logo
BBC Apologises After David Walliams' Nazi Salute During Would I Lie To You? Taping

BBC Apologises After David Walliams' Nazi Salute During Would I Lie To You? Taping

Yahoo13-06-2025

The BBC has apologised for David Walliams' 'unacceptable' behaviour during a recent taping of a Would I Lie To You? special.
Earlier this week, the former Little Britain star was a guest on the pre-recorded Christmas special of the popular BBC panel show.
During the recording, fellow guest Helen George attempted to convince her opponents that she once injured herself while waving on the official Strictly Come Dancing tour.
As she demonstrated the wave that supposedly caused the injury, BBC News reported that David joined with increasingly exaggerated hand gestures, eventually culminating in him performing a Nazi salute.
They also claimed that at one point he performed a Nazi salute with one hand and a sexual gesture with the other.
One audience member told BBC News: 'The atmosphere was uncomfortable and weird. I think Rob Brydon wanted to get past it as quickly as he could.
'David Walliams' teammates looked unsure what to do and were not laughing... It was like an elephant in the room after that as the incident was early on in the recording and so the remainder of the show felt weird.'
A spokesperson for the broadcaster later said: 'The use of such an offensive gesture is completely unacceptable and we apologise to all at the recording for the offence caused.'
Meanwhile, a representative for Banijay – the production company who makes Would I Lie To You? – also issued an apology, insisting: 'Any attempt at humour regarding this deeply offensive gesture, whether broadcast or not, is completely unacceptable in any context.
'It was immediately acknowledged during the recording that this segment would not be broadcast under any circumstances and we apologise to those who were at the recording for any offence caused.'
HuffPost UK has also contacted David Walliams' team for comment.
BBC News noted that David has made only a handful of terrestrial TV appearances in recent history, following his departure from Britain's Got Talent in 2022 after 10 years on the panel.
David's exit came after recordings of him making disparaging and sexually explicit remarks about numerous BGT hopefuls on the set of the show in 2020, for which he later apologised, were leaked to the press.
David Walliams Reaches Settlement With Production Company Behind Britain's Got Talent
Simon Cowell Breaks Silence On David Walliams' 'Completely Unacceptable' Comments That Led To BGT Exit
Matt Lucas Sets The Record Straight After Reports About 'New Series' Of Little Britain

Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

Aaron Taylor-Johnson Explains Why 28 YEARS LATER Is 'More Horrific' Than Most Zombie Movies — GeekTyrant
Aaron Taylor-Johnson Explains Why 28 YEARS LATER Is 'More Horrific' Than Most Zombie Movies — GeekTyrant

Geek Tyrant

timean hour ago

  • Geek Tyrant

Aaron Taylor-Johnson Explains Why 28 YEARS LATER Is 'More Horrific' Than Most Zombie Movies — GeekTyrant

It turns out the most terrifying thing about 28 Years Later isn't the flesh-eating infected, it's the emotions. In a recent interview with GamesRadar+, star Aaron Taylor-Johnson described the upcoming sequel not as a straight-up horror movie, but as something more intimate and disturbing… a family drama set against the backdrop of a collapsed world. Taylor-Johnson said: 'We played the reality of the family drama, didn't we? We just kind of leant into what our family was sort of feeling and going through in this post-apocalyptic world. 'So the story itself feels very intimate within this big landscape. So you don't really play into the sort of horror theme in a way? You're just playing the reality of the circumstances, and I think that, in itself, is more horrific.' Directed by Danny Boyle and written by Alex Garland, both returning from the original 28 Days Later , this third installment trades the genre tropes for something a little more grounded. Of course, there are going be jumpscares. Yes, the Infected are back. But the emotional core revolves around Jamie (Taylor-Johnson), his wife Isla (Jodie Comer), and their son Spike (Williams), as they venture from the relative safety of Holy Island into the decaying chaos of the mainland. What begins as a coming-of-age journey for Spike quickly turns into something far more dangerous. According to Williams, it's that character shift that gives the movie its emotional bite. 'We really see Spike mature throughout this film, and he has to mature to survive. We see him right at the start where, you know, he holds back a lot and he's still got that childlike curiosity. 'Then we start to see… well, he still keeps that but he pushes it back to defend his mother, who's he trying to protect.' Taylor-Johnson and Williams both avoided watching other zombie films while shooting because 28 Years Later doesn't follow the usual playbook. When asked if he looked to the genre for inspiration: Taylor-Johnson said: 'I didn't because I didn't feel like it correlated or related to this.' Williams added: 'It's just so unique and creative. I just watched 28 Days Later a lot to try and get the vibe of this one.' With Jack O'Connell and Ralph Fiennes also on board, and Boyle and Garland fully back in the creative driver's seat, 28 Years Later is shaping up to be more than just a revival, it might be the most emotionally intense chapter yet. 28 Years Later hits theaters June 20th.

28 Years Later is a bleak fever dream with rage pumping through its veins
28 Years Later is a bleak fever dream with rage pumping through its veins

The Verge

time2 hours ago

  • The Verge

28 Years Later is a bleak fever dream with rage pumping through its veins

While it wasn't the first film to feature fast-moving ghouls, there is no denying how much of an impact 28 Days Later had on modern zombie movies. It was a gripping and nauseating wonder, whose action felt uniquely visceral thanks, in part, to director Danny Boyle's inspired use of a digital video camera. And there was a gut-wrenching sense of hopelessness baked into writer Alex Garland's script that made 28 Days Later feel far more grounded than most of the zombie films that inspired it. Boyle and Garland stepped back from the franchise as it continued with a graphic novel and director Juan Carlos Fresnadillo's 28 Weeks Later in 2007, but they are back together again for 28 Years Later. Though it's set in the same world and calls back to the original, the new film hits very differently because of how much more overrun pop culture is with zombie-themed horror. You can feel Boyle and Garland trying not to echo other big pieces of zombie IP as they weave a new tale about how the world has changed almost three decades after the outbreak of a deadly virus. And in a couple of the movie's pivotal moments, the filmmakers manage to avoid being too derivative. Many of this story's smaller beats feel overly familiar, though — so much so that it almost seems intentional. That wouldn't be a huge knock against 28 Years Later if it could conjure the same kind of pulse-quickening scares that made the first film such an instant classic. But the most terrifying thing about the franchise's latest chapter is how oddly conservative and, at times, nationalistic its story winds up becoming. Though 28 Years Later opens with an arresting reminder of how people had no idea how to defend themselves against those infected with the rage virus in the outbreak's early days, it revolves around a community that has learned what it takes to survive. Like everyone else holed up on a tiny island in northern England, Jamie (Aaron Taylor-Johnson) knows how dangerous the infected are and how easily their virus is spread. He also understands that, were it not for the island's unique geography — it connects to the mainland with a causeway that vanishes with the tides — his life of relative comfort wouldn't be possible. Jamie and his sickly wife Isla (Jodie Comer) work hard to impress upon their son Spike (Alfie Williams) how important it is to adhere to their community's rules. People can leave the island to collect wood or hunt for whatever food they can find. But they do so knowing that no one will come to save them if they can't make it back to the island on their own. Everyone also knows that, while Great Britain is still quarantined, the rage virus has been all but eradicated everywhere else in the world. And because other countries have essentially left the British to fend for themselves, there's a current of resentment (particularly toward the French) coursing through Jamie's community. One of the first things that jumps out about 28 Years Later is its overwhelmingly white cast. Some of that can be attributed to the idea that these are all people who just happened to already live on the island when the virus first got out. But Boyle also makes a point of emphasizing how capital B British all of the film's characters are, with closeups of photos of Queen Elizabeth II and moments where people remind each other that it's time for tea. The film frequently cuts to archival black-and-white footage of British soldiers marching during World War I and scenes from Laurence Olivier's Henry V in a way that makes British identity feel like it's meant to be understood as a crucial part of the story. This is also true of the way 28 Years Later prominently features a recording of 'Boots,' Rudyard Kipling's famous poem about a British soldier's participation in the Second Boer War. But all of that imagery becomes charged with a very pointed, Brexit-y energy when 28 Years Later juxtaposes it with shots of the writhing, naked infected who have become the mainland's dominant population. The racial homogeneity of Jamie's community is that last thing on anyone's mind as he prepares Spike to go on his first trip to the mainland — an experience that's supposed to help them bond and show the boy what it's like to kill an infected. Isla's terrified at the idea of her son leaving, but it excites Jamie, who almost seems to enjoy his forays into danger. Spike, too, is thrilled to finally get a chance to see parts of the world that he's never had access to. But it's not long before they encounter the infected and are forced to spend the night hiding rather than returning home. Especially once Jamie and Spike have ventured out, 28 Days Later starts to feel a lot like The Last of Us in the sense that its story is — at least initially — about a man working through his feelings about fatherhood in a world plagued by flesh-eating monsters. And the film's focus on manhood (as well as its parallels to other, more recent zombie fiction) becomes that much more pronounced when Jamie and Spike first encounter an alpha, one of the new types of infected. The way 28 Years Later evolves its monsters is one of the more interesting aspects of the film. There are still jerky, sprinting infected who present the most immediate risk, but after decades of mutation, the virus has also given rise to corpulent 'slow-lows' who crawl on the ground, and infected who seem able to form social connections. Boyle showcases the film's new types of monsters brilliantly in a number of action sequences that make heavy use of a unique iPhone camera array that creates shots that pivot around scenes in a very Matrix -y, bullet time fashion. Those shots — of arrows being shot into infecteds' necks and groins — are exhilarating and impactful, but deployed so frequently that it quickly grows tiresome. What's even more exhausting is how, despite the fact that we're told how these survivors have adapted to life with the infected, the film's characters repeatedly make decisions that feel wholly unmoored from reason. This becomes very apparent in the movie's second half as Comer — who delivers a tremendous, if restrained performance — takes on a much more prominent role. Columbia Pictures That said, 28 Years Later is absolutely gorgeous more often than not. Boyle's shots of the English countryside are majestic, but they become alarming as the infected shamble into view. There's one chase scene on the causeway that stands out for having some of the most beautiful visuals ever featured in a zombie film. But the story's rote-ness keeps 28 Years Later from feeling like the product of Boyle and Garland working at the height of their powers. As questionable as some of its messaging is, 28 Years Later is just the first installment of a new trilogy. It's possible that its off-putting qualities are being propped up for the subsequent two films to knock down -- which means that, like the infected, the series will have to evolve.

‘28 Years Later' Is the Zombie Sequel You Didn't Know You Needed—Here's How to Watch
‘28 Years Later' Is the Zombie Sequel You Didn't Know You Needed—Here's How to Watch

Elle

time2 hours ago

  • Elle

‘28 Years Later' Is the Zombie Sequel You Didn't Know You Needed—Here's How to Watch

Every item on this page was chosen by an ELLE editor. We may earn commission on some of the items you choose to buy. Over two decades after 28 Days Later redefined zombie horror, director Danny Boyle and writer Alex Garland return to their virus-ravaged world with 28 Years Later—the first in a newly planned trilogy. The $60 million sequel sees the Rage Virus still festering on British soil, while the rest of the world has moved on. Opening in theaters today, the film explores not just the ongoing fight for survival, but also the evolution of both the virus and humanity. Set on the remote Holy Island off England's northeast coast, 28 Years Later centers on 12-year-old Spike (Alfie Williams). who has never known a world beyond the fortified pathway linking his small community to the quarantined mainland. On his birthday, his father Jamie (Aaron Taylor-Johnson) takes him across the water for a harrowing rite of passage—only to find that the infected have evolved. Some crawl; others, now dubbed Alphas, lead organized hunting packs. The film also stars Jodie Comer as Isla, a housebound mother. 'There are moments that feel incredibly heightened—you're out of breath, facing elements of hysteria—but it's brilliant,' Comer told the BBC, describing the intensity of filming without CGI. While 28 Years Later doesn't revisit the immunity storyline from 28 Weeks Later, it does mark the beginning of a new arc that will stretch across two more films. Garland has already penned the second installment, 28 Years Later: The Bone Temple, which is directed by Nia DaCosta (Candyman) and due next year. Boyle, who hopes to return for the trilogy's conclusion, confirmed to Collider that Cillian Murphy's Jim—last seen alive in 28 Days Later—will appear in the second and play a major role in the third. Not yet. The film is currently playing in theaters, with a streaming release date to be announced. Given Sony's distribution history, the title is likely to become available via digital purchase first, followed by streaming on one of its affiliated platforms—though no official plan has been confirmed. In the meantime, you can revisit the earlier films in the franchise: 28 Days Later is now available to stream on Pluto TV, and 28 Weeks Later is on Hulu and Tubi. Get Tickets

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into a world of global content with local flavor? Download Daily8 app today from your preferred app store and start exploring.
app-storeplay-store