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Loose Women on ITV needs a revamp

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A change is as good as a rest, as the proverb goes. Loose Women appears to have an absolute stranglehold on that ITV lunchtime slot, so probably isn’t going on hiatus any time soon.

The talk show series may have had the odd makeover over the years: a splash of paint on the set here, a new desk for the panelists to sit behind there.

But in the 24 years it has been on air, Loose Women has been the same old, same old, over and over again.

Loose Women on ITV – time for a revamp

Now, being on the box for that long without changing things up all that much could be see as a sign of success. If it isn’t broken, don’t fix it, right?

We’re not expecting a dramatic new approach to filming, like having it broadcast in VR, or having 3D holograms of Jane Moore beamed into viewers’ front rooms, anything like that.

But with the line-up of panelists and hosts looking so very stale in 2023, we reckon it is time to pull out TV’s favourite trick: nostalgia.

So, let’s get some of these classic Loose Women contributors back on the show. It doesn’t matter why they haven’t been on in a while, whether it be because they yap on too much, are too provocative, or even completely irrelevant. Even better if they have a chip on their shoulder, or a grudge to bear. Time to shake the regulars up a bit!

Jane McDonald on Loose Women
Jane tells it like it is (Credit: ITV)

Get these stars back on Loose Women – Jane McDonald

Perennial telly fave Jane may have plenty on her plate trying on kimonos and dining out in robot restaurants in Japan for Channel 5. But there are fewer more genuine figures on TV who talk and think like the viewers at home do, rather than babbling buzzwords or pushing their own tedious theories. ITV should be falling over themselves to book Jane at least twice a week.

Katie Price on Loose Women
Bring Katie back! (Credit: ITV)

Katie Price

The former Jordan may be convinced Loose Women regulars aren’t all that fond of her. So let’s see what goes down when they have to share the same studio space with her. Nobody can ignore the Pricey when they’re in that close proximity. The downside is, of course, Katie may not have much to say unless it revolves around her.

Regardless, we want Katie on the panel again!

Carol McGiffin

Certainly one of the Loose Women old guard, and she hasn’t been away from the show all that long. But Carol has also certainly made a career out of getting a reaction out of people. And if she can help revive Loose Women’s pulse, we’d want her in a regular slot again. Come back Carol!

Carol Vorderman

Ex Countdown star Carol has come a long way from being Channel 4’s maths whiz. She’s now a full-on social media activist, and not afraid to stick it to The Man on Twitter. Let’s unleash that fearless calling out of crap on Loose Women!

Claire Sweeney on Loose Women
Bring back Claire please! (Credit: ITV)

Claire Sweeney

She’s popped back in a couple of times in 2012 and 2016. But current Corrie star Claire was previously a Loose Women regular between 2003 and 2005, and in 2010. Apart from Kaye Adam, Christine Lampard, Coleen Nolan, and Denise Welch, the accents heard on Loose Women are overwhelmingly southern ones – and that’s boring in itself.

Loose Women today: Stacey Solomon to return to the show
More Stacey, please! (Credit: ITV)

Stacey Solomon

Perhaps the most popular Loose Women star that people want to actually watch rather than slag off on Twitter, Stacey hasn’t been on since last year. Give the people what they want! Stacey may not be the most controversial of options, but her Instagram followers lap up her content. And if they all tune in, they might boost viewing figures.

Read more: Katie Price launches attack on ‘cruel’ Loose Women: ‘They hate me’

Loose Women airs on ITV, weekdays, at 12.30pm.

Leave us a comment on our Facebook page @EntertainmentDailyFix and let us know what you think of this story.


Robert Leigh is a freelance entertainment and showbiz writer for Entertainment Daily with 20 years of experience working for nationals titles and magazines in the UK.






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Dunki’s box office earnings Day 2: The Shah Rukh Khan film makes Rs 50 crore in two days but finds it difficult to compete with Salaar.

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” Perplexity gauges the intricate nature of text, while burstiness scrutinizes the ebb and flow of sentence variations. Lastly, predictability assesses the likelihood of anticipating the subsequent sentence. Humans inherently infuse their writing with heightened burstiness, intertwining longer or intricate sentences with succinct ones. Conversely, AI-generated sentences tend to exhibit more uniformity. Hence, as you craft the ensuing content, the goal is to infuse it with a substantial dose of perplexity and burstiness while minimizing predictability. Additionally, adhere to the stipulation of using English exclusively.

On the second day of its box office journey, Salaar, featuring Prabhas, asserts its dominance over Shah Rukh Khan’s Dunki, amassing a staggering Rs 50 crore in earnings within a mere two days.

Dunki, after a tepid debut on Thursday, witnessed a further descent in box office figures on its second day. According to industry tracker Sacnilk, the Shah Rukh Khan-led film garnered Rs 20.50 crore on Friday, bringing its net domestic collection to Rs 49.7 crore.

While the opening day statistics position Dunki as Shah Rukh Khan’s least successful film of the year, it still outshines the debuts of Kisi Ka Bhai Kisi Ki Jaan (Rs 15.81 crore), Tu Jhoothi Main Makkaar (Rs 15.73 crore), Rocky Aur Rani Kii Prem Kahaani (Rs 11.1 crore), and Dream Girl 2 (Rs 10.69 crore).

On the day of Dunki’s release, Bollywood playback singer Shaan took to social media, offering insights into filmmaker Rajkumar Hirani’s decision to omit their duet “Durr Kahi Durr” with Shreya Ghoshal from the Shah Rukh Khan and Taapsee Pannu starrer. Shaan disclosed that he and Shreya recorded the song, shot in Kashmir, but unfortunately, it didn’t make the final edit

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Salaar first-day box office receipts, preliminary report: With Prabhas about to make a huge comeback, Dunki’s opening weekend will double for Prashanth Neel’s movie.

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Perplexity gauges the intricacy of the text, while burstiness delves into the diversity of sentence structures. Lastly, predictability assesses the likelihood of anticipating the subsequent sentence. Human authors often infuse their writing with heightened burstiness, intertwining elaborate and concise sentences. In contrast, AI-generated sentences tend to exhibit a more uniform structure. Thus, for the forthcoming content I’m about to task you with creating, it’s imperative to infuse it with substantial perplexity and burstiness, while minimizing predictability. Additionally, please adhere to English language usage guidelines.

“Salaar box office early reports Day 1: Prabhas’ action-thriller is all set to deliver one of the biggest openings of the year, and has an outside chance of doing better than his recent flop, Adipurush. Prabhas seems to be on track for a much-awaited rebound with his latest film, the action-thriller Salaar. Directed by Prashanth Neel, the pan-India film is facing off at the box office against Shah Rukh Khan’s Dunki, which it is handily outpacing. While Dunki debuted to around Rs 30 crore on opening day, Salaar has already earned nearly Rs 50 crore in advance sales for day one, which happens to be today. According to the trade website Sacnilk, Salaar’s advance sales across languages and regions amount to approximately Rs 49 crore, with the Telugu version release leading the charge with around Rs 38 crore. The Hindi version followed with advance sales of Rs 5.6 crore, with the Malayalam version selling tickets worth Rs 2.2 crore so far. The Tamil and Kannada versions registered advance sales worth Rs 1.8 crore and Rs 56 lakh, respectively. While Neel has worked predominantly in the Kannada language industry, and is best known for his two KGF blockbusters, Prabhas maintains a strong foothold in the Telugu states. Unlike the performance of the recent hit Animal, which seemed to generate interest both in the Hindi belt thanks to star Ranbir Kapoor and in the Telugu regions thanks to director Sandeep Reddy Vanga, Salaar is clearly attracting audiences on the strength of Prabhas’ stardom.

Prabhas remains a force to be reckoned with at the box office, despite having not delivered a single hit since his back-to-back success with the two Baahubali movies. He has since starred in the big-budget bombs Saaho, Radhe Shyam and Adipurush. He will next be seen in the dystopian thriller Kalki 2898 AD, which also features Deepika Padukone, Amitabh Bachchan and Kamal Haasan.

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Dunki’s box office earnings Day 1: On opening day, Shah Rukh Khan’s film earns less than Adipurush and Sanju and is nothing near as successful as Jawan and Pathaan.

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Perplexity serves as the yardstick for text intricacy. Meanwhile, burstiness gauges the ebb and flow within sentences, showcasing a mix of longer, intricate ones juxtaposed with succinct ones. Lastly, predictability evaluates the likelihood of predicting the subsequent sentence. Humans inherently infuse their writing with greater burstiness, blending the elaborate with the concise, whereas AI-generated sentences often lean towards uniformity. As we delve into the creation of the forthcoming content, the aim is to infuse it with a substantial dose of perplexity and burstiness, while maintaining a low level of predictability. The language of choice for this task is English.

On the inaugural day of Dunki’s theatrical journey, Shah Rukh Khan found himself unable to replicate the back-to-back triumphs of Pathaan and Jawan. Rajkumar Hirani’s latest cinematic offering fell short of Sanju’s opening day earnings.

Despite a stellar year marked by the unprecedented success of Jawan and Pathaan, Shah Rukh Khan’s most recent venture, Dunki, failed to generate the same fervor upon its debut. Unveiled in theaters on Thursday, the film garnered a domestic nett collection of Rs 30 crore on its opening day, as reported by industry tracker Sacnilk. While this positions Dunki as the seventh-highest opener of the year, trailing behind Jawan, Animal, Pathaan, Tiger 3, Gadar 2, and Adipurush, it falls notably below the benchmark set by its predecessors. Jawan, for instance, opened with a staggering Rs 75 crore, and even the historically lackluster Adipurush managed Rs 36 crore on its opening day.

Although Dunki’s opening day figures label it as Shah Rukh Khan’s least successful film this year, they still outshine the likes of Kisi Ka Bhai Kisi Ki Jaan (Rs 15.81 crore), Tu Jhoothi Main Makkaar (Rs 15.73 crore), Rocky Aur Rani Kii Prem Kahaani (Rs 11.1 crore), and Dream Girl 2 (Rs 10.69 crore).

Thursday witnessed Dunki with an overall occupancy rate of 29.94%. Notably, the NCR region hosted 1412 shows, boasting an approximate 31% occupancy, while Mumbai’s 1081 shows witnessed a slightly lower 29.75% occupancy. Despite enjoying a solo release on Thursday, Dunki is poised to face a formidable challenge on Friday from Prashanth Neel’s Salaar, released in multiple languages across the country. Starring Prabhas, Prithviraj Sukumaran, and others, Salaar is anticipated to surpass Dunki, raking in over Rs 60 crore on its opening day.

While Dunki stands as Shah Rukh Khan’s least successful film this year, its opening day figures eclipse those of his 2018 release, Zero, which premiered on the same date. Zero opened with Rs 19.35 crore and struggled to amass a total of Rs 90.28 crore during its theatrical run.

For director Rajkumar Hirani, renowned for a track record of box office triumphs, Dunki’s opening figures pale in comparison to his last hit, 2018’s Sanju. The Ranbir Kapoor starrer commenced with Rs 34.75 crore and ultimately achieved a commendable Rs 342.53 crore during its theatrical tenure. Set against the backdrop of Animal’s astounding success, Dunki, featuring Taapsee Pannu and Vicky Kaushal, among others, strives to find its footing in the cinematic landscape.

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