Amanda Abbington hails ‘vindication’ over BBC’s Strictly apology as Giovanni Pernice says he’s ‘relieved’ at findings

Published

1 year ago

September 30, 2024

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Actress Amanda Abbington has called a BBC apology over complaints of bullying on Strictly Come Dancing a “vindication”.

A BBC investigation into Abbington’s claims “upheld some, but not all” of her complaints about professional dancer Giovanni Pernice’s behaviour during her time on Strictly.

The Sherlock actress, who pulled out of the BBC One show last year citing “personal reasons”, later claimed she was subject to a “toxic environment” and “inappropriate, mean, nasty bullying”.

While there were no findings relating to physical aggression, it is understood that complaints of verbal bullying and harassment were upheld.

Responding to the report, a representative for Pernice said he was “relieved” the BBC report – which has taken six-months to complete – found no evidence of threatening or abusive behaviour.

In a statement, Abbington said: “My decision to come forward and complain about Giovanni Pernice’s conduct towards me was not an easy thing to do. In the days, weeks and months since I contacted the BBC, I’ve been accused of being a liar, a troublemaker and of being ‘mad and unstable’.

“I’ve also received rape and murder threats and a bomb threat was sent to my place of work. My family and children have also been subjected to threats and intimidation.

“Despite this vile abuse, I’ve never regretted coming forward, and today’s apology from the BBC is a vindication of my complaint. It’s not just a vindication for me, it’s a vindication for the other people who have contacted me since I made my complaint to express concerns about their own experiences on Strictly Come Dancing.

“I hope those who have felt unable to speak out now will be more confident that they will be listened to and believed.”

The 50-year-old performer said she will now be considering whether to meet with senior management at the BBC, and hoped the corporation “makes the changes it promised”.

Ex-Strictly professional ‘pleased’ and ‘relieved’

Pernice, who did not return to dance on the show this year, said he was “relieved” the BBC review had not found “any evidence of threatening or abusive behaviour” by him.

The 34-year-old Italian dancer has previously denied the allegations, and earlier this month announced he was joining the Italian equivalent of Dancing With The Stars, Ballando con le Stelle.

In a written statement, a spokesperson for Giovanni Pernice said: “We are pleased that this six-month review has not found any evidence of threatening or abusive behaviour by Giovanni.

“Giovanni is relieved that the overwhelming majority of allegations out to the BBC have not been upheld and looks forward to continuing his work on Dancing With The Stars in Italy this season.”

Pernice had danced on Strictly since 2015, lifting the glitterball trophy for the first time in 2021 alongside EastEnders star Rose Ayling-Ellis. He had appeared in three show finals previously.

‘A joyous and transformative experience’

In a statement summarising its findings, the broadcaster said: “We take any allegations of bullying and harassment very seriously and this review has taken time due to its complex nature and our desire to ensure a rigorous and robust process was undertaken.

“Strictly Come Dancing is a family show and we rightly expect very high standards. While competition can be tough, rigorous and demanding, we want the show to ultimately be a joyous and transformative experience. It is a great shame if this hasn’t been the case for everyone who has appeared on the show.

“We have assessed the complaints and we have upheld some, but not all, of the complaints made. We want to apologise to Amanda Abbington and to thank her for coming forward and taking part. We know this would not have been an easy thing to do.”

While it said the Strictly production team “took steps to address the issues as they understood them” at the time, the corporation admitted “ultimately these were not enough”.

The BBC also thanked “a number of individuals” aside from Abbington who contributed to the investigation.

It then listed various new duty of care measures, introduced to protect contestants, including the presence of a production team member in training and rehearsals, two newly created production roles (celebrity welfare producer and professional dancer welfare producer) and additional training for the professional dancers, production team and crew.

The BBC say 15 training room observers are now in place for rehearsals (including breaks, warm-ups and rest periods) and it has implemented “weekly welfare meetings”, which include a review of daily training logs.

In addition, there is also a “pre-series psychological review”, workshops on the culture and expected behaviour of the show and a formal exit interview for all outgoing contestants.

‘Open and transparent about the complaints process’

Speaking to BBC News, BBC chief content officer Charlotte Moore said she could not go into detail because of the “confidentiality of a complaints process”.

She said the corporation was “trying to balance that with the desire to be open and to be transparent about the way our complaints processes work”.

She added: “So I think it’s really important that we’re as open and transparent as we can be about that process, which is why we’ve issued the statement.”

Previous complaints

Abbington’s complaint is not the only Strictly issue to have been flagged to the BBC.

Another Strictly professional dancer Graziano Di Prima was previously axed from the show after he admitted kicking Strictly partner Zara McDermott in training once last year.

Irish TV presenter Laura Whitmore previously said she spoke to the Strictly review team, and said she was subjected to “inappropriate behaviour”. She was partnered with Pernice in 2016, and was eliminated seventh that year.

Paralympian Will Bayley had also spoken out about duty of care issues.

Strictly’s 20th anniversary season is now in its fourth week, with Olympic swimmer Tom Dean becoming the first contestant to leave the show on Sunday.

Entertainment

The Stone Roses bassist Gary ‘Mani’ Mounfield dies aged 63

Published

2 days ago

November 20, 2025

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The Stone Roses bassist Gary 'Mani' Mounfield dies aged 63

The Stone Roses bassist Gary “Mani” Mounfield has died at the age of 63, his family has said.

Mani’s brother, Greg, said in a post on Facebook: “It is with the heaviest of hearts that I have to announce the sad passing of my brother.”

“RIP RKID,” he added.

Formed in 1983, The Stone Roses were a mainstay of the “Madchester” scene.

Mani joined the band in 1987 and formed part of its classic line-up alongside singer Ian Brown, guitarist John Squire and drummer Alan ‘Reni’ Wren. He remained with the group until their split in 1996.

Mani’s death comes two years after that of his wife, Imelda Mounfield, who was diagnosed with stage 4 bowel cancer in November 2020. The couple welcomed twin boys in 2012.

The Stone Roses frontman Brown shared a tribute online, writing: “REST IN PEACE MANi X.”

Oasis singer Liam Gallagher said he was “in total shock and absolutely devastated”, describing the bassist as “my hero”.

“RIP Mani – my heartfelt condolences to his twin boys and all of his family,” wrote the Happy Mondays’ Shaun Ryder, whose bandmate Rowetta added: “Back with your Imelda, Mani. Going to miss you so much. All my love to the boys, the family & all those who knew & loved him.”

The Charlatans frontman, Tim Burgess, shared a photo of himself with Mani, writing alongside it: “I shared this photo a week or so ago on Mani’s birthday.

“It never failed to bring a smile to my face – and that was exactly the same for the man himself.

“One of the absolute best in every way – such a beautiful friend.”

Echo & the Bunnymen vocalist Ian McCulloch said Mani was someone “who I have always loved and always will love, deeply and forever. Like a brother”.

He continued: “I am in shock to be honest. Please tell me I’m just having a bad, bad dream. My thoughts and feelings and Mani. Love to all of his family from me”.

The “Madchester” bands were known for blending indie with acid house, psychedelia, and pop.

The Stone Roses’ eponymous debut album of 1989 was a huge success, and was named the second greatest album of all time in a “Music of the Millennium” poll conducted by HMV, Channel 4, The Guardian, and Classic FM.

Entertainment

Half of novelists fear AI will replace them entirely, survey finds

Published

2 days ago

November 20, 2025

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Half of novelists fear AI will replace them entirely, survey finds

The novel has survived the industrial revolution, radio, television, and the internet. Now it’s facing artificial intelligence – and novelists are worried.

Half (51%) fear that they will be replaced by AI entirely, according to a new survey, even though for the most part they don’t use the technology themselves.

More immediately, 85% say they think their future income will be negatively impacted by AI, and 39% claim their finances have already taken a hit.

Tracy Chevalier, the bestselling author of Girl With A Pearl Earring and The Glassmaker, shares that concern.

“I worry that a book industry driven mainly by profit will be tempted to use AI more and more to generate books,” she said in response to the survey.

“If it is cheaper to produce novels using AI (no advance or royalties to pay to authors, quicker production, retainment of copyright), publishers will almost inevitably choose to publish them.

“And if they are priced cheaper than ‘human made’ books, readers are likely to buy them, the way we buy machine-made jumpers rather than the more expensive hand-knitted ones.”

Why authors are so worried

The University of Cambridge’s Minderoo Centre for Technology and Democracy asked 258 published novelists and 74 industry insiders how AI is viewed and used in the world of British fiction.

Alongside existential fears about the wholesale replacement of the novel, many authors reported a loss of income from AI, which they attributed to “competition from AI-generated books and the loss of jobs which provide supplementary streams of income, such as copywriting”.

Some respondents reported finding “rip-off AI-generated imitations” of their own books, as well books “written under their name which they haven’t produced”.

Last year, the Authors Guild warned that “the growing access to AI is driving a new surge of low-quality sham ‘books’ on Amazon”, which has limited the number of publications per day on its Kindle self-publishing platform to combat the influx of AI-generated books.

The median income for a novelist is currently £7,000 and many make ends meet by doing related work, such as audiobook narration, copywriting or ghost-writing.

These tasks, authors feared, were already being supplanted by AI, although little evidence was provided for this claim, which was not possible to verify independently.

Copyright was also a big concern, with 59% of novelists reporting that they knew their work had been used to train AI models.

Of these, 99% said they did not give permission and 100% said they were not remunerated for this use.

Earlier this year, AI firm Anthropic agreed to pay authors $1.5bn (£1.2bn) to settle a lawsuit which claimed the company stole their work.

The judge in the US court case ruled that Anthropic had downloaded more than seven million digital copies of books it “knew had been pirated” and ordered the firm to pay authors compensation.

However, the judge sided with Anthropic over the question of copyright, saying that the AI model was doing something akin to when a human reads a book to inspire new work, rather than simply copying.

Most novelists – 67% – never used it for creative work, although a few said they found it very useful for speeding up drafting or editing.

One case study featured in the report is Lizbeth Crawford, a novelist in multiple genres, including fantasy and romance. She describes working with AI as a writing partner, using it to spot plot holes and trim adjectives.

“Lizbeth used to write about one novel per year, but now she can do three per year, and her target is five,” notes the author of the report, Dr Clementine Collett.

Is there a role for government?

Despite this, the report’s foreword urges the government to slow down the spread of AI by strengthening copyright law to protect authors and other creatives.

The government has proposed making an exception to UK copyright law for “text and data mining”, which might make authors and other copyright holders opt out to stop their work being used to train AI models.

“That approach prioritises access to data for the world’s technology companies at the cost to the UK’s own creative industries,” writes Professor Gina Neff, executive director of the Minderoo Centre for Technology and Democracy.

“It is both bad economics and a betrayal of the very cultural assets of British soft power.”

A government spokesperson said: “Throughout this process we have, and always will, put the interests of the UK’s citizens and businesses first.

“We’ve always been clear on the need to work with both the creative industries and AI sector to drive AI innovation and ensure robust protections for creators.

“We are bringing together both British and global companies, alongside voices beyond the AI and creative sectors, to ensure we can capture the broadest possible range of expert views as we consider next steps.”

Entertainment

Princess of Wales says her children were ‘very sad’ to miss Paddington at Royal Variety Performance

Published

3 days ago

November 20, 2025

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Princess of Wales says her children were 'very sad' to miss Paddington at Royal Variety Performance

The Princess of Wales has admitted her children were “very sad” to miss the Royal Variety Performance in London, which she and the Prince of Wales attended.

Prince William and Kate made their first appearance at the event since her recovery from cancer.

Wednesday’s red carpet show at the Royal Albert Hall was headlined by the cast of Paddington The Musical.

After arriving and being presented with posies by nine-year-old twins Emelia and Olivia Edwards, the family of staff at a care home for entertainment industry workers, Kate asked if they were fans of Paddington Bear.

The princess, wearing a green velvet gown, then told the girls that her children were “very sad” not to attend the show and added she had to tell them children were not allowed to go.

“My kiddies were very sad, we’re going to have to keep it a big secret that I saw you guys,” she said.

“They were very sad not to be joining us.”

It is the sixth time William and Kate have attended the annual charity event.

When Olivia told the prince, wearing a tuxedo, her favourite singer was Billie Eilish, he replied she had good taste.

He said: “It’s very nice to see you both. You’re very smiley, you two.”

The royals were also greeted on the red carpet by ITV board members and representatives from the Royal Variety Charity, of which the King is the royal patron.

The Paddington cast were set to take to the stage on Wednesday evening, while pop star Jessie J and Grammy award-winning singer Laufey were also expected to perform.

Held annually, the Royal Variety Performance was first staged in 1912 for King George V and Queen Mary in support of the charity, which helps those working in the entertainment industry.

Ahead of the show, its executive producer Giles Cooper said the charity was “thrilled” the prince and princess would “once again attend the Royal Variety Performance”.

Mr Cooper, also chairman of the charity, added: “This annual great British institution, viewed by a worldwide TV audience of over 150 million, continues to be a crucial fundraising event supporting people in all areas of performance, either on or off stage.

“In this pressurised world of working in the entertainment industry, our mental health initiative, started in 2024, has been a lifeline for many who are experiencing issues such as anxiety, depression or addiction.”

On Tuesday, the princess called on businesses to value “time and tenderness just as much as productivity and success” in her first speech since she was diagnosed with cancer at the start of 2024.

Speaking at the Future Workforce Summit, Kate told 80 business leaders: “Every one of you interacts with your own environment; a home, a family, a business, a workforce, a community.

“These are the ecosystems that you yourselves help to weave. Imagine a world where each of these environments were built on valuing time and tenderness just as much as productivity and success.

“As business leaders, you will face the daily challenge of finding the balance between profitability and having a positive impact. But the two are not, and should not be incompatible.”