Singer Selena Gomez reveals kidney transplant

In this April 27, 2017, file photo, Selena Gomez arrives at WE Day California at the Forum in Inglewood, Calif. Gomez revealed in an Instagram post Thursday, Sept. 14, 2017, that she received a kidney transplant because of her struggle with Lupus. (AP)
Updated 14 September 2017
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Singer Selena Gomez reveals kidney transplant

LONDON: Pop star Selena Gomez revealed that she underwent a kidney transplant over the summer, in a post on her official Instagram account that showed her in a hospital beside her friend, who donated the organ.
In the post, shared on Thursday, the “Good For You” singer said that fans had been wondering why she had been “laying low” over the summer.
“I found out I needed to get a kidney transplant due to my Lupus and was recovering. It was what I needed to do for my overall health,” she said.
Gomez, who has 126 million Instagram followers, also revealed that the donor was her longtime friend Francia Raisa, an actress best-known for her role in TV series “The Secret Life of the American Teenager.”
At the time of writing, Gomez’s post had over 2.4 million likes on Instagram.
Gomez’s representatives were not immediately available for comment.


Pressures and pains that tear a couple apart

A still from the film.
Updated 19 July 2018
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Pressures and pains that tear a couple apart

DENVER: Like a gallery wall-sized enlargement of a microscopic image, “Scenes from a Marriage” is all about size, space and perspective.
Directed by Ingmar Bergman — whose birth centenary was marked this week — at 281 minutes long, its unwieldly length presents an intimidating canvas, yet the claustrophobic intimacy of its gaze is unprecedented: The two leads are alone in nearly every scene, many of which play out for more than a half-hour at a time.
Premiered in 1973, the work is technically a TV mini-series, but such is its legend that theaters continue to program its nearly five-hour arc in its entirety. A three-hour cinematic edit was prepared for US theater consumption a year later (it won the Golden Globe Award for Best Foreign Language Film, but was ruled ineligible for the corresponding Oscar).
Not a lot a happens but, then again, everything does. Shot over four months on a shoestring budget, its six chapters punctuate the period of a decade. The audience are voyeurs, dropped amid the precious and pivotal moments which may not make up a life, but come to define it.
We meet the affluent Swedish couple Marianne and Johan — played by regular screen collaborators Liv Ullmann and Erland Josephson, both of whom clocked at least 10 Bergman credits — gloating about ten years’ happy marriage to a visiting reporter. This opening magazine photoshoot is the only time we see their two children on camera, and inevitably the image projected is as glossy, reflective and disposable as the paper it will be printed on.
The pressures, pains and communication breakdowns which tear this unsuited pair apart are sadly familiar. The series was blamed for a spike in European divorce rates. It may be difficult to survive the piece liking either lead, but impossible not to emerge sharing deep pathos with them both. Sadly, much of the script is said to be drawn from Bergman’s real-life off-screen relationship with Ullmann.
It’s a hideously humane, surgical close-up likely to leave even the happiest couple groping into the ether on their way out of the cinema.