Tag: Entertainment – Variety

Tenzin Dalha, at the Toronto Film Festival with Jennifer Peedom’s Apple original Film “Tenzing,” has been revealed as the male lead in Bengali-language thriller “Chheledhora,” opposite Swastika Mukherjee.

His casting had been withheld when the Indo-American production was first announced earlier this year, with producers naming only Mukherjee at that point.

“Tenzing,” a gala presentation at TIFF, features Genden Phuntsok as legendary mountaineer Tenzing Norgay, with Tom Hiddleston, Willem Dafoe and Caitríona Balfe also in the cast. A limited theatrical run begins Oct. 9, with global streaming on Apple TV following Oct. 16.

In “Chheledhora,” written and directed by Shieladitya Moulik – whose credits include “Sweater” and “Surjo” – Dalha and Mukherjee anchor a story set off by an act of parental defiance. Mukherjee plays Brishti, a divorced mother who “steals” her own daughter for a birthday outing, only for the child to be genuinely abducted. The discovery then draws a group of deeply flawed adults and their children into an erratic journey through Northeast India, where the youngest characters gradually emerge as the moral compass for the adults around them. Filmed extensively in Arunachal Pradesh’s Ziro Valley, the production combines family drama, thriller elements and dark humor with the cultural texture of India’s Northeast. It is currently in post-production.

“We made a very conscious decision not to announce Tenzin when we first revealed ‘Chheledhora,’” said Ann Mukherjee, founder of Indo-American production company Sita22 Films. “We knew he had this extraordinary international moment ahead of him with ‘Tenzing,’ and TIFF felt like exactly the right time for audiences to discover another side of him. Tenzin possesses a quiet emotional intelligence and restraint that makes him a fascinating counterpoint to Swastika’s tremendous emotional force. Their chemistry is central to the film.”

Mukherjee described “Chheledhora” as a film that makes both a physical and emotional journey into India’s Northeast. “We want to tell stories that are deeply rooted in India but aren’t constrained by conventional ideas of language, geography or identity,” she said.

Dalha said it felt “particularly special” to be discussing one project while at the festival for another. “They are completely different films, yet rooted in human grit, empathy, the lengths to which humans are capable of going for people they love,” he said. “What drew me to ‘Chheledhora’ was Shieladitya’s writing. His understanding of humans as imperfect complex beings and looking at life beyond the dichotomy of individuals as good or bad. He wrote these beautiful broken young adult characters making questionable choices for their loved ones.”

The actor described Mukherjee as “a force of nature in frame and a force of joy on set,” adding that the Arunachal landscape shaped the film’s atmosphere from the outset. “Shooting in Ziro and Arunachal Pradesh provided the perfect backdrop for a thriller, and the weather set the tone right for the ambience,” he said.

The film is produced by Ann Mukherjee for Sita22 Films, with Jitin Hingorani as co-producer and creative producer, Dhanraj Sawant as executive producer and Priyangi Borthakur as supervising producer. Italian cinematographer Vincenzo Condorelli shot the film.

“The idea was never to make a Bengali film that simply happens to travel to the Northeast,” said Hingorani, who also heads content and development at Sita22 Films. “The journey changes these characters, and the Northeast becomes part of the film’s emotional language. Pairing Swastika and Tenzin gives us two performers coming from very different cinematic and cultural energies, and that tension is part of what makes the film so exciting. At Sita22, our mandate is to find stories that can be hyper-local and super-global at the same time, and ‘Chheledhora’ embodies that philosophy beautifully.”

The 31st Busan International Film Festival (BIFF) has announced the first-ever Korea visit by Alfonso Cuarón, alongside a dedicated spotlight on nine films from European women and genderqueer filmmakers.

Cuarón, who has won the Academy Award for best director twice, for “Gravity” (2013) and “Roma” (2018), also holds the Venice Film Festival’s best screenplay prize for “Y Tu Mamá También” (2001) and a Golden Lion for “Roma.” He first caught Hollywood’s attention with “Y Tu Mamá También,” a portrait of youth and desire, before taking “Harry Potter and the Prisoner of Azkaban” (2004) in a moodier, more personal visual direction than the series had gone before, and later used extended long takes in “Children of Men” (2007) to pull audiences directly into a world at war. He is expected to appear at BIFF’s opening ceremony and will sit down for an extended conversation with festivalgoers about the camera language and instincts behind his films. An Imax screening of “Gravity,” co-written with his son, filmmaker Jonás Cuarón, will also be at the festival.

Jonás Cuarón’s latest feature, “Campeón Gabacho,” will have its Asian premiere in the World Cinema section, followed by a post-screening Q&A. Since writing on “Gravity,” the younger Cuarón has built his own filmography with “Desierto” (2015) and “Chupa” (2023). “Campeón Gabacho,” starring Juan Daniel García Treviño, Leslie Grace, Rubén Blades, Eddie Marsan, Rosario Dawson and Cheech Marin, follows a Mexican immigrant building a life in the United States, and was produced by Jonás Cuarón alongside his father and Gabriela Rodriguez under their Esperanto Filmoj banner, with Nicolás Celis also producing.

Elsewhere at the festival, BIFF is showcasing “Europe! Voices of Women+ in Film,” a program run with the European Film Promotion (EFP), spotlighting nine officially selected films through targeted promotion and industry networking. The lineup spans period drama, documentary and contemporary narrative work built around questions of freedom, memory and family, with four of the nine as feature debuts. May el-Toukhy‘s “Woman Unknown,” winner of the Golden Lion at Venice, anchors the group; el-Toukhy became the first Danish woman filmmaker to take that prize, while Mathilde Arcel won the Volpi Cup for best actress in the same film. Also included are Marine Atlan’s debut “La Gradiva,” Pegah Ahangarani’s “Rehearsals for a Revolution,” Sandra Wollner’s “Everytime,” winner of the Un Certain Regard Prize at Cannes, Margherita Ferrari’s debut “Föa – Once Upon a Future,” Isabelle Stever’s “I Rarely Wake Up Dreaming,” Marie Kreutzer’s “Gentle Monster,” Shahrbanoo Sadat’s “No Good Men” and Sarah Arnold’s debut “Too Many Beasts.” Judith Godrèche’s “A Girl’s Story,” part of this year’s gala presentations, joins Angela Schanelec’s “My Wife Cries,” Janay Boulos and Abd Alkader Habak’s “Birds of War,” Jacqueline Lentzou’s “A Day in the Life of Jo: Chapter Phaedra,” winner of the Horizons Award for Best Director at Venice, and Konstantina Kotzamani’s “Titanic Ocean” among the additional selections.

Five directors from the program, el-Toukhy, Godrèche, Ferrari, Lentzou and Kotzamani, will travel to Busan to present their films. Godrèche will also take part in a Cine Class session, “Women, Rewriting the Screen,” and BIFF and EFP will co-host a Talk-to-Talk panel, “Women Directors: Taking the Scene,” bringing together Ferrari, el-Toukhy and Lentzou alongside Iranian director Marjan Khosravi (“Dreams of the Wild Oaks”), Chinese director Michelle Zhou (“Big Little Things”) and Afghan director Zainab Entezar (“771 Days”).

BIFF programmer Seo Seunghee said that in reviewing films for this year’s festival, she noticed European women directors becoming more prominent among the strongest titles under consideration, in both volume and quality. “Moreover, the fact that four of the nine invited films are feature debuts is also an indicator of the generational shift taking place in European cinema,” Seo said. “Our ongoing collaboration with EFP has become a reliable channel for discovering and validating outstanding films and filmmakers, and the results are fully reflected in this year’s lineup.”

EFP managing director Irina Ignatiew-Lemke said the “Europe! Voices of Women+ in Film” initiative lets EFP and its member organizations “join forces to give distinctive European voices greater international visibility.” She added, “Busan is an important platform for bringing these filmmakers and their works into dialogue with audiences and industry professionals in Asia. By combining the festival’s selection with EFP’s targeted promotion and networking, we are proud to support underrepresented voices and create opportunities for the next generation of women+ filmmakers.”

The program runs in collaboration with BIFF, the Sydney Film Festival and Festival do Rio, with support from the Creative Europe – MEDIA Programme of the European Union. This year’s participating national film promotion organizations are Austrian Films, Cinecittà, the Czech Film Center, the Danish Film Institute, German Films and Unifrance, with Cineuropa serving as media partner.

The 31st Busan International Film Festival will run Oct. 6-15 at the Busan Cinema Center and venues throughout Busan, with the 21st Asian Contents & Film Market held Oct. 10-13.

Competitive Bollywood fusion dance has thrived on American college campuses for decades, but it has rarely been the subject of a scripted feature film.

Lena Khan‘s “Best of the Best,” premiering Friday on Netflix, follows childhood best friends Maya and Anjali as they join UCLA’s competitive dance team, only to discover that the road to the U.S. Championship is far more raucous and cutthroat than they imagined.

Written by Hasan Minhaj and Prashanth Venkataramanujam, who each competed in similar circuits growing up, the script drew Khan in even though she was not initially sure she would take on the project. Early on, she recalls mentioning it to a childhood friend, who was dismissive. “Bollywood competitions, really?” the friend said, and made it seem like it was not that cool, according to Khan, who says the reaction reflects something broader. “I think South Asians, especially in the diaspora, are so used to not even having our own self-respect.”

That realization shaped how she approached the film’s tone. “We have so much respect for the skill sets of other cultures. We’re looking at kung fu, we’re looking at these different arts. But when we look at our own, we’re used to seeing ourselves as Apu or as the funny nerdy side characters,” Khan says. She wanted the movie to carry a different posture entirely. “We can be proud of things that we do as South Asians,” she says.

Minhaj and Venkataramanujam drew on their own backgrounds for the script. Minhaj’s wife danced competitively, and Venkataramanujam performed with an a cappella team called Chai Town, giving him firsthand knowledge of how consuming the competition circuit can become. Khan spent time with UCLA’s own dance team and traveled to North Carolina to observe competitions in preparation.

Khan’s earlier work directing episodes of Netflix’s “Never Have I Ever” fed into how she thinks about representation. “When you have more than one of a minority character, then there’s suddenly become real characters,” she says, describing the shift that happens once side characters are allowed the same depth as anyone else. “You get to focus on the humanity between them, the things that become relatable to everybody else.”

Casting required actors who could carry both comedy and depth, and several, including Maitreyi Ramakrishnan, had never danced competitively before landing their roles. Khan recalls pushing Ramakrishnan toward a specific physical transformation during casting. “I need you to give me some Channing Tatum energy. And then I was like, no, actually, I need you to do a Christian Bale on me. I need a complete athletic transformation,” she says. Ramakrishnan went on to complete months of intensive dance training ahead of the shoot.

Khan built the dance sequences with choreographers Phillip Chbeeb and Makenzie Dustman, with Joya Kazi credited as co-choreographer. Each number was approached with a single guiding question, she says: “What is the essence we are trying to bring out in this particular moment?” Where a typical Bollywood dance sequence gets five days to shoot, the production often had just one. The choreography also draws on multiple regional styles, including Kuthu, Bharatanatyam and Pakistani-influenced dance, reflecting the mix of identities on the fictional team.

Khan, whose credits include the independent feature “The Tiger Hunter,” says the industry’s relationship to South Asian stories has shifted since that film came out in 2016, even as some structural limits remain. “We still don’t have that many romances or romantic comedies with South Asians,” she says, pointing out that South Asian men are often not given the chance to play the lead. The film flips that dynamic elsewhere in its own casting, she notes: “The nerdy minority character is actually a white guy. Like we have a token white guy.” She also credits a wave of South Asian musicians and actors, including Joy Crookes, whose song she fought to include in the soundtrack, with making the film possible. “And now we’re like, well, we’ve really made it when we make a movie that’s just good,” she says.

That philosophy extended to how much cultural context the film explains for a global Netflix audience. Khan says she resisted pressure to over-explain South Asian references, trusting shows like “Never Have I Ever” to have already proven audiences do not need everything spelled out. “At some point this country and the world is just full of people in different cultures,” she says.

Working with Minhaj and Venkataramanujam, both first-time feature writers, meant frequent creative disagreements, Khan says, but never without purpose. “There would be such a thoughtful reason that we were always fighting over why we’re doing a certain thing, but it was never for a vapid reason,” she says. “And they’re also just the most gracious people.”

Looking ahead, Khan says she is drawn to projects centered on overlooked people or subjects, alongside a personal passion project already underway. “I’m always on the hunt for that,” she says, describing a search for stories she wishes already existed and a way to make them for a wide audience.

“Best of the Best” also stars Lilly Singh, Nihar Duvvuri, Nico Greetham, Amryn Khurana, Tanishq Joshi, Saara Chaudry and Sasha Bhasin. It is streaming now on Netflix.

In the video, Parton says ,”Well, hey, it’s Dolly, and I am so honored to receive the Lifetime Achievement Award from the Americana Music Association. I mean, roots music, or what is now called Americana music, is what I grew up playing back in the Smoky Mountains. It’s that same music that drew me back to East Tennessee back in 1997 to write and record my album ‘Hungry Again.’

“And that project really opened the door to a series of bluegrass and acoustic albums that changed the course of my career in so many ways. Now, new fans discovered these albums, new Americana music communities embraced them, and now, looking back at it all, I see this era of my career as a musical renaissance of sorts.”

She concluded, “And I want to thank everybody at the AMA for recognizing me with this award. It’s a great honor, truly. And just know that I will always love you.”

Parton receiving the lifetime achievement award was announced just this month, but obviously long in the works. The existence of the acceptance speech was a surprise to the audience, as was the musical performance that followed.

On the red carpet, Carlile told Variety, “Dolly’s being honored this year, and that makes me feel really good to be able to be there and bear witness to that.”

In her introductory speech, Harris — who collaborated with Parton on the hit “Trio” album, along with Linda Ronstadt — explored her legacy.

“Just a few weeks ago, something utterly unthinkable happened: Dolly Parton left our world. But over her time here, this tiny, extraordinary woman made it a better, brighter and kinder place,” Harris said to applause.

“One of the many pearls — Dolly would call them rhinestones — of wisdom she imparted was her four-part motto: dream more, learn more, care more, be more,” Harris continued. “Dolly was more from the very start. More than the odds anyone gave her growing up in poverty in Locust Ridge, Tennessee, the fourth of 12 children. More than the precocious 10-year-old who sang on a local TV show. More tha just another pretty woman moving to Nashville with her guitar. And certainly more than the ‘dumb blonde’ she sang about, but never was.

“In 1967, Dolly got a good start on her big dream when she landed a gig as the girl singer with Porter Wagoner. All right, remember those? Their duets were a hit on the show and on the charts, but Dolly was nobody’s sidekick. She wanted more and she deserved more, and she set out to get it, always, always, on her own terms. And we all know what happened when Dolly set her sights on something. She didn’t just succeed, she expanded the borders of what a musician could be.

“She was a country star, then a pop star, then a global icon. She was one of our all-time greatest songwriters, but she shined just as brightly on stage. She lit up the TV screen and then she lit up the movie screen. Her stunningly beautiful, pure mountain voice could make us cry and then crack us up with a well aimed, sometimes bawdy joke.

“There was nothing Dolly couldn’t do, and so she did it. She opened Dollywood, a theme part that continues to provide a real economic boost to the area she grew up in… She created a relief fund that helped hundreds of families get back on her feet after the wildfires ravaged east TN a decade ago. well all remember those. And she saved lives all over the world by funding research that helped lead to a COVID vaccine. Yeah, man, she did that. Closest to her heart was her Imagination Library. it’s given out more than 300 million free books just so far, and that’s showing kids all over the country that they can dream more and be more.”

Saying goodbye before the video rolled, “Farewell, Dolly, godspeed, and thank you for everything.”

Cartoon Forum, the leading co-production event in Europe for animated series, has unveiled the winners of this year’s Cartoon Tributes, recognizing the dedication and creativity of key players in the European animation industry.

Chosen by the event’s attendees gathered in Toulouse, the winners in the three established categories (Producer, Broadcaster and Investor/Distributor of the Year) were celebrated today as the Forum slowly comes to a close after three days of intense pitching sessions, networking and debates around the state of European animated TV industry.

This year, the Producer of the Year went to Bobby Prod (France), who presented “The Broos” back in 2024 at Cartoon Forum. Now streaming on ARTE France, the series (which originated on social media before being developed as an animated series in co-production with ARTE) highlights the potential of digital-first storytelling to reach wider audiences, with creators and communities deeply tied together.

An approach that’s been at the heart of Bobby Prod for more than 15 years, as the studio built its strong identity around irreverent humour, creative freedom and bold storytelling. From bringing known IPs to life with “Creatures Commandos” or “Dead Cells,” Bobby Prod and sister company Bobbypills are now expanding into their own originals IPs with French hit queer animated feature “Jim Queen” now being presented at TIFF, and Jordan Firstman announced as lead voice cast.

France’s Folivari International takes home the Investor/Distributor of the Year award. Two year since its creation by Folivari, the independent sales agency carefully built its distinctive slate blending in-house titles and third-party acquisitions, with hit series such as “Samuel,” and buzzy titles currently in production and/or development, such as “Pil’s Adventures,” “Ted & Paula’s Tadpole Journey,” “Nino Dino” and “The Baker Street Four,” all presented at Cartoon Forum.

BBC, UK’s public-service broadcaster and a major player in the global economy of animated TV series, received the Broadcaster of the Year award, emphasizing the enduring ties between European animation and the post-Brexit United Kingdom. With its children’s services CBeebies and CBBC catering respectively to preschool and school-age audiences, BBC remains a major commissioner and co-producer of children’s animation, with a strong focus on original content and partnerships with independent production companies. A long-standing presence at Cartoon Forum, BBC boarded several European series to its slate after their Forum pitches, including “Duck & Frog,” “Maddie + Triggs,” “Piggy Builders,” “Pablo” and “Dungeons & Kittens.”

This year’s Tributes also introduced a fourth category, the Ecoprod-Cartoon Tribute, honoring a European animation production company or initiative that has made a significant contribution to advancing sustainability in the sector.

Presented in partnership with Ecoprod, a French non-profit organisation supporting the audiovisual industry’s environmental transition, the new award featured three nominees, with the winner selected by Ecoprod in recognition of its commitment to sustainability across its operations, production methods and storytelling.

The very first Ecoprod-Cartoon Forum Tribute went to French, Réunion Island-based Gao Shan Pictures, a 2D and 3D animation service studio and production company creating bold, distinctive and meaningful films for international audiences with sustainability at its core. A stance that is reflected both in the stories it chooses and in the way they are produced, with credits including “In Waves,” “The Smurfs,” “Jim Queen” and “Allah is Not Obliged.” At Cartoon Forum 2026, Gao Shan Pictures presented “The Roots of My Hair,” a 2D animated series for teenagers aged 12 to 15 adapted from the eponymous best-selling graphic novel.

This year, all nominees had strong ties to Cartoon Forum, having participated in the event both to pitch their projects and to connect with the European animation industry. Companies from the Czech Republic, Germany, Ireland, Luxembourg, Spain and Sweden were also among this year’s nominees.

Created in 1990 to boost the co-production and distribution of European animation across television and new media platforms, Cartoon Forum has since helped more than a 1,000 1,053 animation series obtain financing, totaling more than €3.83 billion ($4.39B).

The Freyas, also known as the Nordic Film and TV Awards, has revealed its first honorees and award-winners. They are Lasse Hallström, Lena Olin, Trine Dyrholm, Ólafur Darri Ólafsson, Fares Fares, Thea Sofie Loch Næss, Laura Birn and Ebba Katrín Finnsdóttir.

The first-ever edition will be held in Helsinki on Sept. 22, bringing together leading creative talents and industry professionals from Finland, Sweden, Norway, Denmark and Iceland.

“The Nordic countries may represent relatively small individual markets, but together they have created an audiovisual culture with a remarkable global footprint,” Kirpi Uimonen, one of The Freyas founders, said. “The Freyas are about celebrating that collective achievement – and the people who have been bold enough to take Nordic stories to the world.”

Honorees will include Swedish director Lasse Hallström, who represents “one of the pioneering Nordic filmmakers who have established successful careers on both sides of the Atlantic,” the awards organizers said.

His international breakthrough came with “My Life as a Dog” in 1985, which earned him two Oscar nominations. He subsequently built an extensive international career, including audience and critics pleasers such as “What’s Eating Gilbert Grape,” “Chocolat,” “An Unfinished Life” and “The Hundred-Foot Journey.”

Another honoree will be Swedish actress Lena Olin, who “embodies the international reach of Nordic acting talent.” From Bergman’s “Fanny and Alexander” and “After the Rehearsal,” and of her international breakthrough performance in Philip Kaufman’s “The Unbearable Lightness of Being,” to “Enemies,” “A Love Story” and “Chocolat,” Olin built a distinguished international career spanning European and American cinema and television.

Denmark’s Trine Dyrholm will be awarded at The Freyas with Outstanding Nordic Actor (in a Series) for her role as the formidable Ditte Jensen in Benedikt Erlingsson’s series “The Danish Woman,” a co-production between Iceland, Denmark and France.

Her past performances include Thomas Vinterberg’s “The Celebration,” Susanne Bier’s “In a Better World” and “Love Is All You Need,” Nikolaj Arcel’s “A Royal Affair,” Vinterberg’s “The Commune,” for which she won the Silver Bear for best actress at the Berlinale, and May el-Toukhy’s “Queen of Hearts.”

Recently, she has starred in “Margrete: Queen of the North,” “The Girl With the Needle” and “Beginnings.”

Ólafur Darri Ólafsson, one of Iceland’s most internationally recognized actors, will be accepting an Outstanding Nordic Actor (in a Series) Freya Award for the lead role in the Icelandic-Finnish series “Reykjavik Fusion,” which he also executive produced through his company Act4.

He is perhaps best known internationally for his leading role in the acclaimed Nordic noir series “Trapped,” alongside appearances in “True Detective,” “The Secret Life of Walter Mitty,” “The Big Friendly Giant,” “Fantastic Beasts: The Crimes of Grindelwald,” “The Tourist” and “Severance.”

Swedish-Lebanese actor and filmmaker Fares Fares is awarded with a Freya Award for Outstanding Nordic Actor (in a Film) for “Arkipelag,” directed by Alex Schulman.

He first rose to prominence with “Jalla! Jalla!” and went on to appear in films including “Easy Money,” “Zero Dark Thirty,” “Rogue One: A Star Wars Story” and “The Contractor,” as well as the series “Westworld,” “Chernobyl” and “The Wheel of Time.”

Icelandic actress Ebba Katrín Finnsdóttir will also be honored. She won Iceland’s Gríman Award for Actress of the Year in 2020 and has recently starred in the series “Húsó,” “Vigdis,” “Reykjavik 112,” “The Danish Woman” and “Hildur.”

The Freyas also recognizes a new generation of Nordic artists working at the highest international level.

Finnish actress Laura Birn is being honored, recognizing a Finnish professional whose international breakthrough has “helped put Nordic talent in front of a global audience.” Birn has become internationally known for her acclaimed portrayal of Demerzel in Apple TV+’s epic science-fiction series “Foundation,” a role she has carried across the series’ first three seasons. She also recently appeared alongside Javier Bardem in “Beloved” (El Ser Querido), which got its world premiere at the Cannes Film Festival in May.

Thea Sofie Loch Næss is one of Norway’s internationally recognized young acting talents. She gained local fans in the “Olsenbanden” movies and international attention as Skade in Netflix’s “The Last Kingdom” and has since built an impressive body of work across Norwegian and international film and television, including “Wisting,” “Christmas Storm,” “So Long Marianne,” “La Palma” and as Cinderella in recent festival darling “The Ugly Stepsister.”

King Charles III has issued a rare statement regarding a new book about his ex-wife, the late Princess Diana.

Written by Diana’s brother, Charles Spencer, the book claims (according to reports) that after Diana’s sudden death in a car crash in 1997, Spencer got into a heated argument with Charles, then still heir to the throne. During the argument, Charles allegedly “hissed” at Spencer: “Rest assured, we’ll forget her soon enough!”

In a statement issued to the BBC, Buckingham Palace dismissed the claim, saying: “While we do not comment on books as a matter of principle, His Majesty is mindful that the pain of fraternal grief can cloud reason, affect judgment and colour memory in ways others do not recognise, even many years after such a loss.”

Spencer’s memoir, “Swan Song: Diana, My Sister,” is not set to be published until next week. However, the Daily Mail reported that on Monday a truck carrying copies was travelling between a printing plant and a warehouse in the Netherlands when it was intercepted while parked in a lay-by, with four copies of the book mysteriously stolen.

Revelations about its contents leaked soon afterwards, including the claim about the argument between Spencer and Charles, which reportedly took place by telephone not long after Diana’s death.

The Royal Family, whose relations with Spencer have long been strained, are said to fear the book could contain numerous bombshells about Charles and Diana’s relationship, which was infamously plagued by adultery and acrimony.

The claims would deal yet another blow to the King, who is still battling cancer. An equally loquacious memoir by his son, Prince Harry, was published in 2022, creating headlines around the world and leading to a fall-out with his family.