman, however, admitted that was something to consider tomorrow. Now was the time to just be happy. Hence there was a joyous response when Greenwood was asked about previous semi-final disappointment in 2015 and 2019, and how England had never previously got this far. “That’s something we don’t have to think about any more.” There was now only hope, ambition, dreams coming true. “I’ve always said the one thing I’ve wanted for England is to get a star above my crest,” Bronze said. “The men have it and we don’t, so finally we can share the same crest.” Read More Sensational England capitalise on Sam Kerr’s missed moment to make World Cup history How England deployed dark arts and cool heads to silence Australian noise Sarina Wiegman: Inside the ‘genius’ mind behind England’s run to the World Cup final Lionesses celebrate reaching World Cup final – Wednesday’s sporting social Lauren Hemp hails ‘special’ England as Ella Toone toasts ‘best shot’ of her life Sarina Wiegman v Jorge Vilda – a look at the coaches in Women’s World Cup final

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