Instead, the snap appeared cropped and was actually of him with his ex-girlfriend Chelsy Davy, whom he dated on and off from 2004 to 2011. In a preview clip of the series, a picture used of Harry being hounded by photographers was actually taken years before he met Meghan. The couple - who stepped down as senior members of the British Royal Family and relocated to the US to lead a financially independent life in 2020 - discuss the impact of the paparazzi and the media on their lives, with Harry insisting he didn't want "history to repeat itself" in reference to the way his late mother Princess Diana was treated. One flaw was being accused of using doctored and irrelevant footage. It was also met with equal measures of criticism and praise. The fly-on-the-wall series broke streaming records as it became the streaming giant's biggest documentary debut, clocking 81.6 million hours viewed within the first four days of its release. The pair are up against 'Prehistoric Planet 2', 'Rainn Wilson and the Geography of Bliss', 'Rennervations', 'The 1619 Project' and 'The Reluctant Traveller with Eugene Levy'. Prince Harry and his wife's bombshell six-part series is in contention for Best Streaming Nonfiction Series at the Los Angeles bash on August 13. But as an album of dark ballads with a chilled out beat, Lana Del Rey’s humourless Honeymoon is certainly far from the joyous honeymoon I envisioned for myself.The Duke and Duchess of Sussex's Netflix docuseries, 'Harry and Meghan', has received a nomination at the upcoming Hollywood Critics Awards (HCA). Her vocals are effortless, she never breaks from the minor key and each track feels more depressing than the last, but the album’s sheer beauty is why I am forgiving. Her voice paired with an organ is a magical alliance that creates a much spookier interpretation of the 51 year old track.ĭel Rey relentlessly but admirably does not step out of her comfort zone. The album ends with a cover of Nina Simone’s, ‘Don’t Let Me Be Misunderstood’ which Del Rey somehow makes feel even more historic. It is an injection of sophistication that this very cinematic sounding album does not need I was already mesmerised. Embarrassingly, I initially scoffed at the pretentious nature of this ‘waffle’ before after a little research discovering it to be an extract from T.S Eliots iconic poem, ‘Burnt Notion’. Halfway through the album there’s a spoken word interlude, “time present and time past are perhaps time future and time future contained in time past”. She seductively hums the introduction, and it is overbearingly romantic. Trapped by her newfound fame, she certainly is the damsel in distress with the Disney Princess voice to match, with villains in the form of the paparazzi and bad boy lovers, the fairy-tale setting being her paradisal California. When addressing her celebrity she hints at suicide, “I’ve got nothing left to live for now that I’ve found my fame” and “I feel free when I see no one and nobody knows my name”. I found ‘God Knows I Tried’ to be the most depressing track on the album, standing out only in terms of lyrics. She then goes onto hypnotise us with very similar sounding tracks ‘Art Deco’, ‘Religion’ and later ‘Salvatore’ in which she weaves in and out of Italian. The second song on the album (and Del Rey’s stated favourite), ‘Music To Watch Boys To’ sets this template for the rest of the album with a smoky 30 second acapella beginning. Throughout the album her haunting vocals are enshrouded in vaporous reverb like a lazy smoky exhale of the cigarettes that have become part of the iconography of Lana Del Rey. A down tempo pop undercurrent exists throughout the album, becoming an RnB trap beat in the most popular single on the album, ‘High By The Beach’, which gives this morbid collection of tracks that modern and listenable touch. She may favour an unfashionably vintage sound but Del Rey is not traditional. She opens with the fabrication “we both know that it’s not fashionable to love me”- but as the most streamed female artist on Spotify in America, Lana Del Rey couldn’t be more wrong. The album begins with orchestral strings that escalate to a beautifully cinematic sound of despair – the sonic sound of tragedy – before the entry of those instantly recognisable purring vocals. The eponymous opening song is particularly morbid. Lana Del Rey offers no surprises in her latest album Honeymoon is a slowed down, haunting ode to California, to doomed love and the past.
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