“Mr Ibu was distracted by my big nyansh” – Destiny Etiko shares John Okafor’s funny remarks in old movie [Video]

Popular Nollywood actress, Destiny Etiko has come a long way in the entertainment industry and she recently took to social media with proof.

The Screen Diva, via Instagram, posted a throwback movie with senior colleagues, John Okafor aka Mr Ibu and Fred Ebere.

Fans and colleagues of the actress took to the comment section with hilarious remarks as they commended her journey so far.

Thanks for Visiting Please Share:      Advertisements Popular Nollywood Actress, Destiny Etiko, has stirs mixed reactions after she mistakenly exp0sed her underw£@r while  addressing her fans in new video. During her recent Facebook live session with […]

Thanks for Visiting Please Share:      Advertisements Veteran Nollywood actor and comedian, John Ikechukwu Okafor popularly known as Mr Ibu has recounted how he was poiiissoned by a family member. In a video which has gone […]

Thanks for Visiting Please Share:      Advertisements Popular Nollywood actress and influencer, Destiny Etiko has pledged to sponsor her gate man’s daughter’s education. The actress who is known for her generosity and philanthropic work done via […]

19 साल का एक लड़का रूसी लड़की को दुल्‍हन बनाकर अपने घर ले गया. यह देख लड़के की मां बुरी तरह से भड़क गई. लड़के की मां ने लड़की से कह दिया कि यह तुमको बेवकूफ बना रहा है, ऐसे थोड़े ही शादी होती है. यह वीडियो यूट्यूब पर वायरल हो रहा है. 

हालांकि, यह सब लड़के का प्रैंक था. लड़के के मां को जब वीडियो की सच्‍चाई पता चली तो उनका रिएक्‍शन देखने लायक था. 

वीडियो में यूट्यूबर अनमोल वर्मा अपनी दोस्‍त इवा और रूसी लड़की अलोना के साथ नजर आ रहे हैं. अनमोल ने घर पर भी कैमरा सेटअप करवा दिया, ताकि वह रियल टाइम उनका एक्‍सप्रेशन रिकॉर्ड कर सकें. 

सम्बंधित ख़बरें

अनमोल ने इस दौरान अलोना को वरमाला पहनाई. अलोना की मांग में सिंदूर भी भर दिया. अनमोल ने खुद भी वरमाला पहन ली. अनमोल ने कहा कि वह चाहते थे कि उनकी मां को यह ‘नकली शादी’ असली लगे. 

इसके बाद जैसे ही अनमोल घर में घुसे तो उन्‍होंने अपनी मां से कहा- शादी करके आया हूं, अलोना अब यही रहेगी. अपना बैग भी लेकर आई है. यह सुनकर उनकी मां ने कहा- दिमाग तो सही है तेरा, पागल तो नहीं हो गया है? दो मिनट के लिए अंदर आ और यह कैमरा बंद कर दे. 

अनमोल की मां पूरा माजरा देखकर हैरान रह गई थीं. उन्‍होंने कहा कि घर के अंदर आकर बात करो, तमाशा करने की जरूरत नहीं है. 

अनमोल की मां को जब कुछ भी समझ नहीं आया तो उन्‍होंने इवा से पूछा कि कहीं ये कोई प्रैंक तो नहीं है? लेकिन, इस पर अनमोल ने इवा से कहा-मेरा कोर्ट मैरिज वाला सर्टिफिकेट लेकर आओ. 

अनमोल यहीं नहीं रुके, उन्‍होंने मां से कहा कि वह शादी से संबंधित सारे डॉक्‍युमेंट दिखा सकते हैं. पर, अनमोल की मां को इस बात की आशंका शुरू से ही लगा रही थीं कि यह सब उसके प्रैंक वीडियो का हिस्‍सा है. वीडियो में उन्‍होंने यह भी कहा- मैं पागल बनने वाली नहीं हूं. 

वहीं, अनमोल की दोस्‍त इवा लगातार यही बात कह रही थीं कि दोनों ने शादी कर ली है. उन्‍होंने ही गवाह के तौर पर मैरिज सर्टिफिकेट में हस्‍ताक्षर किए हैं. 

‘ये तेरे को भी बेवकूफ बना रहा है और मेरे…’
अनमोल से परेशान होने के बाद उनकी मां ने अलोना को समझाते हुए कहा- ये तेरे को भी बेवकूफ बना रहा है और मेरे को भी. ऐसे नहीं होती है शादी. 

अनमोल की मां ने बेटे को डांटते हुए यह तक कह दिया कि तू अपना काम तो कर नहीं पाता है, यह जिम्‍मेदारी कैसे उठाएगा? उन्‍होंने अलोना से भी पूछा कि तुमने इस शादी के बारे में अपने मां-बाप से एक बार भी नहीं पूछा? 

फिर अंत में आया ट्विस्‍ट… 
वीडियो के अंत में अनमोल ने खुद ही बता दिया कि यह प्रैंक था. यह सुनकर अनमोल की मां ने उसे पीटना शुरू कर दिया. यह सब देख अलोना, इवा जोर-जोर से हंसने लगे. इस वीडियो को यूट्यूब पर 4 लाख के करीब व्‍यूज मिल चुके हैं. 

“A lot of these politicians, they’re not evil. They’re just very detached,” says Jason Williamson, singer and lyricist of the Sleaford Mods. “I’d like to say it’s not just bounteous privilege, but it is. People like Boris Johnson, Rishi Sunak, they’re incredibly cut off from the world. They’re not serial killers, they’re just ignorant of others. They treat people like they’re asking for change… Here you go, have a bit, tossing a coin while they’re eating a sandwich, looking at their mobile phone. I’ve visited Eton, there’s loads of places like it, and if that’s all you know, then you’ve definitely not had to worry about pulling a tenner out of the bank…”

“I watched this great video and it said that we’ve gone from a nation of people who considered Britain to be Great, to Little England,” says Andrew Fearn, the band’s musician. “Nearly everything’s imported. We don’t produce anything. We’re becoming like a little holiday island that doesn’t do anything. Even countries like Russia are doing better than the UK. But the point is: we’ve called it on ourselves. Our generation didn’t like Great Britain or the flag, we’ve always dissed our own country, so we’ve self-prophesied, in a way.”

Williamson: “The UK is like one of those crazy golf courses, where you’ve got a windmill, and then the next one is a stately home and the next one is a bridge. All we’ve got left are landmarks and characterisations of who we are, and examples of our architecture.”

Sleaford Mods are an excellent band: surreal, succinct, catchy, hilarious, prolific, brilliant live. But they’re also like those hyperactive children that go round the back of a puppet show and show other kids that the magic isn’t real. At one point in their existence, Williamson thought of calling the band That’s Shit, Try Harder – not a name destined for the Top 40 – and that’s still their approach to the world; a funny, no-compromise manifesto. No wonder they work so well with the artist Cold War Steve (real name Christopher Spencer), another specialist in hilarious political grotesque. Steve made the video for the opening single from their new album, UK Grim, and also created this week’s cover for the ObserverNew Review. “It was so easy working with him,” says Williamson. “We were like, why haven’t we done this before?”.

For the cover, Williamson and Fearn nominated some potential co-stars, a few pet hates of the British political and cultural classes. Rishi Sunak (“a fucking child, like having a 16-year-old boy in charge”); Boris Johnson (“sat at the back, commenting on the war, like he’s one step ahead of everyone else”); Michelle Mone (“absolutely bastard-ish”); Andrew Tate (“It’ll come back at him and he knows it. Right at the end, crushed by his own ego and by the decisions he made”).

Those are all from Williamson. Fearn picks Jeremy Clarkson (“absolute knob. Well-educated, 1980s BBC, and he thinks it’s a licence to say what he wants”); Paul Hollywood (“famous for making bread”); Michael McIntyre (“awful, that joke about what we’ve got in our drawer, it’s so upper middle class”). Wetherspoons’ Tim Martin: “He’s terrible. His pubs are terrible. The transparency of it – supporting Brexit for your own ends and then justifying it. So obviously lying, there’s been tons of them doing it. All that grief and division, and money gone down the drain.” He would have liked to pick several Americans: “Half my brain lives in America, because things filter down from there to here. We pride ourselves on our wildlife, but we’ve polluted our rivers with animal agriculture run-off, just like America has. We’re poisoning ourselves in the same way.”

It’s undeniably fun to witness the pair in full flow, particularly Williamson. He’s a ranter par excellence, whether in interviews or via social media, where he’s demolished everyone from Dan Jarvis MP to Alex James. Though he’s recently tried to pull back from slagging people off – “I’ll always say if a band is shit, but nobody is a full cliché” – sometimes he can’t help himself. Here he is on the royal family.

“Not a lot has changed since the 1950s,” he says. “When my son is bringing a Union Jack home from school, it annoys me. But I think it annoys them, too. Charles clearly can’t be arsed. He’s 70, you don’t want that job at that age, you’re wanting that at 50… You know they don’t wash? They don’t feel they have to. They stink. All those mad posh people do. And their old stately homes. Tapestries and carpets, everything stinks, they can only afford to heat one room.”

Or how about Saturday night TV, Jason? “The Masked Singer? It’s terrible! What are people doing? I know it’s hard work in our game, and you get to a point, 15 years into a career, where you’re not bringing in much dough. But it’s proper bottom of the barrel, a celebrity Britain’s Got Talent. Everything’s falling down around you and you’re jumping out of the cake… ”

We could do this all day, but there’s music to discuss. Sleaford Mods, now on to their eighth album, think their fans like them because of their music’s British-ness, how it’s “kitchen sink”, “wildcard”, “the wrong thing is the right thing”. But they’re far more art than that. Williamson’s lyrics are furious, funny and insightful; to-the-quick clips of everyday conversation that remind you of the Fall, Samuel Beckett, Coronation Street. Fearn’s music is punchy: deceptively simple, made on synths and samplers, it’s got progressively more melodic as they’ve continued. And on stage, for Williamson at least, “there’s a lot of parading about. I love it. There’s sexuality in performance, definitely. Camp could be the right word.”

Williamson’s vocal technique can tend towards “shouty bloke by the pub bins”, but inside there’s emotion. Anger. Or maybe: distress. “There’s loads of emotions going through it,” he says. “The options for emotional release are very limited. Anger can be a way of expressing other stuff, and the anger is mostly at me really. I write about the state of things and the state of me.”

We’re at a photographer’s studio, where their session has just finished, and they’re in their dress-up gear, provided by themselves. Williamson has on a Moncler puffa – he takes pride in his clothes, and is a sucker for casual favourites Moncler, Stone Island, CP Company – and Fearn is looking a bit “prepper”, in army jacket, baseball hat and enormo-beard. No band uniform, then; and they’re quite different from each other. Jason, the more well-known face of the band, is naturally trigger-quick in response, emotionally driven but trying to self-edit. Fearn is thoughtful and deeply alt (“I’ve always been an oddball”), less demonstrative but more confident.

“My missus says that Andrew’s the sane one,” says Williamson. “I can get quite obsessive and bully about things, but when I get wound up about someone online, Andrew’ll be like [mildly] ‘Oh, really? Why, what have they said?’ He’s just not bothered. And it helps.”

If you wanted a shorthand for their personalities, then Williamson is coke and Fearn is weed – and these used to be their drugs of choice. Williamson had a cocaine problem for several years, from his 30s into his 40s: “I’d use anything really, but I loved cocaine,” he says. He’s not used for many years now, and recently, he talked to Iggy Pop about it. Iggy said the knack to sobriety was to understand that it can take 10 years before you feel right. It stuck with Williamson, who gave up alcohol too, seven years ago. “Once I gave up alcohol, it was like a walk in the park. Everything became clear.”

Fearn’s weakness was marijuana: “I used to smoke so much, I would wake and bake, I would smoke straight after stage, tons and tons.” He used to function brilliantly on it, set up equipment perfectly, but he gave up a year and half ago. Williamson says he notices the difference: “You’re more flat-lined now, not so up and down.” Now, if Fearn smokes, which he does “once in a blue moon”, he’s all over the place. “You can’t go back to drugs, you’re not that guy any more.” Though he does say he found micro-dosing with his friend’s depression drugs “really helpful. You get a bit tripped out on them, not massively, just tweaks your perception a very small amount. You don’t need comatosing, do you? You just need your mind calming down.”

Anyhow, for such different people, they clearly get on well; there’s no tension or ego-jousting when we talk, and they don’t argue when they create songs, either. Partly, it’s because they know what they have. Both of them slogged away in other bands for years before they got together. Williamson, who grew up in Grantham, went to San Francisco and London for a bit, tried his hand at indie and rock; Fearn, from the more rural Saxilby, hung around Nottingham making tracks on cheap equipment.

They met in 2009, when Williamson heard Fearn playing his tunes at a Nottingham bar, and started making music together sitting on the sofa after work. For their first three LPs, they continued in their “proper” jobs: Williamson at a benefits office, Fearn as a cold-caller for a gym. Being paid for music felt “like Robin Hood”, says Fearn. “We would just go in, make money and run away with it.” Gradually, things got more serious. Williamson: “After the second album, we got locked in. Locked into the idea of: ‘Right. The creative side has got to be good.’ And then we locked into gigs. It gets to a point where you’re like: ‘I’m not making an arse out of this. This has got to work. I don’t want to go back to a fucking job again.’”

These days, they approach their work with a mixture of pragmatism (Fearn) and paranoia (Williamson). For around 10 years, from 2012, they made an album at the end of a year, and then the following year they toured it. Covid threw a spanner in the works, and it led, for Williamson anyway, to a confidence wobble. He always slumps when they finish an album; he immediately beats himself up about whether it’s any good or not. Fearn is more practical: “Don’t think about that. Don’t focus on that. Just get on with it.”

There are high expectations for UK Grim since their last LP, 2021’s Spare Ribs, was a lockdown hit. This album was kicked off in lockdown, too, by – of all people – Perry Farrell of Jane’s Addiction wanting to make a song with them. The result is So Trendy, a bright track that sounds very different from most of the rest of the LP. The title track, UK Grim, was the last they wrote, a state of the nation song that takes in Putin (“got his top off… he’s so fit, big banger”), city types (“white shirts and lunch bellies, threesomes and wealth measles, I want it all like a crack forest gateau”) and everyone else (“in England, no one can hear you scream”).

There are others in a similar vein, but also funny ones, such as DIWhy, which opens with Williamson saying: “Excuse me mate, you’ve just dropped one of your tattoos, I just seen it over there.” (He likes messing about with silly characters: on Instagram, he sometimes plays a game show host or celebrity interviewer. Interviewees include Robbie Williams, naked but for a strategically placed pink sock.)

A couple of songs reference Williamson’s childhood, including I Claudius, inspired by Christmas Eve when he was little.

“Being slumped in front of the TV when all you’ve got is these Hollywood, epic, biblical Roman films, which I used to get really drawn into,” he says. “They were an escape. My mum and dad weren’t alcoholics, but everybody drank and on our street and next door, they had lots of alcohol problems. And then seeing Santa with a bag of chips [a lyric reference]: that’s about asking your parents questions, but them just ignoring you. Very negative a lot of the time, lots of issues. But also, at the same time, feeling absolutely, completely happy with my new Superman sweatshirt.”

That knowledge of how life can be both horrible and happy, boring and violent as well as joyful, is what feeds the band’s fire. Jason is very sensitive to it, even now: Smash Each Other Up describes the street atmosphere post-Covid, fights started by drivers getting “narky” with each other. “People can be vicious, they’re just ready to kick off at any minute, and have been for quite a while.” The same song describes Williamson beating someone up at the gym but that’s “a fantasy. It’s how you feel sometimes: ‘If anyone says anything to me, I’m just going to tell them to fuck off.’”

He knows he’s easily triggered; he’s always getting into rows on social media with people who he feels haven’t suffered. With one band singer, Joe Talbot from Idles, it got so bad that he had to send an email apologising. “And then they emailed me back, saying: ‘Thank you for that.’ I felt better, but I was expecting to talk more with him. But then you think: ‘Well, they’re not going to discuss it, because I was just a cunt.’

“I was jealous [of them], I felt like my narrative was hijacked. I get really envious of bands that I feel have had an easy ride. It took me and Andrew years and years, we never got anywhere, just doing hopeless projects and people not taking any interest. If someone overtakes you and they haven’t had it hard, I can’t let it go. That goes back to self-doubt, back to being a kid.”

Then there’s Apart from You, with its New Order-ish bassline, a tender song about trying to survive on very little. From there, we end up talking politics. They’re both going to vote Labour, though Williamson (who joined the party in 2015 as a Corbyn supporter but was suspended the following year for “online abuse” – possibly relating to him tweeting that Dan Jarvis was ‘“a posey cunt”) is less certain: “Obviously, Labour would be better than the Conservative party,” he says. “And I can quite confidently say that, because [the Tories] have just lost their minds. But I have a problem with Labour because it’s quite centrist, so you get Keir Starmer saying something reasonable and you think, OK, but then he starts rattling on about the royal family. He’s got his affiliations with the infrastructure of traditionalist England, with the aristocracy. He’s a bit of a bootlicker.”

“Voting Labour is the only option,” says Fearn, who comes at politics from a different angle. He didn’t have a TV for years and he got out of the habit of watching the news; the last time he did, he couldn’t believe how much time was spent on football. Now, he gets most of his information via social media (he likes NowThis News) and documentaries.

Still, it’s not all politics: we spend quite some time discussing the track Pit 2 Pit, which concerns Williamson’s secondhand clothes habit. During lockdown, he found himself on Depop, Vestry and Instagram, buying the labels he liked, especially coats (pit to pit is the chest measurement from armpit to armpit). He buys all his stuff secondhand now, apart from trainers, and has his own Instagram selling page, @Tilldipper, where he sells the stuff he’s bored of. Not that he does much of that. He can’t let go, and he can’t let a bargain go to someone else. “It got to the point where I couldn’t tell my wife, Claire, because I’d bought that much. I mean it was Covid, I didn’t know when I was gonna earn again…” The other day, Claire asked him how much money was in their PayPal account, and he lied, telling her £100 less than there was, because he wanted to buy something. “She looked at my phone and went mad,” he says. “But there’s worse morning-after hangovers than a coat.”

Claire has been the band’s manager for the past few years – “she’s good at cutting work off at home. She’ll say: ‘I’m not talking about you any more’” – and they live in a nice part of Nottingham, which Williamson is happy about, with their two children: a girl aged 11 and a boy of seven. He enjoys being a parent but finds it hard, sometimes, to let his kids fight their own battles. “I identify with my son, I project myself on to him. I put myself in his position, and it makes me think about how I was as a kid. I try not to. I say: ‘This is not Jason, he’s his own person.’ I had a horrible childhood, it’s an improvement what he’s living in.”

Williamson’s horrible childhood was caused by his mum and dad arguing – “at war with each other constantly” – mostly about his dad’s infidelity. They separated when he was 10, but it had an impact into his adulthood. As a younger man, he took on some of his dad’s attitudes. “My attitude towards women was very much the same,” he says, and he had a bad porn habit for a while. “I can’t lay my own misogyny [from that time] on my father, but I do a bit, I think. I wanted a father figure and he disappeared in many ways.” He also thinks that the “brutality” of 1970s and 80s culture plays into it, though he wonders if today’s culture for kids is any different.

Fearn’s home life is, currently, less settled. During lockdown he lived at his parents’, planning to buy a house nearby, but the sellers strung him along and put up the price by £30k, so he moved, on a whim, to a rented house in Warwick, opposite the castle. He likes being somewhere beautiful, but he hopes to move in with his partner soon, and then maybe get a rescue dog. He needs space for all his synths.

They have adult concerns. It’s interesting to see a band hit their stride in middle age. Williamson is 52 and Fearn is 51, a couple of years younger than, say, Blur or Suede, but because their success didn’t come until they were both fortysomething, they’re seen as older, somehow. No pretty boy pictures from their youth for our subconscious to superimpose on these two.

“The thing of, ‘I’m too old to do this now’, when we started playing live again, I had a bit of a crisis about,” says Williamson. “All our contemporaries are 25 years younger, most of them, and you get quite a lot of ageism. But what can I say to them? I was doing the same thing 20 years ago.”

“You can question yourself and that’s important,” says Fearn, “but more important is the reality. Like Kate Bush, her latest is probably even better than her early stuff. It’s good, I think, to be around still. You’re sending out a great message to people in their 30s and 40s to say, ‘You’re never too old for creativity’. Also, I remember when I was nobody and was constantly making music and putting it out on social media, and it wouldn’t even get one ‘like’… That’s a lot tougher. The only thing to stop you making music is depression, not wanting to get out of bed.”

They’ve been through a lot, these middle-aged men, and it gives them insight. They understand what it’s like to be wrecked and ignored, poor and hilarious, how life can twist people’s personalities, how things can come out sideways, funny peculiar, funny haha.

“When you’re at the bottom, you see life for what it is,” says Williamson, “and it certainly isn’t being macho with a Union Jack tattoo. But all the people that walk around like that, people I know who are like that, they aren’t like that at all, either. They’re playing a part. So why not bring all that out, all the things simmering under the lid? When we play live, we can see lads laughing because they fucking know. It’s not black and white. It just isn’t.”

Fearn: “Age helps with that, but also it’s crap to just be serious all the time. You can talk about serious things, and a lot of the songs talk about serious subjects. But you can’t be completely that because you’ll just look stupid and patronising.”

Williamson: “It’s that thing that if you don’t laugh, you’ll just cry your eyes out. But also you get to a point in your life where it’s like, ‘Well, there’s nothing else now, I just don’t give a shit.’ And you start to fly across the rules a bit, and you live your life, and it opens your mind.”

UK Grim is released on 10 March on Rough Trade Records. The band tours the UK from November, ending with a headline show at Alexandra Palace, London on 2 December

Liverpool fans are in good spirits after the win over Wolves, with an Ibrahima Konate prank and a Jurgen Klopp kiss among the talking points!

The Reds secured a much needed three points after second half goals from Virgil van Dijk and Mohamed Salah at Anfield on Wednesday night.

The win moves them up to sixth in the Premier League table, six points behind fourth placed Tottenham with a game in hand.

Here are five things fans are discussing after the game.

Never change, Ibou!

Konate returned to Liverpool’s starting lineup and completed the full 90 minutes on Wednesday evening, and he’s certainly been missed.

Both him and Virgil van Dijk were solid at the back, and Konate was in good spirits after the game, with a video on the club’s social media channels capturing the moment he pranked a fan and Mohamed Salah.

When Salah was in the process of handing over his jersey to a supporter near the tunnel, Konate got in-between the two of them and went to take the shirt off him.

Ibou taking Salah’s jersey at full-time! ? pic.twitter.com/al62SCH20u

— LFC Transfer Room (@LFCTransferRoom) March 1, 2023

Great to have him back!

A kiss from Klopp

The boss kept the Kop waiting for some fist pumps after the game, but hopefully we’ll see them after a win over United!

He did, however, sign off for the night with a kiss for the camera as he made his way down the tunnel.

A terrific turn & a tenacious tackle from Bajcetic

Stefan Bajcetic was hugely impressive yet again on Wednesday.

And two specific moments in the first half encapsulated what his game is all about.

The Bajcetic turn pic.twitter.com/FVridT26NA

— STEFAN BAJCETIC FAN ACCOUNT? #FSGOUT (@officialzawro) March 1, 2023

Just thinking about that turn from Baj?eti? last night.

The lad had two players pressing him on the edge of the box and done them with one touch.

Special player ?

— The Anfield Wrap (@TheAnfieldWrap) March 2, 2023

The first was another brilliant turn after receiving the ball from Alisson deep in Liverpool’s half. He’s going to have to trademark these turns soon!

And another moment showed the other side of his game, with the 18-year-old racing back to stop a Wolves counter-attack with a perfectly timed challenge.

Perfectly timed from Stefan ? pic.twitter.com/bgWsXvPnWE

— Liverpool FC (@LFC) March 2, 2023

He really is some talent.

Klopp inspires brilliant Trent gesture

If this doesn’t bring a smile to your face then we don’t know what will.

A video emerged after the game showing the moment Klopp pointed Trent Alexander-Arnold in the direction of a young fan who wanted his shirt.

LOOK how happy he is ???

Klopp telling Trent to give his shirt to a young fan last night… pic.twitter.com/xna9iKYDmz

— Sky Sports Premier League (@SkySportsPL) March 2, 2023

And his reaction when Liverpool’s No.66 hands it over is absolutely priceless, as is the smile on the face of the older fan who is with him.

Liverpool FC at its very best.

Was this really a Fabinho yellow?

Referee Paul Tierney didn’t exactly appear to have a lot of control over proceedings on Wednesday night.

Klopp wasn’t happy with the VAR’s decision to disallow Darwin Nunez‘s goal, but it was a yellow card that Tierney brandished for Fabinho that left some supporters in disbelief.

Paul Tierney ladies and gentlemen pic.twitter.com/WOoIQVWXHK

— Neil Docking (@NeilDocking) March 1, 2023

It was a much improved outing from the Brazilian, though, with plenty of fans encouraged by his performance.

Fabinho so much better tonight, which is hopefully the start of something.

Liverpool a different beast with Konate and Van Dijk together, too.

— Henry Jackson (@HenryJackson87) March 1, 2023

Fabinho’s best game of the season by a mile. Would be quite handy if he was half-decent again.

— Jordan Chamberlain (@Jordan_AC90) March 2, 2023

Plenty of positivity heading into Sunday’s meeting with United!