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LONDON - Less than two months before a fairytale wedding anticipated by much of the world, Britain's royal family finds itself fighting an inconvenient distraction: revelations that Prince Andrew, the queen's second son, is friends with a convicted sex offender, was photographed with a teenage prostitute, and has been accused of ties to Moammar Gadhafi's Libyan regime.

 

The Duke of York also hosted the son of the Tunisian dictator shortly before a popular uprising drove him from power — and the buildup of embarrassment has sparked calls that he be stripped of his role as special U.K. trade representative.

Buckingham Palace is in damage control mode as it attempts to keep the public's focus on the April 29 wedding between Prince William and tabloid favourite Kate Middleton, his university sweetheart.

British officials have rallied to Andrew's defence. The foreign secretary expressed his "confidence" in Andrew on Sunday, and a U.K. trade official voiced support for the prince to remain in the position, saying he does a "very valuable job."

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But pressure is mounting and there is growing speculation over how long Andrew can hang on to his post.

Andrew has courted trouble before: His much-publicized divorce from Sarah Ferguson, her subsequent missteps, massive debt, a tell-all interview and a videotaped attempt to sell a U.K. tabloid access to Andrew stand in stark contrast to the glow surrounding William and Kate Middleton's courtship and upcoming nuptials.

Since becoming a special trade representative in 2001, Andrew has also drawn criticism for reportedly taking lavish trips in his role as an unpaid trade ambassador.

The latest revelations in the British media have centred on Andrew's friendship with convicted pedophile Jeffrey Epstein and claims that Andrew also had close ties to Seif al-Islam Gadhafi, one of the Libyan leader's sons.

Photos recently published in the British media show Andrew strolling in a park with Epstein — the New York billionaire jailed for soliciting underage prostitutes in Florida. Most recently, a photograph emerged showing Andrew with his arm around the waist of the teenage prostitute at the centre of that case.

While there has been no suggestion of any wrongdoing on the part of Andrew, the sum of events has prompted some soul-searching over whether the prince is a suitable representative for U.K. interests abroad.

"The duke recognizes that his association with Jeffrey Epstein was, in retrospect, unwise," a person familiar with the matter said, noting that it can be understood Andrew will not be photographed with Epstein again anytime soon.

But that's not placating some who say enough is enough. Last week, British lawmaker Chris Bryant claimed that Andrew had close links to Seif Gadhafi. Bryant called for Andrew to be fired, telling the House of Commons, "Isn't it time we dispensed with the services of the Duke of York?"

Buckingham Palace on Sunday rejected Bryant's claims, saying Andrew's interactions with the Gadhafi regime — and Tunisia's ousted dictatorship, too— fell within the mandate of his job as special trade representative.

"It was part of the British government's engagement with Libya at the time," a palace spokesman said on customary condition of anonymity.

The spokesman confirmed Andrew met Moammar Gadhafi twice. Both meetings were of public record and should not come as news, the spokesman said, adding that Andrew is "fully committed to his role as special representative."

"It is understood that he has the support of the government behind him," the spokesman said.

Government officials backed up that claim Sunday, citing Andrew's role in nurturing business interests.

"The Duke of York has made a valuable contribution to British business," a spokesman for government trade body UKTI said. "We continue to support him," he added, on customary condition of anonymity.

Foreign Secretary William Hague also expressing his full confidence in Andrew's work.

"I'm not an expert in ... the embarrassments," Hague told the BBC. "But certainly I've seen around the world a lot of good that he has done for this country."

 

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By Hillel Italie,Michael Kuchwara, THE ASSOCIATED PRESS, cp.org, Updated: May 3, 2010

NEW YORK - Lynn Redgrave, an introspective and independent player in her family's acting dynasty who became a 1960s sensation as the unconventional title character of "Georgy Girl" and later dramatized her troubled past in such one-woman stage performances as "Shakespeare for My Father" and "Nightingale," has died. She was 67.

Her publicist Rick Miramontez, speaking on behalf of her children, said Redgrave died peacefully Sunday night at her home in Kent, Conn.. Children Ben, Pema and Annabel were with her, as were close friends.

"Our beloved mother Lynn Rachel passed away peacefully after a seven year journey with breast cancer," Redgrave's children said in a statement Monday. "She lived, loved and worked harder than ever before. The endless memories she created as a mother, grandmother, writer, actor and friend will sustain us for the rest of our lives. Our entire family asks for privacy through this difficult time."

Redgrave was diagnosed with breast cancer in December 2002, had a mastectomy in January 2003 and underwent chemotherapy.

Her death comes a year after her niece Natasha Richardson died from head injuries sustained in a skiing accident and just a month after the death of her older brother, Corin Redgrave.

The youngest child of Michael Redgrave and Rachel Kempson, Lynn Redgrave never quite managed the acclaim - or notoriety - of elder sibling Vanessa Redgrave, but received Oscar nominations for "Georgy Girl" and "Gods and Monsters," and Tony nominations for "Mrs. Warren's Profession," "Shakespeare for My Father" and "The Constant Wife." In recent years, she also made appearances on TV in "Ugly Betty," "Law & Order" and "Desperate Housewives."

"Vanessa was the one expected to be the great actress," Lynn Redgrave told The Associated Press in 1999. "It was always, 'Corin's the brain, Vanessa the shining star, oh, and then there's Lynn."'

In theatre, the ruby-haired Redgrave often displayed a sunny, sweet and open personality, much like her ebullient offstage personality. It worked well in such shows as "Black Comedy" - her Broadway debut in 1972 - and again two years later in "My Fat Friend," a comedy about an overweight young woman who sheds pounds to find romance.

Redgrave's play "Nightingale" at off-Broadway's Manhattan Theatre Club in 2009 was the last time she appeared on stage in New York. Lights on Broadway marquees will be dimmed Tuesday.

"She was adored by audiences, and although she embarked on a medical treatment as previews began, she never missed a show and gave magnificent performances eight times a week," said Lynne Meadow, artistic director of MTC.

"We admired her strength, her talent, her courage and her enormous good heart. There wasn't a stage hand, a press rep, a box office person who didn't worship Lynn. She was true theatre royalty."

Tall and blue-eyed like her sister, she was as open about her personal life as Vanessa has been about politics. In plays and in interviews, Lynn Redgrave confided about her family, her marriage and her health. She acknowledged that she suffered from bulimia and served as a spokeswoman for Weight Watchers. With daughter Annabel Clark, she released a 2004 book about her fight with cancer, "Journal: A Mother and Daughter's Recovery From Breast Cancer."

Redgrave was born in London in 1943 and despite self-doubts pursued the family trade. She studied at London's Central School of Speech and Drama, and was not yet 20 when she debuted professionally on stage in a London production of "A Midsummer's Night Dream." Like her siblings, she appeared in plays and in films, working under Noel Coward and Laurence Olivier as a member of the National Theatre and under director/brother-in-law Tony Richardson in the 1963 screen hit "Tom Jones."

"Before I was born, my father was a movie star and a stage star," the actress told the AP in 1993. "I was raised in a household where we didn't see our parents in the morning. We lived in the nursery. Our nanny made our breakfast, and I was dressed up to go downstairs to have tea with my parents, if they were there."

True fame caught her with "Georgy Girl," billed as "the wildest thing to hit the world since the miniskirt." The 1966 film starred Redgrave as the plain, childlike Londoner pursued by her father's middle-aged boss, played by James Mason.

Dismissed by critic Pauline Kael as a false testament to free thinking, the movie was branded "cool" by moviegoers on both side of the Atlantic and received several Academy Award nominations, including one for Redgrave and one for the popular title song performed by the Australian group The Seekers.

"All the films I've been in - and I haven't been in that many attention-getting films - no one expected anything of, least of all me," Redgrave said in an AP interview in 1999.

"Georgy Girl" didn't lead to lasting commercial success, but did anticipate a long-running theme: Redgrave's weight. She weighed 180 pounds while making the film, leading New York Times critic Michael Stern to complain that Redgrave "cannot be quite as homely as she makes herself in this film.

"Slimmed down, cosseted in a couture salon, and given more of the brittle, sophisticated lines she tosses off with such abandon here, she could become a comedienne every bit as good as the late Kay Kendall," he wrote.

Films such as "The Happy Hooker" and "Every Little Crook and Nanny" were remembered less than Redgrave's decision to advocate for Weight Watchers. She even referenced "Georgy Girl" in one commercial, showing a clip and saying, "This was me when I made the movie, because this is the way I used to eat."

At age 50, Redgrave was ready to tell her story in full. As she wrote in the foreword to "Shakespeare for My Father," she was out of work and set off on a "journey that began almost as an act of desperation," writing a play out of her "passionately emotional desire" to better understand her father, who had died in 1985.

In the 1993 AP interview, Redgrave remembered her father as a fearless stage performer yet a shy, tormented man who had great difficulty talking to his youngest daughter.

"I didn't really know him," Redgrave said. "I lived in his house. I was in awe of him and I adored him, and I was terrified of him and I hated him and I loved him, all in one go."

Redgrave credited the play, which interspersed readings from Shakespeare with family memories, with bringing her closer to her relatives and reviving her film career. She played the supportive wife of pianist David Helfgott in "Shine" and received an Oscar nomination as the loyal housekeeper for filmmaker James Whale in "Gods and Monsters." She also appeared in "Peter Pan," "Kinsey" and "Confessions of a Shopaholic."

On stage, she looked at her mother's side of the family in "The Mandrake Root" and "Rachel and Juliet."

"Nightingale" touched upon her health, the life of her grandmother (Beatrice Kempson) and the end of her 32-year marriage to actor-director John Clark, who had disclosed that he had fathered a child with the future wife of their son Benjamin. She sat at a desk and worked from a script, but it didn't affect what the AP called "her touching, beautifully realized performance," the AP wrote last year.

Lynn Redgrave is survived by six grandchildren, her sister Vanessa, and four nieces and nephews.

A private funeral will be held later this week.

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'In Memoriam': Where was Farrah?

'In Memoriam': Where was Farrah?

The "In Memoriam" section has become an awards show staple: tasteful music played under images of the past year's notable dearly departed in that particular industry.

There will always be disagreements over the length of the piece, who rated highest on the "death-meter" with the most applause, the music (I'm a huge James Taylor fan, but I heard from people who thought his rendition of "In My Life" was inappropriate or otherwise off) ... and most of all, who is included and who is left out.

This year, the last strains of James' guitar were still lingering and the Oscar telecast had barely gone to commercial when I started hearing from friends: "Where was Farrah Fawcett?"

I replayed mental tape, and sure enough, while many of the other major celebs who passed away last year - many during the "Summer of Death" – made the Oscar show's cut, Fawcett was nowhere to be seen. Natasha Richardson, Dom DeLuise, David Carradine, Karl Malden, Patrick Swayze (yes, he was there right at the beginning of the montage), and Brittany Murphy, but no sign of Farrah's signature blonde mane and dazzling smile.

The Academy's reaction to the avalanche of criticism that followed was predictable, and reasonable: they can't include everybody.

That said, presumably there are standards to determine who makes the cut and who doesn't. Obviously, fame is one of those criteria. On the other hand, the Oscar death roll always includes executives, writers, directors, and other less-famous folk who had significant film industry roles, so obviously there's a balance to be struck. For instance, Bea Arthur did almost exclusively television, with just a few movie credits in her six-decade career, so it made sense that the Emmys saluted her last fall, but the Oscars did not.

That brings us to (deep breath ... bracing for hate mail from his fans ...) Michael Jackson. His death last June, just a few hours after Fawcett's, overshadowed hers in the news, and now it seems it's happened again. Yes, Farrah was known largely for "Charlie's Angels" and such TV movies as "The Burning Bed," but she was in plenty of movies, including "Dr. T. and the Women," "The Apostle," "Man of the House," "See You In The Morning," "Extremities," "The Cannonball Run," "Saturn 3" and "Logan's Run." Okay, maybe some of those films were better candidates for the Razzies than the Oscars, but let's consider Jackson's big-screen credits: "The Wiz," "This Is It," and... um... that "Men in Black II" cameo. Suddenly, Farrah's list looks a lot better.

Film critic Roger Ebert tweeted that he felt the snub was “a major fail” by the Academy and that they have “a whole lot of splaining to do.”

There's an old Latin phrase (I know, I know: there aren't many new Latin phrases): de mortuis nil nisi bonum - speak no ill of the dead. However, they didn't say anything about arguing over the dead. Have at it: what did you think of Michael's inclusion, Farrah's exclusion, and the entire concept?

Posted by: CNN Entertainment Senior Producer David Daniel Filed under: Farrah Fawcett Michael Jackson Oscars 2010 movies

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Ottawa International Poets and Writers for human Rights (OIPWHR)