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ANNE-MARIE has vowed to shake things up for her upcoming fourth album – her first since 2023’s Unhealthy.

The Ciao Adios singer told The Sun that she’s determined not to return with a record that’s a copy-and-paste job of her first three albums.

Speaking backstage at Capital Jingle Bell Ball with Barclaycard, after she put on an intimate gig in Barclaycard’s Out Of The Blue area for lucky fans, Anne-Marie said: “Next year there will be new music.

“I think I need to switch it up a bit… Will I be rapping? Who knows.

“I am definitely switching it up.

“I need to make it exciting again, you know.

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“I can’t just come back as the same Anne Marie I have been for ten years.

“I am going to do a little spice.”

Since the release of her last record, the singer has welcomed two children, a daughter and a son, with her musician hubby Slowthai.

She says she’s turned to longtime friend Ed Sheeran – who co-wrote her 2018 hit 2002 – for advice on juggling being a popstar and a parent.

Anne Marie explained: “Be a parent, it’s hard.

“It’s like everyone says.

“It’s the best thing ever and the hardest thing at the same time.

“I think working is definitely hard.

“I find it harder than I thought I would, but they are beautiful little aliens.

“It does make you want more even though you are in hell.”

She continued: “I go to Ed for a lot of advice really.

“About kids but also about everything really.

“Now that we have kids he is like the perfect person to speak to.”

In September Anne-Marie released a teaser of what’s to come with her new track Depressed.

Admitting Christmas time isn’t always easy for people, Anne-Marie said: “I am very aware that people feel alone at this time of the year which makes me sad.

“But I think as long as you get through it and think of the next year and all of your dreams and plans that you want to achieve next year, you will be okay.

“Also just snuggle up on the sofa and watch a movie with some chocolate.

“Just take care of yourself and give yourself some love.

“Next year we start afresh.

“My go-to film at any time of year is Liar Liar with Jim Carey.

“Anything Jim Carey is my go-to.”

Director Paul Feig has proved himself to be the preeminent purveyor of the finest high-camp trash one can find at the movie theater these days — and that’s a compliment. If he’s serving up the trash, then call me a raccoon, because I’m ready to dive in.

Feig’s special sauce when it comes to these soapy, female-driven thrillers like “A Simple Favor” and now “The Housemaid,” adapted by Rebecca Sonnenshine from a “BookTok” sensation by Freida McFadden, is clearly his comedy background. The filmmaker understands exactly the tone to deploy here; you can feel his knowing winks and nudges to the audience with every loaded glance, stray graze or wandering camera movement. It’s as if he’s saying to us and all the tipsy ladies in the audience: Check this out — LOL, right? LOL indeed, Mr. Feig.

“The Housemaid” is an erotic crime thriller that deploys silly sexual stereotypes and fantasies like the naughty maid and then flips them on their head. In the opening scene, the drably dressed, bespectacled Millie (Sydney Sweeney) interviews for a live-in maid position with the warm and friendly wife and mother Nina Winchester (Amanda Seyfried) in her gorgeously appointed Long Island mansion designed by her wealthy husband, Andrew (Brandon Sklenar of “Drop”).

But all is not what it seems, for applicant and employer. Both are hiding dark secrets but Nina hires Millie nevertheless. Millie, without any other options, gratefully accepts.

When Millie moves into the maid’s quarters in the attic, she discovers that the Winchester home isn’t as picture-perfect as it seemed. Little things are off: She can’t open her window, the groundskeeper, Enzo (Michele Morrone), glowers at her constantly, items go missing and CeCe (Indiana Elle), Nina’s daughter, is exceedingly cold.

Then there are the big things that are off, like Nina’s wild mood swings and the vicious gossip about her mental health among the other Stepford wives of the area. Millie realizes she’s in over her head with Mrs. Winchester, but her saving grace is the warm and handsome Mr. Winchester. Is that where this is going? Of course it is, we all groan together, happily.

“The Housemaid” is like “Gaslight” meets “Jane Eyre,” with a dash of “Rebecca,” and all the various roles are lightly scrambled, infused with a much sexier, nastier streak than any of those mannered mindbenders. Feig stylishly waltzes us through this steamy, twisty mystery with ease, but not necessarily sophistication — this is the kind of frothy entertainment that you can still enjoyably comprehend after a glass or two (which in fact might enhance the experience).

But it doesn’t fly without an actor of Seyfried’s caliber, who can summon unpredictable mayhem from her fingertips. Nor would it function without Sweeney, who works best in a register somewhere between ditzy blond and tough little scrapper. Both actors exude an element of the unhinged that simmers right below the doe-eyed blond surface and we know we should be a little (or a lot) afraid of these women. The film also doesn’t make sense without a heartthrob like Sklenar, since we need to fall in lust with his gorgeous exterior and intoxicatingly cuddly aura for this all to eventually make sense.

There’s not much more to say without giving it all away, so prepare to titter, gasp, scream and cheer for this juicy slice of indulgent women’s entertainment. Go on, you deserve a little treat this holiday season.

Katie Walsh is a Tribune News Service film critic.

The series should offer a fresh take on a beloved classic character

Fans have been given their first looks at a ‘crazy’ period drama meets fast-paced action prequel series based on a series of classic novels and an iconic literary character.

The new show comes from the acclaimed writer and director Guy Ritchie. He is known for creating Netflix hit The Gentlemen, which in turn was based on his film of the same name. He also helmed British comedy gangster films Snatch and Lock, Stock and Two Smoking Barrells to name a few.

Ritchie is now returning to the world of Sherlock Holmes, which he previously visited in 2009 and 2011 with Robert Downey Jr as the renowned detective. His new series, set to premiere on Prime Video next year, will examine the character’s origins.

Young Sherlock will be streaming on the platform from March 4 and promises the same kind of wit and charm of found in Ritchie’s Sherlock Holmes feature films. According to the synopsis provided by Prime, Young Sherlock follows the origin story of Sir Arthur Conan Doyle’s beloved detective in an explosive re-imagining of this iconic character’s early days.

Sherlock Holmes is a disgraced young man, raw and unfiltered, when he finds himself wrapped up in a murder case that threatens his liberty. His first ever case unravels a globe-trotting conspiracy that changes his life forever. Unfolding in 1870s Oxford and adventuring abroad, the series will expose the early antics of the anarchic adolescent who is yet to evolve into Baker Street’s most renowned resident.

Hero Fiennes Tiffin, who has previously appeared in Harry Potter, will star as the 19-year-old Holmes. Joining him in the cast are Joseph Fiennes as Silas Holmes, Sherlock’s father, Natascha McElhone as Sherlock’s mother and Colin Firth as Sir Bucephalus Hodge. Dónal Finn takes on the role of a young James Moriarty, Sherlock’s future arch-nemesis

The show’s first trailer was released and gives viewers a taste of what they could expect. It seems that the action will be full throttle from the beginning and even some younger versions of Sherlock’s classic villains on the way.

It didn’t take long for fans to react to the announcement and the trailer. Sharing their thoughts on social media, one person posted: “Guy Ritchie doing Sherlock? Sounds wild, cant wait for March.”

Another replied: “The origin story we didn’t know we needed.” While a third commented: “It’s crazy…. but it looks good! Nice surprise.”

Many are excited at the prospect of Guy Ritchie returning to the world of Sherlock Holmes and what he can contribute to the lore and period genre. One person said: “Guy Ritchie directing an origin story means we are 100% getting fast-paced dialogue, bare-knuckle boxing, and stylish editing.

“It sounds like he’s treating this less like a detective show and more like The Gentlemen in the 1870s. The ‘globe-trotting’ aspect suggests this is going to be way more action-heavy than just sitting in Baker Street.”

One person agreed: “Guy Ritchie’s style could reshape Sherlock’s origin story, but period accuracy often clashes with fast pacing.”

Young Sherlock is streaming on Prime Video from March 4.

BROOKS Nader has left very little to the imagination in a sexy ensemble while on a night out with pals.

The reality star and model bared all in a totally see-through black dress on a wild night in Hollywood, while looking sensational in the process.

The former Dancing with the Stars starlet, 28, donned a tiny minidress made of an incredibly flimsy fabric.

The black minidress was made of an extremely sheer chiffon.

Brooks risked it all by going completely braless for the occasion, which meant her breasts and nipples were on full display.

She wore her blonde locks down and in a sleek style, with her makeup glamorous yet natural.

Brooks completed the look with a red clutch bag and some gold earrings.

On the night out, Brooks was seen beaming beside Jeff Bezos’ wife Lauren Sanchez.

Lauren was seen rocking all navy in the form of a lace top and oversized long-line double-breasted coat.

This isn’t the first time Brooks has bared all.

Back in October, Brooks showcased her bare breasts once again in an entirely see-through top while leaving a talk show appearance in New York City.

Photos obtained by The U.S. Sun captured the reality star donning the sexy ensemble.

Brooks paused to acknowledge the cameras, showing off her sheer black top, exposing her boobs, and a short black skirt.

She completed the look with a black blazer, pointed-toe black high heels, and her blonde hair flowing straight down.

Brooks became a household name after winning the Sports Illustrated Swim Search competition in 2019, which skyrocketed her modeling career.

Dancing With The Stars fans would also remember her from last season, when she competed with her pro partner, Gleb Savchenko – who she struck up a romance with on the show.

The pair were eliminated after reaching ninth place, but their names continued to circulate in the media due to their romance.

However, their relationship ended not long after when Brooks accused Gleb of cheating on her, which he vehemently denied.

Brooks is now romantically linked to Spanish professional tennis player Carlos Alcaraz.

In addition to her modeling career and stint on DWTS, Brooks stars on the new reality TV series, Love Thy Nader, which premiered on Hulu earlier this year.

The show follows Brooks and her sisters —Mary Holland, Grace Ann, and Sarah Jane —as they navigate building careers in the Big Apple.

CBS News is moving forward with a series of town hall and debate telecasts with a major advertiser backing them, the first major initiative under editor-in-chief Bari Weiss.

The news division announced Thursday it will have a series of one hour single issue programs under the title “Things That Matter” done in collaboration with the digital platform the Free Press.

CBS News parent Paramount acquired the Free Press which was co-founded by Weiss, in September.

Bank of America will be a major sponsor of the series.

The town hall participants include Vice President JD Vance, who will discuss the state of the country and the future of the Republican Party, OpenAI Chief Executive Sam Altman on artificial intelligence and Maryland Gov. Wes Moore on the future of the Democratic Party.

The debate subjects include “Should Gen Z Believe in the American Dream?,” “Does America Need God? and “Has Feminism Failed Women?” The debaters include journalist Liz Plank, New York Times opinion writer Ross Douthat, and Isabel Brown, a representative for the right-wing organization Turning Point USA.

No dates have been set, but the programs will air in the current 2025-26 TV season which ends in May.

CBS tested the town hall format Saturday with a telecast that featured Weiss sitting down with Erika Kirk, the widow of slain right-wing activist Charlie Kirk. The program taped in front of an invited audience and averaged 1.9 million viewers according to Nielsen data, on par with what CBS entertainment programming has delivered in the 8 p.m. hour in the current TV season.

The town hall format where a news subject takes questions from audience members has long been a staple of cable news channels. Broadcast networks have typically only used it with presidential candidates.

“Things That Matter” is less of a play for ratings than a symbol of the new vision for CBS News under Weiss.

“We believe that the vast majority of Americans crave honest conversation and civil, passionate debate,” Weiss said in a statement. “This series is for them. In a moment in which people believe that truth is whatever they are served on their social media feed, we can think of nothing more important than insisting that the only way to get to the truth is by speaking to one another.”

Weiss hosted the town hall with Kirk. CBS News has not announced the on-air talent for the “Things That Matter” series.

Weiss was recruited by Paramount Chief Executive David Ellison to pull the news division towards the political center where he believes most of the country stands.

The Free Press gained popularity for its criticism of DEI, so-called woke policies, and strong support of Israel. The site is often described as “heterodox” and has been critical of numerous actions of the Trump administration. But its biggest fans tend to be in the business community who disdain high taxes and big government.

The former This Morning guest shared how Richard Madeley and Judy Finnigan treated her off-camera, following a “disastrous” moment on the show

A former This Morning guest has revealed how her appearance on the show ended in disaster. Hosted by Richard Madeley and Judy Finnigan at the time, podcast host Louise Boyce said she was invited onto the show as a teenager for a live haircut, though was mortified by the outcome.

Joined by Richard and Judy’s daughter Chloe Madeley on her podcast, she told her: “Your mum and dad, it [This Morning] was the first TV show that I went on when I was 15. And, I really want to find the footage, it must be in the archives somewhere, but I went on there to have my haircut, a live haircut.

“I was 15 years old, I was still at school and very aware of how I looked and the haircut was disastrous.”

Recalling her immediate reaction, she said she instantly knew it was “horrendous” but politely told the hairdresser she “really liked it” with a shaky voice.

“But, your mum and dad were so kind to me because they must’ve seen or felt that I was just like, ‘I hate what you’ve just [done to me’]’,” she continued on the No Parental Guidance podcast.

“‘You have just violated my hair live on TV, my first ever TV [experience]’. And they were so, your mum and dad, even off-camera they were like, ‘Hair grows, it’s okay’.”

In response, Chloe gushed: “I can’t say it enough how kind he is and how fair of a man he is and how unbelievably good his values and [morals] are. I get really angry when people go for him because I’m like, ‘You don’t know how good this person is’.”

The fitness guru continued by revealing she’d also picked up valuable lessons from her mum, especially regarding being “a calm” and “well adjusted” parent.

Richard and Judy presented the ITV programme from 1998 to 2001. When previously asked about their decision to leave the show, they said it felt like the right moment to move on and explore new ventures.

The duo went on to front their own programme, Richard and Judy, which was broadcast during early evening slots on Channel 4.

Richard remains a familiar presence on ITV as a presenter on Good Morning Britain, while Judy has stepped away from the public eye.

The former broadcaster was most recently spotted on television during their daughter’s ITV documentary, Chloe Madeley: A Family Affair.

However, after running for just one series, it didn’t return following Chloe’s split from rugby player James Haskell.

The pair, who are parents to two-year-old daughter Bodhi, announced their separation in 2023 after five years of marriage.

During her recent podcast chat, Chloe revealed that the former couple are still navigating a “stressful” divorce.

Providing an insight into her love life situation, she said she’s content with being single after having a disliking her experience on dating apps.

FOR years Molly-Mae Hague was the influencer who up-and-coming social media stars aspired to be like – she had the huge brand deals, the hunky fiancé and millions in the bank.

But fast forward to today and the 26-year-old’s aesthetically pleasing life is no longer top of the wish list. In her place are a host of ‘real’ women with some serious career goals and leading the way is social media star Meagan Wells. Here, insiders tell us how being the so-called ‘anti-Molly’ has helped the rising mogul, the truth behind rumours she’s ‘sold out’ and what really happened with her former bestie, Asher Mary Lou.

More than half a million fans have been closely watching Meagan’s every move since she burst onto the scene in 2021 – sharing her Slimming World journey.

She describes herself as “Your Midsize Geordie bestie,” who puts confidence for curvy women at the forefront of her brand.

It saw many young girls flock to her as a source of inspiration as she shared her fashion hacks and body battles with her fans in her typical down-to-earth manner.

If she wants a boob job then she’s more than entitled too.

Insider on her changing look

In a surprisingly bold move just last month, Meagan made her intentions clear as she declared: “In a world full of Molly-Mae’s be proud to be a Bridget Jones.” 

The post raised eyebrows with her fans, and one of Meagan’s followers told The Sun: “She has always advocated for positivity but her Bridget Jones and Molly-Mae comment felt seriously misguided.

“There was such a clearer way she could have compared herself to a Bridget Jones-type without having to discourage anyone from following in Molly-Mae’s path.

“Many of us have been speculating in our group chats if she was simply using Molly’s name as she knows it will get her attention and likes.”

Meagan was quick to explain herself, telling her followers: “This isn’t shade to Molly-Mae. It’s the Molly-Mae effect on social media which is the side of social media that is all about perfectionism, clean girl, minimal aesthetics and if you feel you don’t sit in that (me), you are seen also.”

But behind the scenes things were really changing for Meagan and as her fame rose, she started to shed her girl-next-door image.

One fan questioned how honest her posts are, writing: “You’ve posted before about all the face/hair editing software you use on your face.”

While her weight has always been a hot topic on her socials, suddenly Meagan seemed slimmer than ever and then in September she shocked people when she decided to get a boob job. 

There were also trips to aesthetic clinics and getting her lips done and suddenly she looked a far cry from the girl who started off desperate to lose weight. She was a size 18 at her biggest and a 10 at her smallest.

Whilst no one could fault Meagan wanting to get fit and healthier as she embarked upon her own personal journey – the loyal fans who were with her at the start have now admitted to feeling “cheated”, accusing her of turning into everything she proclaimed she would never be.

Over the summer she posted a video in her bikini showing people how to pose on the beach but her followers were quick to point out that of course she looked good – with a full face of glam.

“I’m fairly certain any pose will work for you. Simply because you are a goddess,” remarked one.

And someone else added: “It helps that she is absolutely gorgeous anyway.”

But insiders tell us Meagan would be horrified by the suggestion that  it’s all a bit of an act, explaining: “There has never been any secret about her wanting to look her best – and if she wants a boob job then she’s more than entitled too.

“People need to remember she is growing up in the public eye and of course her style will evolve.

“She knows people were surprised by her new boobs, but she’s engaged now and just wants to look and feel her best. She’s got big plans for the future.”

Another source speculated: “Influencers will often do what it takes to stay relevant, and when they are offered  things it’s hard to turn it down. She might be allowed to change and grow, but it’s understandable why people might feel let down.”

Having seen her fame soar over the past few years, Meagan decided to launch a podcast with close pal and growing influencer Asher Mary Lou – Talking Thirty.

It started in November 2023, to much fanfare, and over the course of the year they bashed out three series by September 2024.

“They don’t even follow each other now – it was a real cut off.”

Insider on her fall out from Asher

During their last episode of the series, they joked it would be their last one ever, which turned out to be foreshadowing because it then disappeared without a trace – and even their Instagram has now been removed. 

They claimed to be too busy to record it any more, but the urgency with which they removed it from their bios suggested something much deeper going on.

Insiders tell us: “The girls grew close very quickly and decided to do the podcast pretty soon after meeting.

“But they realised they don’t actually have the same values and there was one row in particular, which they now both refuse to talk about, which made them end the friendship.

“They don’t even follow each other now – it was a real cut off.”

Meagan’s foray into podcasting might not have lasted long, but she has now set her sights on transitioning into the traditional celebrity world of TV, like many of her fellow Instagram influencers and TikTok stars.

Just this month, she shared a reel about her dreams of landing a spot on This Morning as part of a “Manifesting Morning TV” post.

Meagan told her followers how she’d undertaken a TV presenter course in the hopes of honing her skills.

Our insider added: “She’s very clear about what her goals are – like with everything she’s been very honest about what she wants career-wise.

“She’s not necessarily taking the traditional influencer route like Molly did and she’s determined not to lose herself along the way.”

Despite the worries and concerns, Meagan has long provided a safe space for her fans who have struggled with body image issues.

She has never shied away from showing off her body hang-ups which is far more than can be said for many Instagram influencers.

And while there may be questions about if she’s sold out and become skinny, she’s forging her own path – reaping the rewards of her fame and followers.

The Sun has contacted Meagan Wells’ representative for comment.

In the latest episode of The Envelope video podcast, Oscar Isaac opens up about the connection he forged with director Guillermo del Toro for “Frankenstein” and Wunmi Mosaku reflects on the way her own heritage informed her work in “Sinners.”

Kelvin Washington: Hello, everyone, and welcome to a new episode of The Envelope. Kelvin Washington here, and you know who we have: We have Yvonne Villarreal, we have Mark Olsen, and you as well, so thank you for being here. Happy holidays to the both of you. First off, the green memo [gestures to Villarreal].

Mark Olsen: I feel like you guys have left me off the group text again.

Washington: We did.

Olsen: I’m not getting these messages.

Washington: By the way, tomorrow will be Christmas trees — but we’ll talk about that later. Don’t worry about that. Quickly, Christmas list. One thing you’re looking for.

Villarreal: A break. …. Sorry, I answered before you even finished.

Washington: You know our bosses and producers are looking at us right now. You deserve one. Mark, you?

Olsen: That sounds good, sure.

Washington: All right, that was it, thank you for watching this episode of … All right, let’s get into it. Yvonne, you had a chance to speak with Oscar Isaac, who’s taking on the role, of course, as Frankenstein in Guillermo del Toro’s adaptation of this classic. Tell me a little bit more.

Villarreal: He plays the brilliant but egotistical scientist Victor Frankenstein, who creates life with this monstrous experiment, and the result is the Creature, played by Jacob Elordi. It was really nice speaking with Oscar about some of the themes that the film explores, the father-son dynamic and breaking cycles of generational trauma. And he was talking a lot about where he pulled from, the conversations he had with Guillermo about what they wanted to delve into. And it was really fun also hearing him talk about the rock star inspiration, for his take on Victor. So it was fun.

Washington: All right, we’re looking forward to that. We’ll get there in just a moment. Mark, I swing to you. You had a chance to speak with Wunmi Mosaku, who in my mind was the kind of the breakout star of Ryan Coogler’s vampire thriller “Sinners.” I want to hear more about what you had to talk about.

Olsen: Exactly. I mean, this has been such a breakout role for her. Obviously, the film was a huge hit when it came out earlier in a year. And she, you know, she’s been acting for years now. I think a lot of people know her for when she was on “Lovecraft Country,” another sort of horror-themed story. Here she plays Annie, the former partner of Smoke, one of the two characters by Michael B. Jordan in the film. And just on a practical level, it was great to hear her talk about working with Michael, where he’s playing these two parts and the way he made it seem so effortless to shift back and forth between them. But then also on an emotional level, you know, she was born in Nigeria, raised in England, lives here in Los Angeles, and yet she just forged such a deep personal and emotional connection to this character from 1930s Mississippi. And so to hear her talk about that, there was just something really wonderful in the conversation. It was really terrific.

Washington: This happens all the time, as you all know, that moments like this, scenes like those in the movie, like she’s gonna become someone that’s, “Hey, you know what? We need to look into her more.” So I’m happy for her to have that breakout moment. All right, without further ado, here’s Yvonne and Oscar.

Oscar Isaac in “Frankenstein.”

(Ken Woroner / Netflix)

Villarreal: Oscar, thanks so much for being here.

Isaac: Very happy to be here.

Villarreal: I have to say, driving down the 110, I came across buses with your face wrapped around them.

Isaac: I’m so sorry.

Villarreal: It was a pleasant sight in L.A. I know you encounter a level of this with each project, but this does feel a little bit different. How you’re feeling in this moment with “Frankenstein”? How do you take stock of the small moments in this big production?

Isaac: There aren’t too many small moments with this, to be honest. Everything’s very big-sized. In a way, it’s the most I’ve really done to support a movie. I’d say even more than “Star Wars” to a certain extent, because it straddles so many things. It’s a big fun popcorn movie. It’s also an intense emotional drama. It’s a platform release, a few theaters then the streaming platform itself. So there’s been a lot of things to do for that. And it can be tiring, but the thing is when it’s in service of Guillermo [del Toro, the director] and his vision and it’s his love letter to cinema, it’s the story he’s always wanted to tell — that’s an energizing thing. Being able to do it with him. And with Jacob [Elordi] and Mia [Goth].

Villarreal: Have you come across a bus with your face on it yet?

Isaac: Maybe not a bus. I’ve seen billboards. I’ve seen bus stops, but the actual moving thing itself, no, I haven’t yet.

Villarreal: I know Guillermo has said that he has long seen you as the person to play this role of Victor, even before there was a screenplay. What do you remember about that lunch you had with him? What did he say that he saw in you for this?

Isaac: I wish I could really go back and like just parse it all out. We just immediately started speaking as friends, as fellow Latinos, as immigrants trying to navigate our way through this industry, as both having very intense relationships with our fathers and the way that’s changed over time, both becoming fathers and wanting to not necessarily follow in some of the same footsteps, but also recognizing what an incredible source of of life our fathers have been. But all the pain that came from that, and forgiveness. We talked about those things without any relation to a movie in my mind. It wasn’t until after that where he started talking about this project and he said, “I think you need to play Victor Frankenstein.”

Villarreal: I feel like Mary Shelley’s “Frankenstein” is so steeped in the culture because the creature, the monster, is such a part of pop culture. When did you first encounter the book? Did you have to read it in high school?

Isaac: I encountered it a little later. It was shortly after high school. I wanted to have a read because it’s such a famous, legendary, iconic book. I enjoyed it, but it didn’t really hit so hard for me. When I left that that meeting, Guillermo gave me Mary Shelley’s “Frankenstein” and the Tao Te Ching. He’s like, “Read these two books.” Going back to the book again, reading it, really hearing her voice, really hearing her voice in all of the characters — I thought that was very interesting, that everybody kind of sounds a little bit like her. And I love that Guillermo took that idea and did the same thing with his movie. He made it very autobiographical.

Villarreal: For “The Card Counter,” you also had to read a book about the way that we store trauma. Did you find yourself returning to that at any point?

Isaac: “The Body Keeps Score.” That’s right. Incredible book. I did, very much. Also, parts therapy. This idea that we’re all these different parts and different voices and we’re not any one thing. And gestalt therapy, this idea of, like, being able to hold that child-self of you that’s broken. For me, that was a very big one in thinking of the Creature. The Creature is a reconstruction of Victor’s broken child that has to chase him down to forgive him — to make him look at him, face him and forgive him.

Villarreal: Did you find that you wanted to understand both Victor and the Creature?

Isaac: Guillermo and I spoke very explicitly about the idea that they’re one and the same. That there are two halves of one full person. And that actually was really helpful in the playing of it, particularly in that one scene when the Creature comes back and demands a companion. That scene in particular was played on my part as if that’s his voice, his inner child, his addict, that darkness within him that he’s trying to suppress.

Villarreal: How did you both discuss Victor in terms of, is he a reliable narrator telling the story?

Isaac: We spoke that he’s very much an unreliable narrator. It is his remembrance. It’s a memory play. Did Elizabeth really look like his mom? Probably not, but that’s how he remembers it. That’s who he saw. And the sets are these massive archetypal Jungian visions that feel very much like they’re part of his inner conscious, his subconscious, and not so much objective reality.

Villarreal: I want to talk about the the look and vibe of Victor. I know that you’ve talked before about looking to some rock icons for inspiration, whether it’s Prince or David Bowie. I think Guillermo mentioned Mick Jagger at one point. How did you both arrive at that and what were the videos or the performances that you locked in on?

Isaac: That first meeting that we had, it wasn’t so much like he saw me and he’s like, “You’re my Victor.” It’s a conversation. And out of that conversation, inspiration starts to happen. That is what ultimately led for this thing to happening between us. And that conversation just keeps going. As he writes it, he has a few ideas, I look at a few scenes, I see where he’s going with it, we start talking about it more. He starts talking about the way he wants Victor to occupy space, especially in his memory, that he remembers himself like conducting a concert, like a rock star, like holding court and having this punk rock, iconoclastic energy. He’s like Mick Jagger. And suddenly “like Mick Jagger” becomes, “well, like a rock star.” Well, how does he move? What is it about Mick Jagger? What is it about these other musicians, these artists that that’s the form of expression to think about? Not so much the scientist or the mad scientist, but the passionate artist. Then those ideas mix with the incredible genius Kate Hawley, who does these costumes, who also is bringing in all of her ideas of punk rock in London in the ’60s and Jimi Hendrix and those bell-bottoms and those hats that have a bit of a Gothic-Romantic thing going for it. Then these little boots. And then suddenly I see these boots and I see this hat, but for me that looks more like prints to me. All these things are just conversations and pieces and things being put together that create a character. It is this amazing collaboration that happens, this collage that gives the impression of a character, and that’s really special.

Villarreal: You’re working opposite Jacob Elordi, and I think a lot of people come in with preconceived notions about maybe who he is as an actor based on his past work. He’s such a revelation in this film in terms of the work and prep that he did to get here. First, talk to me about seeing him as the Creature for the first time, but also what he was like as a scene partner.

Isaac: We only met briefly in Guillermo’s office at one point, and he seemed like a nice young fella. He had his little 35mm camera, was taking a lot of analog pictures, which was cool. And the first scene we shot was the last scene of the movie. That was the first time I saw him in the full getup. So he walked in and immediately I was really moved by how graceful he was. I remember him coming in, like, fingers first; his hands were like animals, like [a] sea anemone. There’s just like incredible movements that were happening and I found it really lonely and heartbreaking. I thought it was an amazing coincidental, if you believe in those, opportunity that that was the first scene that we were going to get to do together — the last scene, the time when these characters finally actually see each other for the first time. He was amazing and then so graceful and gentle and very emotionally available.

In between takes, I’d see this big lumbering monster taking photos with his little camera, which was incredible. What was incredible about that too is that he was loose. He was just taking everything in. And that’s a very hard thing to do in those high-pressured situations. People can kind of get, like, tunnel vision and narrow in and try just to do the thing that they want to do, but he was [operating from] open awareness, which is a place that we all hope to start from as artists.

Villarreal: Did you both have an idea of, “Do we need to approach this a certain way to be true to these characters, with the friction or tension that they have, or can we turn that off in between takes?”

Isaac: There was no need to do any of that. That would have been just extra work, more like an ego idea. It was very free on set, and that’s Guillermo; that comes from the top down. He’s ebullient, he’s joyous, he’s loud, he’s inclusive of everything. So there’s no secrets. If he likes something, everybody knows it. If he doesn’t like something, everybody knows it. Whatever he’s working on, everybody knows it. And so it feels like a team. There wasn’t really space for this kind of sheltering away or trying to manufacture some kind of dynamic.

Villarreal: Did your view or perspective on Victor shift over the course of making this film? As a son and as a father, how did you see him in the beginning and how did it change by the end?

Isaac: It’s funny because I have a lot of friends that have kids that have texted me saying, “Wow, man, that made me feel really guilty watching you do that,” because we can all think of those moments where we lose our patience and we yell or we get angry at these very innocent beings that didn’t ask to be here and yet they’re being forced to conform to these rules. And the idea that what we think is right trumps everything and that our children are just extensions of ourselves, accessories, things to be judged in relation to us, as either prideful or shameful. That horrible cycle that happens and those patterns that we fall into. So that became more and more evident, especially in those scenes with Jacob as the Creature, with the shaving and the washing and the being tired and all things that were additions from Guillermo that are not in the book. Because in the book, Victor leaves right away. But this is more of like a slow retreat from the responsibilities of bringing somebody into the world.

Villarreal: I want to unpack that more, because it’s been interesting to see the discourse online of people very much relating to this element of Guillermo’s take, the themes of generational pain and a father’s desire for redemption. Obviously, Victor is physically and emotionally abused by his father, and we see how the cycle repeats itself with the Creature. This idea of breaking generational trauma, like you said, it’s something that we try to be mindful of in how we work every day. Did you find yourself unpacking some of those emotions in the process, or is it just something that you’re sort of reflecting on now that it’s over?

Isaac: We spoke about those things at that first meeting, so that was actually like the touchstone of the whole thing. That’s what kept everything grounded. It’s a very heightened performance. It’s not naturalistic. It’s meant to be quite expressive. It also brings in modalities and forms of telenovelas and and Mexican melodrama. We watch those things very carefully to bring some of those elements out in this kind of fever dream that is this film. But we were only able to do those kinds of things knowing at the core it is about this generational trauma and this idea of what we inherit from our fathers or from our parents. And as much as we try to run away from them, we get blinded often by our own constructions of ourselves and our own egos and our own desires and are blind to repeating these exact same things again. And especially as artists — I can definitely relate to the idea of “Well, if I can just figure out this one thing, this character, this piece, if I can find the breakthrough here, then everything will make sense. Everything will be worth it, all the limbs that I’ve cut off, all the villages I’ve burned. The trail of debt I’ve left behind me will will mean something if I can figure this thing out.” Then you get to the other side of that and that’s not the answer. We very much were conscious of that.

Villarreal: I guess I ask because the interview I was referencing before, your interview with Terry Gross, which was around the time of “The Card Counter,” I was so struck by you talking about your [father and] upbringing in an evangelical household and this feeling like doom was around the corner. And I was so struck by how you talked about that. And you talked about your home in Florida being demolished by the hurricane. In my rewatch of “Frankenstein,” being focused on you and your character in particular, I was thinking about how much of that was playing in your head, especially in the scene where the place is burning down. Like, do you go directly to those kind of moments? How was it playing in your head?

Isaac: I don’t necessarily try to summon that specific moment. I think part of the preparation is reading and feeling; as I read through the script and as I think about it, where I connect with it emotionally. And sometimes if something feels far away, I do have to be like, “OK, well, how do I bridge the gap to this thing? How can I relate to it? Oh, well, I guess, yeah, I had to deal with this in my life. And how did I respond to it? Well, how would Victor respond to it? How would I respond to it if I had Victor’s circumstances?” That is some of the fun of meditating on the piece and thinking about what all the possibilities are. But with this, I didn’t find myself, like, literally reaching to stories in my past. I just allowed that to be available.

I did a bit with the last scene, thinking about, “When was the last time I was at a deathbed with a loved one?” And what was that like and what do I remember physically of that, what was the energy and what was the tone of that and how is it appropriate with this and how is it different? You use whatever’s available, and sometimes just the other person across from you is enough and sometimes you need to kind of summon it from the ancestors or from wherever to get through that performance ritual.

Villarreal: When you’re channeling those intense emotions, is it, like, hard to keep them under control sometimes for the good of the scene?

Isaac: Well, actually, that happened with this last scene. I’d spent a a day getting into that mode and summoning, and we did the scene and it was quite volatile sometimes. A lot of the emotions would come through and Guillermo would say, “OK, let’s do another one, but maybe tamp that down a little bit.” It’s like, “OK, let’s try that again.” We did it a bunch of different ways. And funny enough, even though it was a great day and everyone was happy, we ended up coming back and reshooting it. And it was done last minute. I didn’t have time to do all of this preparation, and we just went and that’s actually what ended up being in the movie. Because I wasn’t expending any energy trying to reach for something. It just was more reactive and it was a bit more sober and less an idea. It’s that balance sometimes between wanting to get to something, explore something, but also letting it go and allowing something to emerge that is not willed.

Villarreal: I want to talk more about the collaboration with Guillermo. What does that look like in practice? What is a note from him like? I saw another interview where you mostly spoke in Spanish with each other. How did that allow you to understand what he’s after more easily?

Isaac: That first meeting we only spoke in Spanish. So it set the tone. And my Spanish is good, but it’s like maybe seventh-grade vocabulary.

Villarreal: I feel a kinship.

Isaac: I would speak in Spanish to my mom. That was the person that I would only speak in Spanish to. And then when she passed eight years ago, I kind of lost that. I have my aunts and I talk to them, but it kind of starts to go away. So to suddenly have Guillermo show up, and that was the way that we really first interfaced. And with him, even though he could hear me sometimes, doing it in Spanglish or trying to get to it, he just was committed. It’s like, we speak in Spanish. He didn’t have to say it. That’s just what it is. It just created this real, almost, like, subconscious intimacy because it’s the mother tongue. That is the first thing that I heard. Even though when I learned to speak, it was in the United States, it was both always at the same time, then the English took over. But it just hits something different to have to communicate, to have to try to find a way to express myself in Spanish to Guillermo, talking about really difficult things. What would be great about it is it forced me to be simple and just, like, get to the f— point, and not like all this intellectual stuff around all these definitions and acting terms and all this. That was a really special thing.

Villarreal: We’ve talked a little bit about we’re working through, for lack of a better term, some daddy issues during the making of this. I know that “Hamlet” is such a seminal text in both your personal life and in your career. And obviously, this is a film that has parallels. With the passing of your mom, and working on this, especially with that last scene, how did you feel your mother while working on this project?

Isaac: Wow, that’s a very kind question. So, so, so much. She would have loved this movie. The last movie we saw actually was “The Handmaiden.” Super erotic too. I was like, “Mom, we’re sorry; close your eyes, Mom.” But it was so beautiful and kind of dark and opulent — she loved that stuff. She was always incredibly, incredibly present. Even the Elizabeth character — my mom had red hair as well. And this is in Mary Shelley’s text about the feminine and the masculine and those warring kind of energies. And for Victor, ironically, really tapping into more of the feminine energy with him in some ways. What he does is obviously — the penetrating nature, is a masculine thing, but at the same time, that freedom and the liquidity of that femininity was very important too. That last scene, it was interesting. That first time we did the scene, there was a lot of my mom there. Then when I had to let it go and I had to just respond, suddenly dad showed up. And that was really wild. There’s a bit of that warring energy with Victor all the time, and that was really surprising.

Villarreal: There was also the the detail that people really picked up on, which was the drinking of the milk. How did that inform you as you played Victor?

Isaac: Once his mom dies, he gets stunted. He never grows from that point on. His body grows. What he’s doing, his intellect grows, but emotionally, he stays that little boy that’s been hit in the face by his dad and rejected. And rejected by his mom because she died. It’s not rational, but that’s what it is. He’s orphaned. That’s also why mom feels so present. He’s just always looking for her. He’s always looking for her everywhere, everywhere, everywhere. The milk is just looking for her. It’s just comfort. La lechita. It’s also very funny because it’s so simple too. He likes playing with the saint-sinner thing, this guy that paints himself as the victim. He’s not a drug addict. The only thing he does is milk. And milk’s good for you, right? He starts off as Jesus Christ and ends up as Charles Manson. That’s what that milk does.

Villarreal: Do you have a sense — especially with a little bit of hindsight now, though I know you’re still in the whirlwind of it — what the character of Victor has done for you?

Isaac: What was surprising is that he is a sadist, but in like the Marquis de Sade kind of way. That wasn’t something that I thought about, but as it progressed, what was surprising to me was the pleasure that the character was giving me. For someone that is so dark and has such capacity for cruelty, the fact that he just felt so good, it was so free and so energized and kind of joyful. And I asked Guillermo at one point, I was like, “Maybe something’s wrong here? Because, like, shouldn’t it be a little darker and heavier?” He’s like, “The movie tells you what it needs.” You listen to the movie, and this is somebody that doesn’t have any doubts. And that feels pretty good to not have any doubts, until he crashes. He wakes up from this dream, this fever dream of no consequences. There’s no consequences, nothing matters, the rule of nature is dominance and cruelty, and actually pain is the same as pleasure. And the more perfect the crime, which is against something that’s virtuous and innocent, the more perfect an act that is, philosophically, nihilistically. So that is pure freedom. Pure freedom and pure pleasure, it’s like f— it. To play somebody like that, and to allow myself to be blind to the feeling of consequence and to just shoot like a rocket, that was incredibly freeing and pleasurable. Then suddenly to stop back and look back and be like, “Oh, what an awful thing. What awful things he did. He couldn’t see what he was doing.” But in the moment, that was unexpected.

Villarreal: We talked about the intensity of filming that last scene. What was the scene where you just felt so free and happy or excited?

Isaac: Creating the creature. Creating the creature was just like the rain coming down, the running up and down the stairs in the little high-heeled boots, the screaming at Christoph Waltz, you know, and his body flying down and him being like, “f— it, gotta throw him in the freezer, gotta keep this thing moving.” That energy, you know, climbing up the tower, putting the spear up there. He’s like a Gothic hero, a Gothic superhero. That kind of mutability within the character — it’s kinda like what I was saying about the artist. It’s like, “This I know; I know how to do this, and if I can do this, everything will make sense.” So that moment of just purely going for that thing, that was a really exciting moment. And also in that set, in Tamara [Deverell’s] incredible set, with Dan [Laustsen’s] lighting and Guillermo sitting there in the corner like this little crazy Mexican Buddha, just wanting more, more, more, that was electrifying. Pardon the pun.

Villarreal: I’ve wondered what it’s like walking into one of his creations, those sets. I can’t imagine. It feels like you’re in a dream.

Isaac: You do, and what’s the most incredible thing is that he’s surrounded himself with people for the last 30 years that are like an extension of himself. Through a process of elimination, he’s gotten these people that are just as passionate, just as detailed, and have ownership of the movie. The set decorator, the painter, the greens person that puts the moss in is like, “Do you see where I put the moss right there? You see the moss right there?” That kind of artisanal passion over it. So you walk in, sure, it’s inspiring for the imagination, but it’s also inspiring as a crafts person to be like, “OK, how do I bring the same amount of detail and passion and love for it?”

Villarreal: I’m asking this teasingly, but what’s the worst thing about Guillermo as a director? Is it that he wants so many takes, or is it that he just thinks you can do anything?

Isaac: I was gonna say what was challenging was to have somebody quilting the movie as we were shooting it. So that you would do a take and sometimes it would go straight into the edit and he could show you it in the movie itself. And as an actor, that could be tough because you’re like, “Oh, I’m not ready to see that yet.” But he was making it as it goes because the camera was always moving, so he needed to see that it was always connecting to the next thing. I had never experienced that before. For instance, that last scene, we did it, the next day he came in, and it was all edited with some temp score on it and I saw it, I was like, “Oh no, I don’t think that’s… “ But in that case, it was good that I saw it and had that reaction because we got to have another go at it. But it is dealing with like, “How much do I want to see? How self-conscious am I?” But it’s his openness. He’s not afraid.

Villarreal: Was he open with Jacob having his dog Layla on set?

Isaac: Yeah. That’s the thing. He was just free. He was really free. He’s like, “Whatever you need, man. Whatever anybody needs, that’s it.” He would embrace everything. Every mistake, he’d embrace.

Villarreal: Before we wrap things up, we’ve talked about swirling in this space of loss and renewal. In addition to tapping into that with “Frankenstein,” your wife, who’s a filmmaker, Elvira Lind, has this documentary, “King Hamlet,” where she documented a very transformative period in your life as you dealt with the loss of your mother, but also the birth of your child, while working on a staging of “Hamlet.” How has it been to sort of live in this space and have these parallel moments between these two projects?

Isaac: In a way, it’s like the father and the mother of these projects here. And the strange synchronicity of when they’re coming out at the same time, it’s kind of a beautiful thing, because “Frankenstein” is this massive thing, it’s very expressive, it has a lot of people, so much energy behind it. Having to do that and then flying to New York and showing a small group of people this tiny little movie made by just a handful of people, mostly my wife, this incredible documentary filmmaker, but made by her again by hand about this really small, quiet time of a play that we did that maybe a few thousand people saw, there is something quite grounding about that. It also feels generous because it’s about something that she’s made. But also it’s about showing a little peek for anybody, but also for artists as well, at what it costs sometimes and what it takes and how this particular family dealt with all this happening and the desire and the need to process it and create something out of it.

Wunmi Mosaku in “Sinners.”

(Warner Bros. Pictures)

Mark Olsen: “Sinners” obviously opened earlier in the year, and it’s really just hung in there. It’s a movie people are still talking about. What does it mean to you that the movie has already had such an enduring life?

Wunmi Mosaku: Oh, it means so much to me. I feel like you take a job because you believe in it and you trust the filmmakers and you’re excited, and then you get on set and you do your best and then all of a sudden you remember that it’s going to be out there and people are going to judge it and they might not like it and they may not like you and they might not respond to it. And we would turn to each other sometimes and be like, “Do you think they’re going to feel how we feel about this? I really hope so.” Because we really felt like it was so special. And so seeing the reaction has been so affirming and pretty magical because it’s not always the case that it translates the same as how it feels for you, that the audience feels that too.

Olsen: And what do you think it is that audiences are responding to? Mosaku: I think Ryan Coogler, his way of creating art is always based in truth and connection and honoring the people on the screen and the people that they represent in and around his life. And so I feel like people are responding to the fact that it feels truthful. Even though it’s got horror aspects and a musical aspect, it really just has heart and depth and it’s about community, it’s about freedom, it’s about the price of freedom. It’s about so many things that affect people every day. Capitalism, selling out, cultural appropriation. It’s deep and it’s layered, and it’s all rooted in truth.

Olsen: And now when you say that as you were shooting the movie, it felt special to all of you — can you describe that for me? What do you think you were feeling as you were shooting the movie?

Mosaku: I felt a deep connection to my ancestry, to my purpose, to how what I do today will reverberate in the future. My lineage, my child’s future. I just felt the film links the past to the present. It links West African traditional spirituality and it connects it to hip-hop and blues and all these different types of dance and culture. It feels kind of sprawling and encompassing of the Black diaspora experience. And it makes you feel connected to everyone in the diaspora. I felt really awakened to my position in that web of creativity. And artists like Ryan, who have this visionary, revolutionary way of creating, they just kind of feel like guiding lights, diamonds, in this web of us. It feels like, “Oh wow, he really is this jewel to be cherished, and I’m connected to that now.” So it was very multilayered, the connection I felt.

Olsen: That does sound like more than just a typical day at work. Mosaku: There was nothing typical about it. It felt like, vibrationally, it changed all of us.

Olsen: As I understand it, when you auditioned for the film, you were given this seven-page scene that introduces your character of Annie. It’s you and Michael B. Jordan’s character of Smoke, and from that scene you thought the film was a romantic drama. What did you make of it when you found out what the movie was really about?

Mosaku: Ryan explained the movie to me in and around the scene, and my mind was blown because it made complete sense, but it came completely out of left field for me. I had the themes that we see in the movie of the evolution of blues to modern-day music and ancestors and future ancestors, they weren’t quite there when he was explaining it to me, but it was there in the spirit of what he was explaining to me. So I knew it was epic and that there was depth, but then there was also vampires. I can’t explain how he explained it, but I felt the weight of all of the themes and messages, and it seemed to work with the idea of vampires coming in and taking blood. It was a surprise, but it made sense. I was completely hooked and in from the first scene, but his description, I was like, “This is genius.”

Olsen: I like the idea that you were still able to process your story in the movie, Annie’s story, as that of a romance. Even with everything else that’s happening in the film, there still is that story at the core of it. Mosaku: Because he only works with truth. Even in a fantastical world of vampires and spirits, he still works within the truth of relationships and character dynamics, and so their love is the community, the love and the bond between all of the characters, that is the heart of the movie. Sammie’s desire to leave the plantation and see the world, that’s the heart of the movie. These two people who love each other dearly and are insatiable for each other but can’t be together because of racism and the color of their skin, that heartbreak is the heart of the movie. A woman who just wants to sing and is young and is married to this old church type — that line I think is cut from the movie, but Jayme [Lawson]’s character says he’s older, church type — and she just wants to be completely free on the stage. That she gets to explore and to have this thrilling night in the community in the juke joint, I mean that’s the heart of the movie too. These relationships are the beating heart.

Olsen: But there’s something I’ve heard you talk about, that Annie relates to the character that most of us know as Smoke, as both Smoke and Elijah, his given name. Can you untangle that for me? It’s really compelling to think that she is relating to both sides of his personality. Mosaku: Well, everybody has a representative, right? Like, this is my representative. And then there’s Wunmi at home without the glam, the truth. So yes, she met Smoke. She fell in love with Smoke, but she knew Elijah. In Yoruba, we have your given name and then you get given an Oriki name, and the Oriki name is a pet name that your grandmother or your mom would call you and when they call you by that name, when you hear someone speak your Oriki name, you can’t say no. It’s like, “That person knows me like no one else, and they’ve used this name for a purpose.” So almost like Elijah is his Oriki name because everyone knows him as Smoke. He has his defenses up, he has his heart guarded, Smoke’s been through war, Smoke’s been through the gangster stuff in Chicago, but Elijah lost his daughter. So when she calls him by his name that’s like calling his Oriki. Olsen: You’ve spoken as well about how much you feel you’ve learned about yourself in playing this role, that it changed you. How so? Mosaku: I mean, even the fact that I can talk about Oriki names. I didn’t have an Oriki name. I didn’t understand the meaning of the Oriki name until I really just kind of immersed myself more in my culture that I feel like I had no choice in not being a part of. I came to England when I was 1½, and you try and assimilate, you try and fit in. And that is at the expense and the tax of your birth culture. And that’s something people don’t really pay attention to, what’s lost in order to feel safe in another culture. Researching Annie, I had to look back at where I’m from, because she’s a hoodoo priestess and hoodoo is a derivative of Ifa, and Ifa is the traditional Yoruba religion. That is where my people come from. That is part of my survival, that’s why I’m here. Their knowledge, their belief systems, that is why I’m here. And so having to research that just opened up a whole treasure trove of truth for me and inquiry and self-reflection and self-love and admiration of all the people that came before, the difficult decisions my parents made, and then the difficult decisions I’ve had to make in navigating being an immigrant in another country.

Olsen: What does it meant to you to connect with that part of yourself?

Mosaku: I’m unable to put it into words. It’s changed me profoundly. It’s changed my relationship to the world, my culture, my home. I feel inspired in so many different ways to reconnect, feel connected. I’ve been doing Yoruba lessons for five years, and only in the last year has it really stuck. And I think the sticking is because of the exploration, the real exploration, not just an intellectual “trying to learn a language.” It’s unlocked something emotionally in me. The language is sticking.

Olsen: “Sinners” is rooted so specifically in the world of the Jim Crow South here in America. Was that still something that you could relate to? Were there aspects of the story that still felt familiar to you?

Mosaku: Yeah, I can relate to being Black in America, I can relate to being Black in a different culture. But there’s a lot of research that has to be done. A lot of people in the cast were pulling upon the people that they knew in their history and their ancestry, whether it was Ryan and his uncle James who inspired the movie or Miss Ruth [E. Carter, costume designer, who] said my dress, the velvet dress was inspired by a picture of her grandma in a velvet dress on the stairs with her grandfather. They have different things they can pull on that are really from the time and the people. I do research in a different way, because I don’t have that same history to pull from, but I have an admiration and a love of the African American culture. My daughter’s African American. So I feel I have a respect and a duty to do my research, not just for my character work but for my family. I can relate to aspects, but I don’t have that shared cellular memory that the rest of the cast do.

Olsen: So what did you draw on for research? Mosaku: I spoke to hoodoo priestesses and that was really my main research, was kind of the faith, because that is who she is. That’s her foundation. And that’s her power. So that was my main research. Obviously, researching the era, Prohibition, Jim Crow South, the Great Migration. For me it’s about respect and honoring as truthfully as I can, if someone has trusted me with this role. And also I’ve said no to roles that I don’t think should be played by Black Brits or Nigerians. I’ve said no to roles that I think should be specifically for African Americans. There’s something about Annie that feels really close to me and really important to me, and I think she’s like a bridge, and I do think of myself sometimes in that way, of in the middle. I’m someone who was born in Nigeria but was never raised there, someone who was raised on a land that has never felt like my own, and then someone who’s come here and has, not inherited, but I have a daughter with this inherited history. And so I have a responsibility for her to understand all three aspects, and then I’m sure there are more aspects of her history that I am yet to figure out what they are. It’s my responsibility to understand that and guide her with it.

Olsen: When you’re shooting these kind of stories or dealing with sort of heavy topics, do you have anything that you like to do at the end of the day to pull yourself out of it?

Mosaku: I talk to my husband and I spend time with my daughter. I speak to my family. I go home.

Olsen: And I don’t think I’m spoiling anything, but I want to be sure to ask you about your last moments in “Sinners.” It’s deeply moving. You reappear in the film as a vision to Smoke. You’re nursing your infant daughter. Can you talk to me about that moment in the film and what it means to you?

Mosaku: It’s purity. He drops his representative, he drops Smoke. He has to drop Smoke in order to join us. The initial cost of this never-ending life as a vampire, it sounds like there’s a glamour to it, there’s a capitalism to it. Stack and Mary are still young and beautiful but there is such a great cost. They never get to see the sun, they never get to hold their loved ones again. And actually they’re not truly free. Whereas Smoke and Annie have chosen true freedom that fully incorporates everything that they love truly. It’s not money, it’s not eternal life, it’s not eternal darkness. They are basking in the sun with their ancestors and it’s purity, it’s love, it’s freedom.

Olsen: I have to ask you about the musical number where sort of the past and the future sort of collapse in on themselves. What did that read like in the script? And what was it like to be on set that day?

Mosaku: It read very much like it felt when you watched it. I had read a version without the future and past ancestors, where it was just about the two brothers and their women and reconnecting and it was beautiful. I loved it. And then before the read-through, we got given another draft, and it had the ancestors and the roof going on fire, and I threw the script down and I ran into my living room and was like to my husband, “Oh, my God, oh, my God, it’s amazing, it’s amazing. I think this is the most amazing thing I’ve ever read. I think it’s the most amazing thing that’s ever going to happen onscreen.” That’s how it felt. And on the day filming it, it very much felt magical. Sammie and Delta Slim have this scene where Delta talks to him about his gift and where it comes from. It comes from the homeland, it comes from your ancestors, it comes from home, Africa. And it’s such a powerful gift and to really guard it with all he has. Then Miles [Caton], who plays Sammie, is talking to the the older guy, Papa Toto, who plays his past ancestor. Who has the little guitar behind him, I don’t know what it’s called, like the original guitar. And he’s behind him in the scene, and then I kind of wander over to them, and Papa Toto basically does the exact same speech, never having read the script, to Miles about his gift and where it comes from and like how he should cherish it and keep it protected. That’s what they’re both talking about, protecting their gifts. And I was just like, “Oh, my gosh, this is magical. He doesn’t even know that this is the scene in the script.” It was a really special day.

Olsen: I’m going to ask this as politely as I can, but I found “Sinners” to be a much bawdier movie, it’s a much more sensual and sexy movie, than I expected. I’m curious how you found those scenes in the script and in particular what it was like for you shooting your scene with Michael.

Mosaku: It explores so many different emotions and feelings. It feels palpable, it feels tangible, it feels like it’s pulsing. It also feels kind of inevitable. Again, it just felt true, and it wasn’t difficult because we created such a safe space for everyone, and there’s no nudity in it, and it just feels really sensual and safe.

Olsen: What was it like shooting scenes with Michael where he’s playing both Stack and Smoke? I would imagine just him having to switch out for the scenes, how did that impact the rhythm and the momentum for the rest of you? Mosaku: It was pretty easy for us, honestly. We didn’t have to do anything. Michael had a stand-in, Percy Bell, and both would learn both twins’ lines, and then Michael would shoot as Stack, and Percy would do Smoke, and we would lock this, we would rehearse it, rehearse it, rehearse it, and then shoot it, shoot it, shoot it, find the one we liked and lock it. So then, if this is Percy and this is Stack, what they would do is he would go get changed, be Smoke, and we would kind of mime the scene. It was really harder for Mike, I don’t know how he did it. We would kind of mime the scene. They would play the scene back so he was responding to us in the real time of the scene that they had chosen. That was it. That was the only scene that we were going with. And then he would trace Percy’s steps and physique to make sure he wouldn’t step on Stack or whatever. So it was very easy for us. Like, we just had to play the scene. And I honestly don’t know how Mike did it. I have no idea how he did it.

Olsen: What has the response to the movie been like for you professionally? Do you find that you’ve gotten some offers? Are you finding yourself in rooms that maybe you wouldn’t have been in before? Mosaku: Everyone has been so complimentary and lovely about the movie. I think work has come from it, and I was in a room at the Governors Awards with Tom Cruise and Debbie Allen and Phylicia Rashad. I was like, “Well, this is new.” Me, Jayme [Lawson], Hailee [Steinfeld] got awarded one of the Elle Women in Hollywood awards yesterday, which was again really surreal, like, “Oh, hey, Jennifer Aniston. Hey, Rose Byrne. Hey, everyone. Hi, we’re in this room with you. Cool.” So a lot of really lovely things have come of it. Very grateful.

Olsen: And what does it mean to you that it’s for this movie in particular? Mosaku: This is the movie that just keeps on giving. I loved it from the first time I read those seven pages and I have grown as a person, as an actor, as a mom, as a wife. And now I’m experiencing this, which is really lovely, really nice. Olsen: You also have an upcoming role in “The Social Reckoning,” Aaron Sorkin’s sequel to “The Social Network.” Is there anything you can tell us about your role in the movie? Mosaku: I have no idea what I’m allowed to say about it. I’ve not been prepped on press for that yet, so I’m sorry. Olsen: You shot your part? Mosaku: I’ve shot a lot.

With Christmas just around the corner, it’s going to be a busy time in the Radford household as mum-of-22 Sue has opened up about festive dinner plans

22 Kids and Counting star Sue Radford has revealed her Christmas food shop and fans are floored.

The proud mama of 22 children, Sue became a household name with the rest of the family back in 2012, when she let cameras into her home with husband Noel for the very first time.

Sue and Noel are parents to Christopher, Sophie, Chloe, Jack, Daniel, Luke, Millie, Katie, James, Ellie and Aimee, as well as Josh, Max, Tillie, Oscar, Casper, Alfie, stillborn in 2014, Hallie, Phoebe, Archie Bonnie and Heidie.

Since shooting to fame over 10 years ago, the Morecambe-based family have rarely remained off screens, with the latest series of Channel 5’s 22 Kids and Counting airing earlier this year.

And with Christmas just around the corner, it’s fair to say it’s going to be a busy time in the Radford household. In a clip from the latest episode, Sue revealed that she is hosting Christmas dinner for her entire family. And this includes Father Chloe, her partner Jake and their two-year-old daughter Mila.

During the instalment, Sue headed to her local Asda to stock up on food for her large family in the festive season. Piling her trolley high with groceries Sue said: “We’ve got pigs in blankets, so there’s 60 there.”

Sue added: “We’ve got 3kg of Brussels sprouts. I absolutely hate Brussels sprouts, but everybody else loves them.” She then picked up 4kg of carrots, 7.5k of potatoes and with it being Christmas, Sue stocked up on two large turkeys. Heading to the freezer aisle, Sue said: “Think I’ll probably try and get about 60 Yorkshires.”

Reacting to Sue’s food shop, one person on Facebook said: “I would just do beans on toast, would stress me out.” A second added: “Me too imagine cooking for them all, be my worst nightmare.” A third said: “So much food.” Another penned: “I can’t imagine cooking all that.”

It comes after Sue and Noel introduced their new four-legged family member in October – and fans were left gushing over the update.

Taking to their joint Instagram, the pair shared several photos of their adorable new dog. In the caption, they wrote: “Hi everyone I’m Mavie I’m a cream long-haired miniature Dachshund I’m settling in really well and everyone loves me.”

Animal lovers Sue and Noel have owned several dogs over the years. They have a border collie Lola, three French bulldogs Bluebell, Ivy and Mabel, and three miniature dachshunds Cookie, Minnie and Dolly.

22 Kids and Counting airs on Channel 5.

COPS investigating the deaths of Hollywood director Rob Reiner and his wife have shared more details about the scene that greeted them at the couple’s sprawling home. 

Reiner, 78, and Michele Singer Reiner, 70, were allegedly murdered by their 32-year-old son, Nick, on December 14.

Both deaths have been ruled as a homicide by Los Angeles County medical examiners.

And, both died from multiple sharp force injuries. Only one cause of death has been listed on their reports.

Cops on the Los Angeles Board of Police Commissioners spoke briefly about the scene at the $13.5 million Brentwood home. 

Dominic Choi said the couple were found in the master bedroom of the home. 

“Officers conducted a thorough search of the residence to determine whether there was any additional victims or suspects,” he said.

“No one else was located.”

Los Angeles Fire Department was among the first agencies to rush to the Reiner home. 

The first call was made at 3:30pm and a unit was requested to respond to a Code two situation, as per dispatch audio obtained by People. 

A code two situation is where trucks respond with lights flashing and no sirens.

This was then upgraded to code three, where crews respond with sirens and flashing lights. 

The Reiners died on December 14, according to the medical examiner’s report.

A masseuse called the couple’s 27-year-old daughter, Romy, on Sunday when they weren’t let into the home. 

She found her dad’s dead body before suddenly charging out of the home, as reported by the New York Times.

Romy didn’t see her mom’s body before learning that she was also dead.

The legendary career of iconic director Rob Reiner

FAMED actor, director and producer Rob Reiner, 78, died on December 14 alongside his wife Michele Singer, 68, in an apparent homicide.

Here is a look at the prodigious list of achievements the Hollywood powerhouse earned before his tragic and sudden death.

Director’s Beginnings

• Reiner was born in New York City on March 6, 1947, to legendary comedy writer Carl Reiner and singer Estelle Reiner
• He studied at the University of California, Los Angeles film school before breaking into the entertainment industry

Hollywood Career

• Reiner first found fame as an actor playing Michael “Meathead” Stivic on the iconic sitcom All in the Family from 1971 to 1979
• In 1984, he directed his first film This Is Spinal Tap – a mockumentary following a fictional heavy metal band
• Reiner went on to direct cult classic films like The Princess Bride in 1987 and When Harry Met Sally… in 1989
• Other notable movies made by the director include Misery, The American President, and A Few Good Men, which earned an Academy Award nomination for Best Picture
• The production company he co-founded, Castle Rock Entertainment, has also produced hits like Seinfeld and The Shawshank Redemption
• Reiner didn’t halt his acting career either, recently starring in The Wolf of Wall Street in 2013 and The Bear in 2025

Personal Life

• Reiner married actress Penny Marshall in 1971 and adopted her daughter, Tracy, from a previous marriage. The couple divorced in 1981
• He met photographer Michele Singer while shooting When Harry Met Sally
• They married in 1989 and had three children: Jake, born 1991, Nick born 1993, and Romy born 1997)
• Nick opened up about his struggle with drug addiction in 2016. The movie Becoming Charlie, directed by Reiner, was based on Nick’s story
• Reiner was an outspoken Democratic activist and a fierce critic of Donald Trump

Nick was arrested near the Expo/Vermont metro station in the Exposition Park area of Los Angeles at around 9:15pm – around six hours after Romy rushed to the scene. 

Around one hour before he was arrested, he bought a Gatorade from an Arco gas station.

He was reportedly fidgety before buying the drink and kept looking behind him.

At around 4am on Sunday, he checked into the Pierside Santa Monica hotel – located around four miles from the family home.

Nick has been charged with two counts of first degree murder. 

Prosecutors are still considering the death penalty. 

Nick made his first court appearance on Wednesday and wore a blue suicide vest. 

He had been on suicide watch while in custody, according to reports.

In the court hearing, he waived his right to a speedy arraignment, and his next scheduled appearance is January 7.

Timeline of Rob and Michele Reiner’s death

Rob Reiner and his wife of Michele Singer Reiner were found dead in their Los Angeles home on December 14, 2025.

Timeline:

• December 13, 2025: Reiner and his wife Michele attended a holiday party on the evening of December 13 with their son, Nick.
• Sources conveyed to The U.S. Sun that the couple and their son were engaged in a heated public argument while at the event.
• December 14, 2025: Reiner and Michele were found dead in their Brentwood home in Los Angeles at around 3:30 pm PST.
• The couple’s daughter, Romy, reportedly discovered her parents’ bodies.
• Online police records show Reiner and Michele’s 32-year-old son, Nick, was arrested at 9:15 pm PST on December 14.
• December 15, 2025: Authorities in Los Angeles announce that Nick Reiner was arrested and charged with murder.
• Nick was booked into a Los Angeles jail at 5:04 am and was being held on $4 million bail, which was later revoked.
• December 16, 2025: Los Angeles District Attorney Nathan Hochman formally charged Nick Reiner with two counts of first-degree murder.
• Hochman said his office would consider the death penalty in Nick’s case.
• Nick’s scheduled court appearance on December 16 was postponed due to what his attorney said was a procedural issue.

Nick did not enter a plea at the court hearing.

His lawyer, Alan Jackson, told the lawyer it was “too early” to enter a plea.

Outside court, Jackson later told reporters the case involves “complex and serious issues” that needed to be dealt with “thoroughly and carefully”.

Nick’s siblings, Jake and Romy, described the deaths of their parents as a “horrific and devastating” loss.

“Words cannot even begin to describe the unimaginable pain we are experiencing every moment of the day,” they told TMZ.

“They weren’t just our parents; they were our best friends.”

Jake and Romy didn’t mention Nick in their statement.

Nick allegedly killed his parents after attending a Christmas party held on December 13.

But at the shindig, Nick and his dad reportedly had a bust-up, family sources told TMZ. 

Nick also had a tense moment with Bill Hader at the party, according to Page Six.

He reportedly stared at the ex-Saturday Night Live star before storming off.

Nick also quizzed A-listers at the bash, reportedly asking if they were famous.

At the party hosted by Conan O’Brien, Reiner expressed concern for his son’s well-being. 

ADDICTION BATTLES

Nick has been candid about his battles with drug addiction.

His stints in rehab facilities began when he was just 15. 

Nick, also a producer, co-wrote the 2015 film Being Charlie and the inspiration behind it was his relationship with his dad during his addiction.

Charlie, played by Nick Robinson, becomes addicted to drugs and his dad in the movie urges him to get help.

The movie follows Charlie’s battle as he fails at different rehab programs.

“It was very, very hard going through it the first time, with these painful and difficult highs and lows,” Reiner said.

“And then making the movie dredged it all up again.”

Reiner said making the movie with Nick helped the two become closer.

“I said it to his face. I’ll say it on the air: He was the heart and soul of the film and any time I would get an opportunity to work with him I would do it,” he told NPR.

Gil Gerard, the actor who became a childhood hero to many for his lead performances in the 1979 movie “Buck Rogers in the 25th Century” and its subsequent TV incarnation, died early Tuesday, his wife announced on social media. He was 82.

“Early this morning Gil — my soulmate — lost his fight with a rare and viciously aggressive form of cancer,” Janet Gerard wrote Tuesday evening on Facebook. “From the moment when we knew something was wrong to his death this morning was only days.”

She was by Gerard’s side when he died in hospice care, she added as she placed another post — a pre-written message from the actor to his family, friends and fans — on her husband’s Facebook page.

“If you are reading this, then Janet has posted it as I asked her to,” the actor wrote. “My life has been an amazing journey. The opportunities I’ve had, the people I’ve met and the love I have given and received have made my 82 years on the planet deeply satisfying.”

The post was followed by myriad comments in which fans spontaneously recalled Gerard’s work as Buck Rogers and shared the influence he had on their lives.

“Your time as Buck Rogers was way too short but it has stayed with me in my childhood memories for 45+ years,” one man wrote. “Your hero was brave, macho, but also kind, compassionate, and fair. I feel as if that was representative of the man you truly were. Thank you for being the kind of ‘make believe’ hero that we should all want to be in real life.”

Another fan replied, “[H]aving met him, I can say he was all that. On and off the screen.”

Wrote another, “Like many here, I grew up watching Gil as Buck Rogers. He was cool… and he was funny… and he was nice. I was happy to find him here after all these years… still cool… still funny… still nice. It was a highlight when he ‘liked’ one of my comments. We’ll keep an eye out for you… 500 years into the future!”

Gerard discussed the allure of “Buck Rogers” with The Times in 2010.

“With our show, the reason people liked it was the humor and the fact that it was colorful and upbeat and it had heroes in it,” he said, chatting at a comic convention in Anaheim. “It was family entertainment. I think it’s great to deal with more serious issues, but you can do it with humor — look at what ‘All in the Family’ dealt with. You can be serious without being relentlessly dark and heavy.”

He also had wishes for the future direction of sci-fi projects, which at the time he observed were “very dark, almost hopeless.” And, he said, “wet.”

“Have you noticed how much rain they get in the future now? Everything is rainy and muddy. I don’t understand, either, how come everybody is so dirty when there’s so much water around everywhere,” Gerard observed with what seemed to be a healthy sense of humor. “Look at ‘Waterworld’ — they live in a place with no land and everyone’s covered in dirt. I don’t get it. You think they’d fall overboard and get clean once in a while.”

Gilbert Cyril Gerard was born Jan. 23, 1943, in Little Rock, Ark., and trekked to New York City in 1969 to give acting a shot, studying at the American Musical and Dramatic Academy.

He drove a taxi to pay the bills and, according to his website, one day a fare told him to show up on the set of the movie “Love Story.” Ten weeks of work on the film followed and his career took off. At first Gerard appeared primarily in commercials, representing companies including Ford, Coca-Cola and Proctor & Gamble until he landed the role of former POW Dr. Alan Stewart on NBC’s “The Doctors.” He put on the white coat and stethoscope for more than 300 episodes of that daytime drama from 1973 to 1976.

Then an agent lured him to the West Coast, where auditions got him noticed by NBC. NBC’s interest led to his casting in the title role in Universal Pictures’ “Buck Rogers in the 25th Century,” starring alongside Erin Gray as Col. Wilma Deering and Pamela Hensley as Princess Ardala.

As William “Buck” Rogers, Gerard played a 20th century astronaut who had come out of suspended animation 500 years in the future, only to discover a planet in ruins. In 1979 dollars, the film earned more than $21 million worldwide, or about $100 million when adjusted for inflation.

His career outside of “Buck Rogers” included appearances on mainstream shows abundant in that era — “Baretta,” “Hawaii 5-0,” “CHiPs” and “Little House on the Prairie” among them — as well as more obscure TV movies with delightful titles: “Reptisaurus,” “Nuclear Hurricane” and “Bone Eater.” “Sidekicks” in the mid-1980s, a couple of years after the release of the Oscar-nominated 1984 movie “The Karate Kid,” saw him playing a cop who becomes the guardian of a pre-teen martial-arts expert. A stint on the short-lived 1990 series “E.A.R.T.H Force” earned him some light snark from The Times’ then-critic Howard Rosenberg.

But Gerard also appeared in successful mainstream films including “The Nice Guys” starring Russell Crowe and Ryan Gosling and “The Big Easy” with Dennis Quaid and Ellen Barkin.

Gerard was married and divorced four times before exchanging vows with Janet Gerard in the 2010s. Among his wives was model and actor Connie Sellecca, whom he was married to from 1979 until their divorce was finalized in 1987. They had one child, a son.

In addition to addictions to alcohol and drugs, the actor battled his weight starting in the 1980s, with the once-trim leading man eventually seeing his health suffer as he topped 300 pounds, according to a 1990 interview with People. He later chronicled his 2005 mini gastric-bypass surgery in the 2007 Discovery Health special “Action Hero Makeover.”

“Gil likely saved my life. I was badly in need of weightloss surgery. I was resistant…then i saw a documentary on Gils weight loss journey. It was the impetus I needed as Gil was a hero of mine growing up,” a fan wrote Tuesday on Gerard’s posthumous Facebook post. “I thanked him via email several years ago and he was gracious and kind. I will miss him.”

Gerard appeared to be quite grateful and gracious at the end of his life.

“It’s been a great ride, but inevitably one that comes to a close as mine has,” he wrote in that final prepared post. “Don’t waste your time on anything that doesn’t thrill you or bring you love. See you out somewhere in the cosmos.”

“No matter how many years I got to spend with him it would have never been enough,” Janet Gerard said in closing in her own message on Facebook. “Hold the ones you have tightly and love them fiercely.”

In addition to his wife, Gerard is survived by actor Gilbert Vincent “Gib” Gerard, 44, his son with Sellecca.

The Strictly Come Dancing cast have rallied around judge Shirley Ballas after she shared some heartbreaking news online

Strictly Come Dancing judge Shirley Ballas has been flooded with support after she shared a family death.

The dancer will be back on screens on Saturday (December 20) for the show’s epic final. Remaining stars like Amber Davies, George Clarke and Karen Carney will be battling it out to take home the iconic Glitterball trophy.

However, just days before the final, Shirley has been dealt some major heartbreak. Taking to her Instagram on Wednesday evening (December 17) Shirley confirmed her beloved aunt – who was like a “second mum” to Shirley – had passed away.

The TV star shared several photos of her and her aunt and paid a heartbreaking tribute to her in the caption. She wrote: “My dearest Auntie Mavis … where do I begin.

“How I’ll miss you so very much. I’ll miss all your sayings of ‘you’re right love’, ‘do you know what I mean like love’, ‘yeah I know’ and l’d say ‘no you don’t know Mavis’. That one was my favourite.”

Shirley continued: “Mavis was always there for me and my family, she had been like a second mum to me. Mum and I are sad you’re not here with us any more, Mavis. We will treasure the memories. Mum has many that’s for sure. Her best friend of over 65 years.

“The bond between Mavis and my mother was absolutely unbreakable. We will miss every minute of every second not chatting with you, talking with you and you making us laugh with all your antics. May you rest in peace now with your beautiful daughter Helen and your wonderful husband.

“We will celebrate you often, talk about you often, laugh often with all the things that you and my mum got up to. I truly thought that you would live forever, Mavis.”

Shirley finished off the emotional post and said: “Thank you for always being there for me through the ups, through the downs and through all the parts of my life. Thank you for tuning into @bbcstrictly and then switching off after you’d seen my dress. That always made me smile.

“I’ll treasure every single memory I ever had with you. Rest in peace beautiful Mavis. Hugs and love, Shirley and Audrey. X.”

Shirley’s fellow showbiz pals and fans quickly rushed to the comments section to send their support. Claudia Winkleman penned: “Sending all my love,” while Neil Jones commented an orange heart emoji.

One fan said: “So sorry for your loss. Your mum has lost her beautiful friend.” Another follower chimed in: “Aw bless you all, so sorry for your loss….. Sending so much love to you all and may Mavis rest in peace.” A third penned: “Sorry for your loss, sending love to you both rest in peace Mavis.”

Strictly Come Dancing airs this weekend on BBC One.

WHEN Helen Flanagan and Scott Sinclair split after 13 years, they vowed to keep things amicable for the sake of their young kids.

But it was not long before the dynamic of the celebrity couple’s co-parenting soon began to show signs of strain.

The former Corrie actress blamed petty squabbles and communication issues, yet still remained tight-lipped about her ex.

But overnight, tensions between the pair appear to have hit DEFCON 1.

Helen, 35, flipped her lid when she spotted photos of Scott, 36, living the high life at the Grand Prix in Abu Dhabi, skipping their four-year-old son’s Christmas nativity play.

Lashing out online at the retired Bristol Rovers footballer, she raged: “You really are a piece of s**t,” ­sharing Scott’s Instagram post.

“How dare you not turn up to ­Charlie’s nativity,” she added.

Scott had posted snaps from his VIP weekend in the United Arab Emirates where he watched Lando Norris secure his maiden Drivers’ Championship title.

Standing in front of a huge F1 sign, he posed gleefully, tagging the post “What a weekend — Abu Dhabi F1.” He added: “Happy Days, blurry nights.”

Meanwhile, Helen shared a sweet snap of her cuddling their young son, captioning it: “Loved Charlie’s nativity. My star, my heartbeat.”

But when she spotted Scott’s jet- setting post, her blood boiled.

Now sources have told The Sun that Helen’s ex’s decision to skip ­Charlie’s school performance was just the tip of the iceberg — a culmination of bad behaviour that has left the telly star fuming.

The former couple share daughters Matilda, ten, Delilah, seven, and four-year-old son Charlie.

Yesterday Helen was spotted looking stony-faced while heading to her latest panto performance in Liverpool, where she is starring as The Wicked Queen in a production of Snow White.

A pal told The Sun: “Helen’s livid with Scott’s behaviour. He’s thinking about himself, not his children.

“She said, ‘I’m done letting him treat his family like this’. At the end of the day Helen is the mother of his kids. He needs to show more respect.”

Another pal said: “Helen is working full-time at the moment in panto so was expecting Scott to cover the nativity and go for her, as she has a lot on her plate and he is retired.

“When he didn’t bother, she wasn’t happy and took to her social media to vent her frustration and make a point.

“Their relationship is difficult at times — co-parenting is hard.”

Boys’ trips

Meanwhile another source close to the couple blames newly single Scott for embracing his “Hot Boy Winter” moment, leaving his family to ­suffer.

“Ever since Scott became single again things started to go downhill,” the source said.

“It’s been an incredibly testing few months for Helen, who feels like she is busting a gut and Scott doesn’t seem to get it.

“To make matters worse he is having the children for Christmas this year, which is another blow.”

Last year The Sun told how Scott was dating family friend Lauren Davies, 32, who is from his home city of Bath.

Things were going well up until the start of this year, when they are said to have decided they were better off as friends.

The source said: “Helen really liked Lauren and thought she was really good for Scotty.

You really are a piece of s***. How dare you not turn up to ­Charlie’s nativity

Helen on Instagram

“She has great values and felt it was important that Scott sees his kids and she wanted everyone to get along.

“But since their split, Scott hasn’t been present. He is constantly showing off his wealth online — with his extravagant boys’ trips. It’s a bit of a kick in the teeth.”

According to pals, tensions between Helen and Scott are so bad that the pair have blocked each other on WhatsApp, only communicating through family members.

The Sun also understands Scott wants to sell the £1.5million family home near Bolton and move Helen and the kids into a smaller property.

The eight-bedroom house went on the market in June, but Helen is standing firm. One pal said: “Scott is trying to sell the family home, but Helen has moved six times since Matilda was born.

“And because she is refusing to uproot the children, he’s stopped some of the money he was giving her for the kids. She’s fuming.

“The house is right next to her mum and dad, who take care of the kids while Helen works.

“Scott’s retired so he could have them, but he’s swanning around in Dubai and London and flashing it all over Instagram.

“At the same time he is claiming he can’t afford to give her the money, but he goes and blows £20,000 on the F1.”

Helen’s livid with Scott’s behaviour. He’s thinking about himself, not his children

A pal

The pal said Christmas will be particularly hard for Helen without her kids.

They said: “She is working full-time at the panto and dealing with the kids, with no help from Scott.

“Then he’ll have them at Christmas and post it all over Instagram, claiming to be dad of the year. He’s picking and choosing when he wants to help, but parenting doesn’t work like that.

“Helen has supported him for his whole football career and moved all over the country, but she’s adamant that she doesn’t want to uproot the kids and cause more disruption in their lives.”

This comes after Helen signed up to star in reality TV show Celebrity Ex On The Beach, in which she intends to “cause fireworks”.

Last month we revealed she was abroad filming scenes — and will not be holding back when it comes to getting what she wants.

Number blocked

It is not the first time the couple’s co-parenting relation- ship has been tested, with Helen previously saying Scott had her number blocked on his phone.

In October 2024 she told a podcast: “I’m on block at the moment on Scott’s phone. I really am. I’m on block.” However, she later said that the couple were on speaking terms so that they could co-parent their brood.

To make matters worse he is having the children for Christmas this year, which is another blow

Source

But in recent months things appear to have taken a turn again, as Helen hinted at trouble.

Earlier this month she told The Sun: “He lives in Somerset and I live in Lancashire. So we live so far away from each other, which is really difficult when you’ve got three young children.

“I hate calling it co-parenting because I don’t really feel like a co-parent, to be honest with you.”

Reflecting on their split in 2024, Helen told The Sun: “It was a mutual decision and personally, I felt as a mum that this was the best thing for my children.

“I want them to see healthy relationships and to be in healthy environments. I think if you’re unhappy then that projects on to them.”

She added: “I love Scott and I know that he loves me, but I suppose we just don’t like each other very much at the moment.

“We don’t really speak and there’s no point in pretending that we’re the best of friends when we’re not.”

Both Helen and Scott were approached for comment.

A different type of British invasion had EDM fans in a trance at the Queen Mary in Long Beach.

Armed with turntables, social media-star-turned-professional-party-starter Fish56Octagon made his U.S. festival debut Nov. 21 and 22 at Insomniac’s Dreamstate SoCal, where he performed alongside some of the world’s most preeminent electronic artists, including Tiësto, Paul Oakenfold, Gareth Emery, Ferry Corsten and Chicane.

Fish, as he’s called, is a 46-year-old from the London suburbs who joined TikTok on a drunken whim after being introduced to the app by friends in 2021. Now boasting over a million followers across platforms, he’s seen his life flip because of that choice — quitting a full-time marketing career to become a DJ, produce music and play sets at some of the world’s biggest music festivals in the four years since he uploaded his first video.

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Though his initial post was about his watch collection, the self-described “petrol head” quickly went deep into creating content about cars and made a successful side hustle within a couple years. Crossover between auto enthusiasts and the music lovers in his audience meant the dance songs he used to soundtrack his car videos and sporadic vinyl-haul unboxings spawned passionate discussion in the comments about the classic rave songs Fish was sharing with the world.

He also benefited from an accidental, scroll-stopping visual hook repeated across videos born from his employer asking him to ensure it didn’t look like he was posting during business hours: middle-aged, thin and bald, dropping dad moves in front of his sprawling Technics decks and pumping his fists to the beat between bites of Weetabix biscuits, all while wearing a red and black dressing gown (what Americans would call a robe), gifted to Fish’s wife by his mother.

Screen shot of Fish DJing on TikTok in his bathrobe

(TikTok)

“That gown is elegant,” wrote a fan in the comments.

“It was legit my mum’s but she found it too hot,” Fish responded.

“You the same build as your mum” another person wrote back, punctuating the comment with a sweating smiley face emoji.

Fish also began to livestream on TikTok late into the night, playing his own mixes for the first time in 20 years.

“I remember seeing people commenting on the Live going, ‘Mate, we were watching you before we went out. We’ve just gone on a whole night out in our city, come back and you’re still here playing,’” Fish said. “I just love it. Sharing and being able to get out those obscure records. Sometimes it’s the big anthems everyone knows and sometimes it’s a tune that was an anthem to me.”

He’s had a decades-long education in electronic music. Fish was introduced to the genre on the cusp of his teen years through an episode of the British detective show “Inspector Morse.” One episode took place in the illegal rave scene and he thought it looked like fun to party in an old warehouse.

Fish’s taste quickly developed by listening to pirate radio and vinyl. He pieced together his first setup with two hi-fi record players his dad had in the attic. Only one had pitch control. He learned to beatmatch by plugging a player into each side of his amplifier and using the balance knob to fade between them. He was given Soundlab DLP-1 belt-driven turntables for his birthday and his obsession accelerated over the next several years.

Fish56Octagon performing at the Dreamstate music festival in Long Beach.

(Niyaz Pirani)

“By then I was just spending every penny that I had on vinyl building my record collection up. It was all rave music, early old school, hardcore jungle, and then happy hardcore, drum and bass around that sort of time, early to mid-’90s,” he said. “I played quite a few house parties.”

He became a de-facto resident DJ in college, spinning vinyl in the student union, and dabbled in music production at the same time. He eventually sold his analog kit and synthesizers when he switched to Ableton. He downsized his record collection as he converted them to MP3s.

The demands of his post-college marketing career meant the DJ dream disappeared for many years. That was until his TikTok Live sets gave him a second chance as club promoters reached out in the hope of booking him. Fish admits a lack of confidence caused him to stay on the sidelines. It was an offer in February 2024 to play a solo show at Hidden in Manchester — about the same time he switched his channel over entirely to music — that got him out of his house and onto a stage.

“Even if I wasn’t sure that people would come, I knew that anyone that did come would be coming to see me,” he said. “ … I ended up putting a night on where I played for five hours straight, just me from the start to the end. When the tickets went on sale, it sold out a good couple of months before the event.”

Fish wondered if it was a one-off event or the beginning of a life-changing run. Then the offers came in from other big U.K. cities — FishTales in Newcastle; acid techno at Beaverworks in Leeds; raves in Liverpool and Birmingham. He hired an agent. Dropped some merch.

“Not sure how this happened! But I’m here for it and hope you are too,” he wrote online.

A 20-date summer tour featured three different sets at the famed Glastonbury Festival, and appearances at Reading and Creamfields. He also traveled to Ireland, Scotland and Malta, marking his first time playing professionally outside of England.

He quit his day job in August 2024 to DJ and focus on music production full time with the support of his wife, children and parents.

“They support me even though it comes at a cost that I can’t always spend as much time with them, but they understand that I’m following my dream, following my passion, and doing something positive,” he said.

He’s gained an appreciation as a historian of the genre. Fish’s followers have grown to include Skrillex, David Guetta, Disclosure, Bicep and more of the artists he has admired and now counts among his peers.

“For about the first year, I often would wake up in the morning — I’m gonna get a little bit emotional just talking about this — but I’d wake up in the morning and just think, ‘Wow, that was all a dream, wasn’t it?” he said. “Then I look at my phone. I can see that actually it was real.”

Fish attributes his success to social media, though he said it’s a mistake to think just having social media followers guarantees bookings and the upward trajectory of one’s career.

“They’re actually a function of each other. It’s because I was making content that proved to be popular about music that I managed to build up a following and have those opportunities come my way,” he said. “I’ve now played, getting on for, 200 professional gigs at various clubs, festivals, events, raves, all around the world.”

Fish waited until November 2025 to make his first trek to North America with an 11-date run featuring his first U.S. festival booking. He chose Dreamstate because he’s always had a special place in his heart for trance and the emotional connection people have with the music.

“I love all dance music, but trance is the one that can kind of tug at your heartstrings a bit with those melodies, and the chord progression, and the way that the beats can be so crisp when they come in, and the way the bass hits,” he said.

Fish performed Friday night on “The Vision.” It’s the same stage played by legends Chicane and Paul Oakenfold this year and Darude last. He also co-headlined an hour-long B2B with Night 1 Dreamstate headliner Gareth Emery early Sunday morning, as the top-billed act for the festival’s afterparty in the Grand Salon of the iconic Queen Mary.

He made his way to LAX after stepping off stage at 3 a.m. to fly to New York and play the last three hours of a 24-hour rave.

Chicane and Fish56Octagon run into each other in the lobby of the Long Beach Hilton after playing the same stage Night 1 of Dreamstate.

(Niyaz Pirani)

Fish has tour dates in New Zealand and Australia toward the end of the year, plus the largest show of his career March 28 at London’s O2 Academy Brixton. He’s also releasing music for himself and others under his record label Octagon Discs.

As his audience multiplies, Fish’s earliest followers remain enthralled by his seemingly infinite rise.

“How did the dude who recommends second-hand cars get to this. So happy for you dude,” one fan wrote in the comments of his Dreamstate recap video post.

“Music was my number 1 passion but i thought I was too old. Thanks for the support bro,” Fish replied.

“Amazing,” another chimed in. “But I would not recognize u in the wild without the bathrobe.”

Here’s what you need to know about potential changes to the BBC TV Licence

An annual fee in the UK could be replaced by “sliding scale” payment rates going forward. The BBC TV Licence could be due for some major changes.

The UK Government will examine reforms to the TV licence fee and explore additional commercial revenue streams for the BBC as part of proposals set out in its Royal charter review. The BBC’s existing charter, which spans a decade, concludes in December 2027.

The yearly licence fee has endured extensive examination under the previous Conservative administration, remaining static at £159 for two years before rising in April 2024 and again in April 2025 to £174.50, aligned with inflation rates.

As reported by the Daily Record, Culture Secretary Lisa Nandy has previously indicated she might be receptive to substituting the fixed licence fee with a graduated payment system. A fresh public consultation regarding these reforms has been initiated alongside the Green Paper and remains accessible until March 10, 2026.

The charter establishes the BBC’s public mission and serves as the constitutional foundation for the corporation, which is primarily financed through the licence fee, collected from UK households that watch television.

The Green Paper, outlining prospective BBC reforms was released on Tuesday and “consults on a wide range of options being considered for the future of the BBC”.

The Department for Culture, Media and Sport (DCMS) stated the UK Government will examine whether licence-fee reductions require updating, possibilities for the BBC to create additional commercial income, and funding alternatives for the World Service to ensure sustainable financing for minority-language broadcasting. Lisa Nandy expressed: “We want the BBC to continue to enrich people’s lives, tell Britain’s story and showcase our values and culture at home and overseas, long into the future.

“My aims for the charter review are clear. The BBC must remain fiercely independent, accountable and be able to command public trust. It must reflect the whole of the UK, remain an engine for economic growth and be funded in a way that is sustainable and fair for audiences.

“As a Government, we will ensure that this charter review is the catalyst that helps the BBC adapt to a rapidly changing media landscape and secures its role at the heart of national life.”

Options in the Green Paper the government is considering and seeking views on in this area include:

• Strengthening the BBC’s independence so the public continues to have trust in the organisation and its programmes and content, including considering the government’s role in board appointments
• Updating the BBC’s Mission and Public Purposes to give accuracy equal importance alongside impartiality and improving transparency of editorial decision-making to ensure the BBC explains journalistic processes and how its coverage evolves, especially during high profile events
• Giving the BBC new responsibilities to counter mis/disinformation, potentially alongside additional requirements on media literacy to help the public navigate technological change and develop digital skills, including around AI
• Introducing specific duties around workplace conduct to ensure BBC staff are protected and the organisation sets the standard for the rest of the sector to follow – including new responsibilities for the BBC Board to ensure action is taken against workplace misconduct

The DCMS said: “A BBC that is sustainably funded for decades to come to support its vital public service role.”

Options the UK Government is considering and seeking views on in this area include:

• Reform of the licence fee, whether licence fee concessions should be updated, and options for the BBC to generate more commercial revenue
• Options for funding the World Service and supporting sustainable funding for minority language broadcasting, including S4C
• Options the government is considering and seeking views on in this area include:
• Placing a new obligation on the BBC to drive economic growth, build skills and support the creative economy across the UK
• Ways in which the BBC can further support the production sector across the nations and regions, including by ensuring budgets and decision-making power for commissioners are spread across the UK, and by supporting minority language broadcasting
• Empowering the BBC to be an ethical and economic leader in adapting to new digital technologies, and enabling it to invest in Research and Development to support growth and drive public service benefits
• Encouraging the BBC to deliver more through collaborations and partnerships for growth and public value outcomes, including with organisations across the creative economy, and with local news outlets

Public consultation

People across the UK are being encouraged to give their views on the UK Government’s Green Paper public consultation and answer a set of questions.

Responses will be used to help inform policy changes which will be set out in a White Paper expected to be published in 2026.

You can view the consultation on GOV.UK.

HELEN Flanagan was issued a warning from her fans after threatening to “destroy” her ex Scott Sinclair.

The former Coronation Street actress split up from her footballer fiance in 2022, but the pair has struggled to co-parent their three children with Helen recently lashing out at him on Instagram.

Helen called Scott “a piece of s**t” for missing their youngest son’s nativity play, but it seems trouble must have been brewing weeks ago.

The actress posted to TikTok wearing a sexy, animal print corset top and brushed her blonde her as an audio recording of boxer Tyson Fury played over the top.

The audio from 2017 was Tyson saying: “I will destroy you, I will dismantle you, I will dissect you like an insect, smash you to pieces without no hesitation.”

It was a warning to fellow Brit boxer, Anthony Joshua and Helen joked that she too was using it as a threat to Scott.

HEL & BACK

How Helen Flanagan’s split from Scott turned nuclear & why Xmas may spark clash

hel no

Helen Flanagan cuts last tie with ex Scott Sinclair after lashing out at footballer

“My voice notes to my baby dad ( I’m 5ft 4, and struggle to open a bottle of water),” Helen captioned the TikTok.

Her fans were divided about the video and shared their thoughts in the comment section.

“Please be careful posting content like this Helen, if he ever took you to Court over child access, his representation would happily use this against you. Also, your eldest is at an age where she may see this and whatever has happened between you as adults seeing stuff like this about her Dad may upset her,” wrote one person.

Another added: “Hope your kids don’t see this. Take the high ground hun. Even if he is a piece of s***. Your future self will thank you.”

And a third commented: “All I’ll say is yes queen.”

Things seemed to go nuclear between Helen and Scott this week when she slated him online for missing son Charlie’s nativity play.

Helen this week lashed out this week at the Bristol Rovers footballer who was living it up in Abu Dhabi, rather than at Charlie’s big day.

The actress labelled her ex a “piece of s**t” after he posted photos of himself at the F1 Grand Prix in Abu Dhabi over the weekend.

She shared his post to her Instagram stories and added: “How dare you not turn up to Charlie’s nativity.”

The couple who split in 2022, share children Matilda, 10, and seven-year-old Delilah as well as son Charlie, four.

And now, a source has revealed that Helen was expecting Scott to watch Charlie’s nativity play due to her busy workload.

She is currently starring as The Wicked Queen in a production of Snow White in Liverpool.

PinkPantheress broke out in 2021 with a series of charming and inventive singles that placed her high, breathy vocals over skittering beats built around easily recognizable samples. It was as though the English singer and producer were trying to insert herself into pop-music history from behind a laptop in her bedroom — which is pretty much what ended up happening.

In 2023, her song “Boy’s a Liar Pt. 2,” a collaboration with Ice Spice, went to No. 3 on Billboard’s Hot 100; several months later, she landed a song on the hit soundtrack of Greta Gerwig’s “Barbie.” Last year she went on the road as an opening act for Olivia Rodrigo, and now she’s nominated for her first two Grammy Awards: dance/electronic album for this year’s “Fancy That” and dance pop recording for the project’s opening track, “Illegal.”

With nine songs in only 20 minutes, “Fancy That” maintains the TikTok-era economy of PinkPantheress’ early work. It’s also full of samples from the likes of Underworld, Basement Jaxx and Panic! at the Disco — one reason, perhaps, the singer, 24, describes it as a mixtape rather than an album. (An accompanying remix set, “Fancy Some More?,” features appearances by Basement Jaxx, Kylie Minogue, Sugababes, Ravyn Lenae and Groove Armada, among many others.)

Yet “Fancy That” showcases an expanding emotional palette too — it’s by turns funny, wistful, horny, melancholy and unimpressed. She spoke about it over matcha lattes in Los Angeles, where she lives when she’s not back home in London. “If you’re a musician, it’s sold as the place to be,” she says of L.A. “I was trying not to like it, but I really do.”

You’re enjoying the city despite yourself.
I think for me, it was just a case of: When I’m comfortable somewhere, I don’t enjoy exploration. What I know to be safe is where I stay.

Why?
It’s something with the way my brain works — I don’t think it’s a choice. My brain associates change — different environments and travel — with fear. I don’t go on holiday because of that reason. I find it very difficult because I genuinely don’t feel safe. Doesn’t matter where I am.

What do you do in L.A.?
I hang out with my friends. I get food. I do all the regular things. But it’s taken me years. When I first got here, I wasn’t like, Oh my God — the Hollywood sign! It was just like, Lemme find my footing. I think getting my house was when I was OK. I don’t like the stress of going out somewhere and being worried about how I come across to people.

If you’re at a restaurant, it’s hard for you not to think about the fact that someone might know who you are.
On occasion, if I’m not disguised well enough.

What are the disguises?
I think I’m gonna stop wearing my hair out in public.

So pop stardom — enjoyable or not?
It’s as absurd as everyone says. But it is 100% what I’ve always wanted to be. So I can’t complain now.

I mean, you could.
But I shan’t.

That would be poor form?
I’m a big believer of my words having an effect on everything I do going forward. So if I was to become comfortable complaining about my job — when I worked so hard to get here — then it’s gonna carry with me and it’ll come out in my behavior.

Do you drive?
I love driving. That’s another reason I like it here, because I can drive.

You like driving here more than in London?
I have a nicer car here. Well, actually, I don’t have a car in London anymore. The police took it.

Why?
Don’t know.

You must know.
I actually just don’t know. I literally got there and it was gone, and I was like, Fine. It was so cheap — like 2,000 pounds.

What kind of car was it?
A Peugeot 208.

In a recent interview with Zane Lowe, you named the people you called your blueprints: M.I.A., Kelela and Tinashe. All are well–regarded trailblazers, but none of them, I would say, is a pop superstar. That made me wonder: Do you want to be top of the pops?
I feel like in order to be top of the pops, I’d have to compromise a lot about my artistic choices. However, if the post-“Brat” era has taught us anything about music, it’s that you can actually be as experimental as you want, and if it translates, it will translate. So actually it’s not necessarily a recipe that’s too formulaic, as one would think.

Do I want to be top of the pops? I think that might be too much pressure. I don’t enjoy having to explain myself, and I worry that being big would make me have to explain a lot about myself. However, I do want to be well-regarded. I do want to be influential. And I do want to not have to worry, How well will this do? It’s less about top of the pops and more about having a very loyal fan base, which I prioritize above everything else.

I spoke with Lorde recently, and she told me she aches to be understood even though she wishes she didn’t. You said you don’t like explaining yourself. But do you feel compelled to?
I would say I definitely under-explained myself early on. And unfortunately that was a crucial error because — had I been on top of explaining my music and my musical mind from the jump — maybe now I’d be taken more as a producer. But because I didn’t, and because of the way I present myself, I do think people take me as more surface-level pop, and I’m actually not — I’m actually fully an art girl, like all the women I’ve mentioned.

So it’s kind of gone from not explaining myself to explaining too much. I hated that, too, because then it got people asking me more questions. Now I don’t want to explain anything anymore.

You’ve got the Sugababes on your remix album. Great example of an act that’s beloved in England but couldn’t get arrested in the States. Why do you think some U.K. acts cross over and some don’t?
If you have someone on your marketing team that prioritizes America, then I’m 99% sure you can always do it. I don’t think American people are put off by Britishness — I don’t think the music is too crazy for them to get it. The reason I did well in America was because I used a platform where the majority of users are American.

You mean TikTok. Did you use TikTok because that was the platform you were good at or because you knew it was the platform with the broadest reach?
I had no idea how it worked — I just thought about what has the most reach. I’m a child of the internet. I’ve always been online.

What’s bad about the internet?
There was a time when I would have said nothing.

At what age?
Sixteen — even older, honestly. The whole push of generated stuff has made it so unbelievably different. Back when I was on the internet, you wouldn’t have to second-guess any post you saw.

Whereas now you have to question whether something is real or AI.
Is this propaganda or is this not? That’s bad.

Is TikTok still fun?
I don’t really go on social media at all, so I don’t know.

You just make your posts —
And dip. Or I interact with people that help me towards my craft. People that make fan edits, I love it, so I’ll interact with them. But I don’t really scroll.

Did someone say to you, “Listen, you need to stop scrolling”?
No. I actually have no vices, so I didn’t have a problem with it.

Everyone’s addicted to scrolling.
Hell no — I’m not. If I want to stop something, I can stop right now.

Do you drink? Smoke weed?
I can’t do any drugs. I get drunk once or twice a month, and that’s my limit. I make sure to count that.

Why no drugs?
I’m a hypochondriac.

What are you afraid of happening?
Dying. Also, it’s just not enjoyable for me. When I get drunk, that’s the best amount of chaos I can experience in my inner self.

Dying?
Too much coke could kill you — cause an arrhythmic heart. And as I’ve said, if I fear something, I’m not gonna step foot towards it.

“I don’t think American people are put off by Britishness,” says PinkPantheress. “I don’t think the music is too crazy for them to get it.”

(Jason Armond / Los Angeles Times)

Who said no to being on the remix album?
No one said no. But I don’t ask people that I know are gonna say no — I just refuse to ask them. There was one person that was like, “Oh, I saw this too late” [makes “Yeah, right” face]. And one person didn’t reply. Maybe two people didn’t reply.

Were your feelings hurt?
No. Yeah. Maybe. When it comes to features and everything like that, I very much understand — I get how the mind of a singer works. I think people that get hurt are maybe not putting themselves in their shoes.

Surely you’ve said no to people at this point.
It’s a horrible feeling. And I try and make it work as much as possible. But sometimes it just doesn’t make sense. The vibes are off.

Have you heard the Lily Allen album?
Yes.

Thoughts?
Really good. And earnest.

She’s just laying out all her business.
She’s a Brit — that’s what we do.

Are Brits essentially earnest?
I think there’s something in our music that’s extremely earnest. That’s why you get someone like an Adele or someone like a Raye right now. You can feel them bleed. They’re bleeding out onto the stage — bleeding out onto the pieces of paper.

Beyond what we’ve talked about, I know virtually nothing about your personal life.
Exactly.

Whereas now I know a tremendous amount about Lily Allen’s. What do you make of that impulse to dump everything out into the world?
What I love about Lily Allen is that she’s always been very honest from Day 1. She’s an open book in interviews — she’s an open book everywhere. It works for her because it makes her very personable and makes her music all that more enjoyable because we feel like we’re actually experiencing her as a human being.

I would love to be that earnest. I simply don’t think I’ve gone through half the amount she’s gone through in her life. Because I fear so much, I end up not being in very exciting or controversial situations, and that could translate as boring. But I wouldn’t say I was a boring person. I relish in the mundaneness of interacting with others and the excitement of being myself. I’m actually obsessed with myself. When I’m with my best friend, we’re just so fun together. Other people, they’re like, “The f—?”

You’re on Coachella next year. You’ve talked about festivals not being your ideal performance venue.
I’m definitely better now, for sure. Two years ago, I was pretty s—.

What’d you learn from the tour you just finished?
Oh, a lot. I learnt that I’m in control of my body. I learnt that I’m in control of pretty much every element when I’m onstage. One thing I’m realizing as I talk is that the reason I don’t like drugs is because I like full control. When I’m onstage, for some reason, I always imagine that I’m gonna lose control — I’m gonna have to faint or have to run. I don’t know why, but that’s my biggest fear with performing, and hence why I’ve always been quite nervous.

But doing that tour made me realize that I can choose if I want to have a good time right now. And I chose to have a really good time — it was a really fun experience. I’m still learning how to dance. I’m still learning how to look good onstage. I think I’m built in quite a funny way, which makes me look long. And when you’re shaped in a long way and you have long limbs, you look bad at dancing.

You’re taller than I expected.
Every single person says that.

Why do we all think you’re going to be shorter?
My voice is quite high. I also think I shrink myself — less in physical ways and more in how I portray myself. I’m not like [shouts], “I’m here!” I’m more like [whispers], “I’m here.”

ITV’s Lorraine Kelly made her feelings clear about Meghan Markle during her daytime show, as she discussed the Duchess of Sussex’s attempts to contact her ill father after his leg amputation surgery

Presenter Lorraine Kelly has taken a swipe at Meghan Markle, after the Duchess of Sussex claimed she’d tried reaching out to her sick father Thomas Markle following his hospital admission for an emergency procedure that led to his leg being amputated.

During a recent instalment of her daytime programme, the 66 year old mother discussed the situation with a correspondent reporting live from outside Buckingham Palace, who suggested the Duchess had only been in touch with her unwell father to dodge bad press.

Lorraine’s disapproval was clear as she pulled a face before commenting: “Yeah that’s very true. I mean the press have tracked him down, she could always give them a call. I don’t know if that will happen, though.”

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The 44 year old wife of Prince Harry hasn’t spoken to her dad, who’s currently recuperating from surgery in a hospital in the Philippines, since 2018. Despite insisting she’d attempted to send him a message, she’s apparently wiped his phone number and hasn’t arranged any plans to see him.

According to The Sunday Times, the mother of two avoided ringing him directly at the hospital, worried that a phone conversation might be listened in on, reports the Express.

On Wednesday 10 December, Meghan’s representative confirmed she’d finally managed to make direct contact with her father. “Given that a Daily Mail reporter has remained at her father’s bedside throughout, broadcasting each interaction and breaching clear ethical boundaries, it has been exceedingly difficult for the Duchess to contact her father privately, despite her efforts over the past several days.

“With the support of reliable and trusted contacts, her correspondence is now safely in his hands,” the statement confirmed.

Thomas has been outspoken about his desire for reconciliation with his daughter in recent years. Speaking from his hospital bed to friend Caroline Graham, Mail on Sunday US Editor, he revealed: “Of course I want to speak to her (Meghan) but I am not sure if these are the right circumstances.

“I’ve always said I am open to reconciling with my daughter. I have never stopped loving her. I don’t want to die estranged from Meghan. I want to meet my grandkids. It might be nice to meet her husband too.”

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A NOTABLE actress from the 1970s has shown off her ageless appearance, looking younger than her son in a new family photo.

Jaclyn Smith, who played Kelly Garrett on the hit series Charlie’s Angels in the late ’70s and early ’80s, stunned in pics with her son, Gaston Richmond.

The TV star shared the snap on Tuesday on Instagram alongside a throwback of the mother-son duo.

The first pic showed the cover of a Good Housekeeping issue from November 1984, which featured the pair.

Jaclyn, then 41, cuddled her young son, showing their striking resemblance.

The actress looked like she hadn’t aged a day in a second photo she shared of the pair from the present day.

SO AGELESS

Star of iconic 70s TV show looks incredible as she turns 80 – can you guess who?

Jaclyn, 80, in a striped sweater and with her brunette hair flowing down her shoulders, gathered close to her grown son, 43.

She looked exactly the same as she did in the previous over 40-year-old photo, while Gaston towered over her, sporting a green t-shirt, a matching Los Angeles Dodgers hat, and a white and gray beard.

“Then and now Some things never change, he’s still my Sonshine!” The Bourne Identity alum wrote in her caption.

Jaclyn shares Gaston and a daughter, Spencer Margaret, with her ex-husband, filmmaker Tony Richmond, with whom she was married from 1981 to 1989.

The TV star was also married to Roger Davis and Dennis Cole before tying the knot with her current husband, cardiothoracic surgeon Dr. Brad Allen, in 1977.

Jaclyn starred in the Charlie’s Angels series from 1976 to 1981 alongside Farrah Fawcett, Cheryl Ladd, and Kate Jackson. 

She was the only actress to remain on the show throughout its five-year run, appearing in 110 episodes.

Shelley Hack and Tanya Roberts joined her later in the series, and until its end after five seasons.

She later reprised her Charlie’s Angels character in the 2003 remake, Charlie’s Angels: Full Throttle, starring Lucy Liu, Drew Barrymore, Cameron Diaz, and Demi Moore.

The legendary actress is also well-known for her roles in Florence Nightingale (1995) and Windmills of the Gods (1988), as well as many TV credits.

Latinos remain severely underrepresented in the television industry, according to UCLA’s latest Hollywood Diversity Report.

Released Tuesday, the report examined the top 250 series available on streaming, including both library offerings and current titles. Overall, it revealed a steep fall in cultural diversity among 2024’s top comedies and dramas, as well as fewer projects created by people of color and women.

For Latinos, representation on screen and behind the camera is scarce. Only 1.1% of the top streaming scripted shows were created by Latinos. Of the top streaming comedies and dramas, 3.3% had Latino lead actors and 5.2% were co-led by Latino actors. When looking exclusively at current streaming shows (excluding library titles), 1.1% were created by Latinos and 6.2% were led by Latino actors.

UCLA’s Hollywood Diversity Report dates back to 2014. The first iteration of the study used data that had been collected since 2011. Ana-Christina Ramón, UCLA’s director of the Entertainment and Media Research Initiative, says that this level of underrepresentation across all kinds of media is nothing new.

“It’s a consistent finding in our reports. But the numbers are such a stark level of underrepresentation because of the fact that we’re almost 20% of the population,” said Ramón. “Even when the numbers are a little bit better, they’re never close to where they should be.”

This lack of representation isn’t exclusive to the Latino population. The report found that four out of five leads in the most-watched streaming comedies and dramas were white actors, and white men account for nearly 79% of all show creators — leaving nearly every other race and ethnicity severely marginalized.

The downward trend comes at a time when President Trump has consistently targeted and called to end all diversity, equity and inclusion efforts. As a result, much of Hollywood has followed his lead. Paramount Global changed its staffing goals related to gender, race, ethnicity and sex; Warner Bros. Discovery restated its DEI activities as “inclusion”; and Walt Disney Co. got rid of its “diversity and inclusion” performance standard used to calculate executive compensation.

These findings generally defy American audiences’ preference for diverse content. The research shows that “a relatively diverse cast and diverse credited writers often resulted in higher ratings,” especially when these stories from diverse communities are live-action and scripted.

This trend isn’t isolated to television — eight of 2024’s top 10 streaming films and 14 of the top 20 streaming films featured casts with more than 30% people of color, according to previous UCLA research.

Despite the lack of Latino representation, Netflix’s narco-drama starring Sofia Vergara, “Griselda,” was the fifth-most-streamed television of 2024. In Latino households specifically, it reached third place, behind children’s TV shows “Bluey” and “Bebefinn.”

“The silver lining is that [‘Griselda’] was very popular, and though it’s a stereotypical topic, because it was made by the same people that made ‘Narcos,’ it had a prestige factor that gets passed along,” said Ramón.

She finds that the shows that tend to do well have to have a well-known lead actor, be of an interesting topic and be attached to something that is already established or popular. In 2023, the report included Netflix’s “Wednesday” at the fourth-most-streamed show and “The Last of Us” at No. 7, both shows featuring Latino lead actors.

All three titles “have a high production value and are familiar stories” — as “Griselda” was based on a true story, “Wednesday” builds off the IP of “The Addams Family” and “The Last of Us” is based on a video game.

“Regardless of which [ethnic] group you’re talking about, it really has to do with these very specific pieces,” said Ramón. “The very promising finding is the fact that underrepresented stories, which include Latinx stories and other BIPOC stories, tend to do better than shows that don’t, in terms of reviews and ratings.”

Emmerdale fans think they have worked out how it will all end for Celia and Ray ITV soap after a tense scene played out during Wednesday night’s episode of the Yorkshire-based serial

Emmerdale fans think they have worked out who will see to the end of Celia and Ray the ITV soap. The villainous farmer, who has been played by Jaye Griffiths over the last few months, has been carrying out a reign of terror across the Yorkshire village alongside Ray as she heads up a drug dealing operation and slavery ring.

Celia hasn’t acted alone, having recruited teenagers April Windsor and Dylan Penders into her evil scheme. But, mainly, she orchestrates the whole thing with her foster son Ray Walters, whom she took in off the streets several years ago.

The pair may have been a duo for decades, but after Celia scuppered Ray’s romance with Laurel Thomas in the latest episode of the ITV soap by making out he was something he was not, she had her foster son in tears during a tense seen that came at the end.

READ MORE: ‘Millions of fans have watched me in Emmerdale for 23 years but my kids refuse to tune in’READ MORE: Emmerdale star says Mary ‘could kill’ Celia as heartbreaking exit teased

After slapping him straight across the face, she said: “You think she’ll make you life easier? She won’t! You need someone to keep you real, someone who will stop you drifting off into these fantasies of yours.

“She doesn’t know you, she doesn’t want you the way you think she does because you are weak, Ray. You need someone to tell you when to speak, how to feel, how to exist. And aren’t you lucky that I am still here doing exactly that.”

Ray promptly burst into tears, and Celia coldly said: “Cry if you want to. But wipe your face before anyone sees you. They already pity you, let’s not confirm why.” Celia then left the room and Ray punched the wall in a fit of rage.

Fans of the soap will know that Celia is set to leave Emmerdale after a relatively short stay in the village but have been left puzzled how Ray and Celia have yet to be exposed.

One fan wrote on Reddit: “Ross, Mackenzie, Lewis and Robert all know that Ray is a drug dealer after he wanted Lewis’ weed. Surely one at least one of them would have seen Ray still sniffing around in the village or seen him with Laurel? What’s the likelihood of all 4 of them not seeing Ray still sniffing around in the village? I know Ross saw him a few months ago but that didn’t lead to anywhere apart from Ross warning him to stay away from the village.”

“Yeah one of them would have seen him at least once around the village, in the cafe or the pub. Just so happened that when he’s been in the cafe Nicola has just seen him,” a second added. A third penned: “Did Mackenzie and Lewis meet him? Ross did confront him and he played it off. The only one who could know is Robert but he may not know the range of Ray’s drug business, he’s also not part of Laurel’s social circle,” with another fan responding: “Yep they all met him. It was one of his first appearances in the village. Mackenzie was actually the one who brought Ray to the village.”

Emmerdale airs weeknights at 7:30pm on ITV1 and ITVX, with an hour-long episode on Thursdays.

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