Katie Price, aka Jordan, has walked out of “I’m a Celebrity … Get Me Out of Here!” after the glamour model, celebrity and author was nominated by the public for a seventh “Bushtucker” (read creepy-crawly munch) trial in a row.

It would appear that her recent acrimonious divorce from singer Peter Andre, whom, ironically, she met on an earlier series of the reality TV show, has done little for her standing in the eyes of the British public. Some commentators think the 31-year-old should have seen this coming.

Her departure leaves the show without its most high-profile and headline-generating contestant. That makes it two after Irish twins John and Edward Grimes were voted off the X Factor singing contest last night. ITV will be watching closely to see if the exits translate to lower viewing figures for two of its biggest shows.

So, the “terrible twins” from Ireland, John and Edward Grimes, have been booted off the X Factor, ending their skin-of-the-teeth, tip-of-the-fingernail existence on the show.

Once again in the bottom two of a public vote, Jedward were up against Olly Murs, the singer from Essex who was many tipsters’ favourite to win the show … at least until last night.

Rather than a high-octane, madcap dash around the stage surrounded by dancers and pyrotechnics, and a performance closer to shouting than singing, the spiky-haired duo surprisingly chose to sing a ballad, Boyzone’s “No Matter What”.

The plan backfired, with a rendition that exposed Jedward’s limited singing ability. The fact that the British media has dubbed Jedward the “tuneless twins” says it all really.

Murs was his usual accomplished self with a performance of Eric Clapton’s “Wonderful Tonight”, though clearly surprised to see himself scrapping it out with the also-rans.

Dannii Minogue had the last vote on the judging panel, and, for a change, declined to refer the decision to the public vote. She did, though, ask whether the X Factor was a singing competition before making up her mind – perhaps she ought to know the basic rules by now.

Louis Walsh, Jedward’s mentor, was sad to see his protégés go, and warned that the X Factor would be a duller place without them. Like Jedward or loathe them, perhaps he has a point?

The Daily Mail calls the eagerly anticipated second instalment in the Twilight franchise “disastrous” and “one long pain in the neck“, and gives it just one star out of five compared with four stars for the first film. The Daily Mirror is kinder, saying the movie “effortlessly sweeps you along in a swirl of intoxicating passion.” It goes on to say the film, which hits US and UK theatres on Friday, works better as a love story than as a supernatural adventure.

Whoever you believe in the coming days, when the already speeding Twilight hype machine goes into overdrive, critics’ opinions are likely to have little impact on how the film fares at the ticket booths. The Twilight franchise based on the hugely popular novels by U.S. author Stephenie Meyer is being touted as the next Harry Potter, i.e. billions of box office bucks in the next few days.

As in the original, British actor Robert Pattinson plays Edward, the brooding bloodsucker who befriends Bella, played by Kristen Stewart. And Taylor Lautner is set to become the next heartthrob for his portrayal of American werewolf Jacob Black.

Catherine Hardwicke’s original Twilight movie made $384 million at the global box office. Few would bet against the sequel beating that tally, no matter what the critics think.

Robbie Williams looks set to maintain his impressive UK chart record this weekend, with his latest album “Reality Killed the Video Star” on course for the number one slot come Sunday which would make it eight chart-topping studio albums out of eight since he went solo after leaving Take That in the mid-1990s.

It hasn’t all been plain sailing for the 35-year-old, whose previous album “Rudebox” was poorly received and recorded sharply lower sales than his previous efforts. He failed to make it big in the key U.S. market and has said he suffered from chronic stage fright — a surprising admission from someone renowned for his cheeky grin and apparently indomitable character.

A statement from his spokesman says Williams is at number one in the midweek album charts in the UK, with over 85,000 copies sold in the country on the first day of release on Monday. It is also number one on the iTunes chart in 16 countries, including Germany, France, Austria and Belgium.

That, however, is not enough to stop the questions about his eventual reunion with Take That, a group which has enjoyed a remarkable comeback of its own in the last few years. Robbie has proved he has what it takes to go it alone, but everyone, it seems, wants to see him back with the band.

Robbie Williams did himself few favours when he sang his new single on the X Factor TV show, with the former Take That star clearly nervous, some would say positively wired.

But the 35-year-old put that setback behind him on Tuesday night with his first full concert in three years at the Roundhouse in London which scored well with the critics. Both the Guardian and Telegraph broadsheets gave Williams four stars out of five, quite an achievement for someone who says he suffers from stage fright.

The best-selling Sun tabloid agreed, saying: “Robbie Williams overcame his nerves to nail the brilliant show he needed last night - his first gig for three years. After looking shaky on X Factor just over a week ago, the pressure was on to prove he’s still got it. I’m relieved to say he certainly has, and maybe a bit more besides.”

Two movies — one complete and one in the works — have underlined how technology is changing the way films are made.

Wes Anderson partly directed his animated “Fantastic Mr. Fox” using a computer, streaming images from multiple animation sets live on to a screen in front of him, allowing him to guide animators from another room, town, or, more often, country. That guidance often came in the form of emails, something which did not endear the film maker to some of the animators, according to a recent piece in the L.A. Times. George Clooney provided the voice of Mr. Fox, and London’s Three Mills Studios carried out the paintstaking, old-fashioned stop-motion animation.

Meanwhile, Peter Jackson used iChat to co-direct the upcoming, big-budget feature “The Adventures of Tintin: The Secret of the Unicorn”. Actor Nick Frost, who plays Thomson in the film, said Jackson would be linked up live to the U.S. set from New Zealand, from where he would add to Steven Spielberg’s pearls of wisdom on set. “It was weird”, was his description of the experience. The blockbuster will feature motion capture technology, producing the kind of effect seen in “The Polar Express”.

According to Hollywood trade publications, while Spielberg was on set for just over 30 days, Jackson will have spent the best part of 18 months converting the data into an animation movie by the time it hits theatres some time in 2011. The balance has led some to question whether Jackson should be given the directorial credit rather than Spielberg. It also raises the possibility of more and more movie makers spending less and less time on set, particularly where animation is concerned.

Critics have united in their condemnation of British artist Damien Hirst’s latest works – a series of paintings that are on show at the Wallace Collection in London.

At times it seems the 44-year-old, famous for his pickled animals, pill cabinets and spot paintings, can do no wrong. Just over a year ago he made 111 million pounds at a sale of new works, confirming his status as the most sought-after living artist.

His work has always divided critics and the public alike. What is unusual about the reaction to his new paintings is that opinion against him is near-unanimous. Rachel Campbell-Johnston of the Times sums up the mood succinctly with the words: “The paintings are dreadful. Think Francis Bacon meets Adrian Mole.”

Hirst says he painted the works – many of which which feature images of white skulls on dark blue-black backgrounds – himself, unlike his spot paintings, which are produced by others in his studio. So there is a sense among detractors that he has been found out as someone whose artistic technique is lacking.

And to make it worst, Hirst fell to 48th place in ArtReview’s annual list of the art world’s most powerful figures from top spot a year ago, although his freefall was largely explained by his absence from the limelight for the past 12 months.

The immediate impact of the backlash is tempered by the fact that most of the new paintings have already been bought, by Ukrainian billionaire Viktor Pinchuk. But there is a sense that the Hirst brand, arguably contemporary art’s most successful in recent years, has lost some of its lustre.

It’s that time of year again. Although we don’t yet know the exact date of the announcement, in the next few weeks the Swedish Academy will decide on the 2009 winner of the Nobel Prize in Literature, probably the writing world’s biggest award.

The bookies are already out of the blocks, and it is Israeli writer and professor Amos Oz, regularly considered a favourite in recent years, who is tipped for glory this time around. Ladbrokes in Britain make him the 4/1 frontrunner, ahead of Algeria’s Assia Djebar (5/1), Spain’s Luis Goytisolo (6/1), America’s Joyce Carol Oates and her compatriot (and perennial Nobel Prize also-ran) Philip Roth, both on 7/1.

Ladbrokes feels that the perceived bias against U.S. authors among Swedish scholars could scupper the chances of Oates and Roth once again. The United States must go back 16 years, with Toni Morrison, for its last Nobel Prize in Literature.

But before we get too carried away with the odds, Ladbrokes has tipped the eventual winner only twice in the last seven years - J.M. Coetzee in 2003 and Orhan Pamuk in 2006. Doris Lessing, who won in 2007, was one of several outsiders to take the big prize in recent years.

The biggest star at this year’s Venice film festival has arguably been Venezuelan President Hugo Chavez. Sure, George Clooney and Matt Damon have got the crowds going and can cause a minor media scrum with little effort, but Chavez and his large entourage of aides and guards is another matter altogether.

In town for the world premiere of Oliver Stone’s documentary “South of the Border”, Chavez looked the part on the red carpet and giving interviews at a swanky hotel on the Lido waterfront. Spare a thought for the handful of reporters given a coveted slot with the leader, though. We were originally down to speak to Chavez and Stone at around 5:30 p.m., but, after a series of false alarms, we were moved to a different venue and eventually ended up speaking to them well after 10 p.m.

At one point guests at a party at the plush “Des Bains” hotel (scene of the Visconti classic Death in Venice) were not allowed into the building because of Chavez’s security, but the problem was quickly resolved.

Chavez, looking every bit the movie star, was all smiles and charm, shaking hands with onlookers and reporters who wanted to meet him. Little wonder he looked happy — he will presumably be delighted with Stone’s overwhelmingly positive portrait.

Seeing reporters humiliate themselves in front of major Hollywood stars is nothing new at film festivals around the world. The appearance of an A-lister, male or female, tends to bring out the worst in journalists who variously express their undying love or ask for hands in marriage. Usually the star in question laughs off the comments, and tries to turn the conversation back to the film he or she is in town to promote.

Today’s press conference involving George Clooney and Ewan McGregor, who star together in the comedy “The Men Who Stare at Goats” was more embarrassing than usual, however. After tactfully avoiding a question about his sexuality, Clooney then looked on while a man, announcing he was gay, proceeded to take of his shirt and trousers while declaring his love for the actor and asking him for a kiss. To make matters worse, he had not even seen the film.

Clooney’s response? “There’s a little ambulance on its way.”