Entertainment

Rio de Janeiro – In an unprecedented move, Big Brother Brasil 26 contestants Gabriela Saporito and Chaiany Andrade traded the confines of the reality show for a front-row seat to the vibrant energy of Carnival in Rio de Janeiro. The pair were surprised with the opportunity to attend the first night of the Grupo Especial samba school parades at the Marquês de Sapucaí on Sunday, February 15th, a reward for Gabriela winning the week’s “Prova do Anjo” (Angel Challenge).

The unexpected outing marks a significant departure from the show’s usual format, offering the contestants a temporary reprieve from the constant surveillance and competition. Gabriela, in turn, chose Chaiany to join her for this unique experience. “It’s my first Carnival,” Chaiany reportedly exclaimed, a sentiment echoed by Gabriela, who shared she had never attended the festivities before. This surprising turn of events unfolded after Gabriela previously secured privileged information – that the next Angel Challenge winner would receive a special prize – during a “Ganha-Ganha” (Win-Win) challenge, opting to forgo a potential R$10,000 prize for the intel.

A Unique Viewing Experience

The sisters weren’t simply granted access to a standard camarote (box seat). Instead, they were transported to the Sambadrome in a specially equipped van, blindfolded and wearing headphones, to ensure complete isolation. According to reports, Gabriela and Chaiany were situated in a custom-built structure suspended 25 meters (approximately 82 feet) in the air by a crane in Sector 9 of the Sapucaí. This innovative setup, sponsored by Mercado Pago, aimed to provide an unparalleled view of the parades while minimizing the risk of external influence or spoilers that could impact their game within the BBB 26 house.

The elaborate arrangement is part of a commercial action linked to Mercado Pago, a sponsor of both the Carnival parades and the reality show. The structure was designed to keep the contestants separate from the general public and prevent any accidental exposure to information about the outside world. However, the isolation wasn’t absolute, as the sisters shared the space with the program’s crew and reportedly, even singer Ricky Martin, who had previously shared stories from the same location.

Balancing Entertainment and Isolation

The decision to allow contestants to experience Carnival has raised questions about maintaining the integrity of the competition. While the structure was intended to prevent spoilers, the presence of others raises concerns about potential indirect information exchange. Globo, the network airing BBB 26, opted not to dedicate a separate live feed for viewers to follow Gabriela and Chaiany’s Carnival experience on Globoplay, potentially to further limit external exposure.

This isn’t the first time Gabriela has shown favor towards Chaiany within the competition. She previously granted Chaiany immunity during the formation of the “Paredão” (elimination wall), demonstrating a strong alliance between the two contestants. The Carnival excursion further solidifies their bond and provides a memorable experience amidst the pressures of the reality show.

The move to send contestants to Carnival is a first for Big Brother Brasil, breaking with the show’s long-standing tradition of complete confinement. It represents a novel approach to engaging viewers and adding an unexpected element to the competition.

As Gabriela and Chaiany return to the BBB 26 house, the impact of their Carnival experience on the dynamics of the game remains to be seen. The sisters’ perspective and potential insights gained from witnessing the spectacle of the samba school parades could influence their strategies and interactions with the other contestants. The coming days will reveal whether this unique opportunity will give them an edge in the competition or simply provide a welcome break from the intensity of the Big Brother Brasil 26 house.

What do you consider about this unprecedented move by BBB 26? Share your thoughts in the comments below!

The blind auditions for the 11th season of La Voix have concluded, and among the hopefuls who turned chairs, Anissa Essalihi has quickly become a standout. The singer, who impressed the coaches with her charisma and stage presence, has officially joined Corneille’s team, marking a full-circle moment for the young artist.

Essalihi isn’t a newcomer to the world of televised singing competitions. Ten years ago, at just seven years old, she first captivated audiences on La Voix Junior. Her journey didn’t stop there; she likewise participated in the show Quel Talent as part of the group Harmonix, demonstrating a consistent passion for performance. Now, she returns to the La Voix stage as a confident and vibrant artist, described as an independent, unconventional, and humanitarian Air sign – a Virgo – eager to share her talent.

The return of Essalihi to La Voix is particularly noteworthy given her previous experience. According to Le Droit, she performed Benson Boone’s “Ghost Town” during her audition, a rendition that garnered attention from all four coaches. This impressive showing highlights her growth as a performer and the enduring appeal that initially drew viewers to her a decade ago.

Essalihi’s audition wasn’t the only moment generating buzz. Christian Marc Gendron also delivered a stunning performance during the blind auditions, captivating the judges with his vocal range and surprising the audience. During Gendron’s audition, Essalihi also took the stage, ultimately choosing to join Team Corneille, as reported by el-balad.com.

The completion of the blind auditions signals a shift in the competition, with coaches now focused on mentoring their selected teams. Corneille, in particular, completed his roster with Essalihi, adding a contestant with a unique history and undeniable talent. 7 Jours noted Essalihi’s impressive charisma and stage presence as key factors in her success.

La Voix continues to air on TVA every Sunday evening at 7:30 PM, offering viewers a chance to follow Essalihi’s journey and witness the unfolding talent of the 11th season. Fans can also discover more about Rosemarie Boivin, another promising contestant, through additional portraits available on TVA’s platforms.

As the competition progresses, audiences can anticipate compelling performances and strategic coaching decisions. With a diverse range of talent assembled, the 11th season of La Voix promises to be a captivating showcase of musical artistry. The next stage will reveal how these artists develop under the guidance of their coaches and navigate the challenges of the competition.

What are your thoughts on Anissa Essalihi’s return to La Voix? Share your predictions and favorite moments from the blind auditions in the comments below!

Sir Ian McKellen, a celebrated Shakespearean actor and Academy member, has publicly expressed reservations about the film Hamnet, despite its strong showing in the awards season leading up to the Oscars. The veteran performer, known for his definitive portrayals of Shakespearean roles like Hamlet, King Lear, and Macbeth, questioned the film’s plausibility and its interpretation of the playwright’s personal life, even whereas acknowledging its likely success at the upcoming ceremony.

Hamnet, directed by Chloé Zhao and based on Maggie O’Farrell’s novel, offers a fictionalized account of the events surrounding the death of William Shakespeare’s 11-year-old son, Hamnet, and its potential influence on the creation of his iconic play, Hamlet. The film has garnered significant critical acclaim and has received eight Oscar nominations, including Best Picture, and has grossed $74 million globally, according to The Independent. However, McKellen’s perspective, informed by decades of studying and performing Shakespeare, offers a contrasting viewpoint.

McKellen Questions Historical Accuracy

The core of McKellen’s critique centers on what he perceives as improbable elements within the film’s narrative. He specifically questioned the depiction of Shakespeare’s wife, Anne Hathaway (often referred to as Agnes in the film), suggesting her apparent unfamiliarity with theatrical productions is unlikely given her husband’s profession. “The idea that [his wife] Anne Hathaway has never seen a play before? It’s improbable, considering what her husband did for a living. And she doesn’t seem to know what a play is!” McKellen stated, as reported by World of Reel. He further elaborated that he isn’t particularly interested in speculating about the origins of Shakespeare’s imagination, but found the film’s portrayal of the family dynamic unconvincing.

McKellen, 86, emphasized that his criticism isn’t intended as a personal attack on the filmmakers or the cast, particularly Jessie Buckley’s performance as Agnes. He acknowledged the inherent challenges of adapting historical events into fiction, noting that the details of Shakespeare’s life remain largely unknown. “Shakespeare’s perhaps the most famous person who ever lived, so of course there is some interest in what he looked like, what his relationship with his family was. And One can’t know,” he said, according to Radio Times.

Comparing Hamnet to Shakespeare in Love

McKellen drew a parallel between Hamnet and the 1998 film Shakespeare in Love, which also took creative liberties with the playwright’s life. He suggested both films present “odd views as to how plays get put on,” implying a tendency to prioritize dramatic license over historical accuracy. He noted that while Shakespeare in Love won the Best Picture Oscar in 1999, it didn’t necessarily reflect a historically accurate depiction of the Elizabethan theater world.

Despite his reservations, McKellen anticipates that Hamnet will be recognized at the Academy Awards. “I think You’ll see a few doubts of probability,” he conceded, but also acknowledged the film’s artistic merit and the strength of its performances. His comments, as highlighted by Reddit’s r/oscarrace forum, underscore the complex relationship between historical fiction and artistic interpretation, particularly when dealing with iconic figures like William Shakespeare.

As one of the foremost authorities on Shakespeare, with a career spanning decades of performance and scholarship, McKellen’s perspective carries significant weight within the theatrical community. His critique serves as a reminder that even critically acclaimed works of historical fiction are subject to scrutiny and debate, particularly when they attempt to illuminate the lives of well-known historical figures.

The 97th Academy Awards will be held on March 15, 2026, where the fate of Hamnet, and its potential to win major awards, will be determined. The film’s success, regardless of McKellen’s reservations, highlights the enduring fascination with Shakespeare and the continued exploration of his life and work through contemporary cinematic interpretations.

What are your thoughts on historical fiction taking liberties with established historical figures? Share your opinions in the comments below.