SHOW BIZ

Gardeners’ World star Monty Don has made a surprising admission after leaving the UK on a Rhine trip

Monty Don, the beloved horticulturist and lead presenter of Gardeners’ World , has revealed an “interesting” insight after leaving the UK to explore gardens along the Rhine.

The 70-year-old broadcaster recently embarked on a journey from the river’s source in the Swiss Alps down to the North Sea, documenting his discoveries in a new three-part BBC Two series that begins this evening, January 16.

Don’s expedition was not just about plants, far from it. “People are always more interesting than plants,” he told The Times, reflecting on the human stories behind the gardens he encountered. The Gardeners’ World favourite explained that his trip has been more of a cultural exploration than a horticultural one.

While he hasn’t necessarily learned anything new about plants, he has uncovered fascinating insights into the communities who cultivate them. The presenter noted that the Swiss, Germans, and Dutch, while sharing a love of greenery comparable to Britain’s, approach their gardens in very different ways.

“The Swiss are irresistibly drawn to tidiness and neatness. The Germans garden very enthusiastically but they do so as if it’s a job, in the same way as they will clean their houses or look after their cars,” he observed. Even the seemingly freewheeling Dutch are methodical and disciplined. “They’re incredibly methodical and organised,” he added.

Despite this orderliness, Don emphasises that these nations’ green spaces are far from dull or conformist. Across Switzerland, Germany, and the Netherlands, pioneering schemes have transformed both private gardens and public parks, sometimes reshaping entire communities in the process.

Often, he explains, these initiatives begin with a single passionate individual or a group of committed residents. “In the end, government is never going to do these things — it always has to come from an individual or a few individuals with passion and with knowledge, and they get the ball rolling.”

One striking example came from the village of Osterfingen, where Don was impressed less by the plants themselves than by the way the villagers had transformed their community through gardening. “It is about how gardens can change people’s lives. That’s the point,” he said, summarising the broader theme of his Rhine adventure.

Don’s own life has long been intertwined with gardens, but his professional career extends beyond the boundaries of his own back garden. Since becoming the lead presenter on Gardeners’ World , he has inspired generations of viewers with practical gardening advice, creative planting schemes, and an infectious enthusiasm for nature.

Away from the studio, Monty is a devoted family man, having married his wife Sarah in 1983, and the couple are often spotted with their dogs at their home in Herefordshire. They have three children — Adam, Tom, and Freya — and Monty has frequently spoken about the importance of balancing work and family life, though he rarely misses an opportunity to explore the world with a green-fingered lens.

The new series promises to showcase the diversity of gardens along one of Europe’s most iconic rivers while celebrating the human passion that makes them flourish. For Don, it is the stories of the people behind the plants that leave the most lasting impression.

“People are always more interesting than plants,” he concludes, reminding viewers that gardening is as much about community, creativity, and culture as it is about soil and seeds.

Cinephiles, assemble.

Nominations for the 98th Academy Awards will be revealed Thursday in a livestream that’s sure to spur some chatter. While critics seem to agree on a few locks, as this month’s Golden Globes — and last year’s Oscars, for that matter — proved, there’s always room for surprise.

Here’s everything you need to know about the announcement.

How can I watch?

Actors Danielle Brooks and Lewis Pullman will announce the nominees in all 24 categories, including the new casting award, in a livestream from the Academy’s Samuel Goldwyn Theater. The presentation will kick off at 5:30 a.m. Pacific, and viewers can tune in live to the Academy’s website and social media platforms or to ABC’s “Good Morning America.” It will also stream on “ABC News Live,” Disney+ and Hulu. American Sign Language services will be available on YouTube. Nine of the categories will be revealed at 5:30 a.m., and the 15 remaining ones will be announced at 5:41 a.m. after a short break.

Brooks received an Oscar nomination for her role in “The Color Purple” (2024), and Pullman starred in “Top Gun: Maverick,” which won the Oscar for sound in 2023. He also co-starred alongside Amanda Seyfried in “The Testament of Ann Lee,” another awards contender this season.

When are the Oscars?

The 98th Academy Awards will take place on March 15 at the Dolby Theatre at Ovation Hollywood and will be televised live on ABC, with streaming available on Hulu. The show starts at 4 p.m. Pacific.

Who’s hosting the awards show?

Conan O’Brien will return as host after his knockout performance in 2025, which helped the show draw its biggest audience in five years.

As Academy of Motion Picture Arts and Sciences Chief Executive Bill Kramer and President Janet Yang said in a notably early announcement of O’Brien’s encore, “Conan was the perfect host — skillfully guiding us through the evening with humor, warmth and reverence.”

The seasoned comic this past year made an appearance in Mary Bronstein’s “If I Had Legs I’d Kick You,” whose star Rose Byrne is likely to receive a nod in the actress category.

Who are the projected front-runners?

Ryan Coogler’s horror standout “Sinners” is projected to lead nominations with as many as 15. Along with Paul Thomas Anderson’s “One Battle After Another,” the film may tie or even break the record for most Oscar nominations (14), which was first set by “All About Eve” (1951) and later matched by “Titanic” (1998) and “La La Land” (2017).

Other top contenders include Chloé Zhao’s “Hamnet,” which took the best drama Golden Globe, Joachim Trier’s “Sentimental Value” and Josh Safdie’s “Marty Supreme.” Plus, after “The Secret Agent” notched a couple Globes wins, the Brazilian political thriller has its sights set on an Oscar next.

As for the individual categories, “Hamnet’s” Jessie Buckley is a sure bet for actress, and Timothée Chalamet and Leonardo DiCaprio are shoo-ins for their roles in “Marty Supreme” and “One Battle,” respectively. Chalamet beat DiCaprio for the Golden Globe Award on Sunday.

BBC’s Gladiators is back for a new series this weekend, with stars Giant and Diamond appearing on BBC Breakfast to talk about what fans can expect

Gladiators star Giant has spilled an “inside secret” ahead of the new series of the BBC show.

The rebooted series, which was revived in 2024 after its massive success in the 90s, is set to return for a third season this weekend, with Bradley Walsh and son Barney reprising their roles as hosts, reports the Daily Star.

Appearing on BBC Breakfast alongside fellow Gladiator Diamond on Friday (January 16), Giant hinted at “some good surprises” and shared a behind-the-scenes secret.

Speaking to hosts Naga Munchetty and Charlie Stayt, he revealed: “We had a little, I’m letting you into an inside secret this time. So the previous series we’ve been kept away from the contenders while they’re training. This time we’ve been allowed a little look while they’re training.”

Naga playfully responded with: “Oh, that’s not fair!” as Giant, whose real name is Jamie Christian-Johal, explained: “We’re sizing them up a little bit.”

Diamond chimed in, reminding everyone that “they’ve been able to watch us the last time,” leading Giant to agree that things were now “even”.

“There’s a few big guys, strong-looking girls,” he observed. “And then you think, right, he’s my target.”

Discussing this year’s contenders, Diamond, real name Livi Sheldon, commented: “I think every year they get stronger.”

She added: “Even though we go up on to like, Duel for example, and we hit everyone off as hard as we can, it’s all really friendly afterwards and stuff and we support and we encourage the contenders as well because at the end of the day it’s a huge thing for them to come up against us.”

Giant revealed: “I would say this season is ramped up on every single level. So there’s more interaction with contenders. We as a team of athletes and friends are just looking out for each other on all the games. There’s new games to look forward to.”

Naga then queried if they had become accustomed to the fan response.

“It really is amazing,” Diamond admitted. “I mean we walk down in supermarkets don’t we and we get stopped and asked for photos.”

“It’s lovely and for children, adults, everyone to recognise you, it just really shows the love for Gladiators, for how well it’s been received as the past three series,” she added.

For the latest showbiz, TV, movie and streaming news, go to the new Everything Gossip website.

BBC Breakfast airs on BBC One from 6am and Gladiators returns to iPlayer and BBC One on Saturday January 17 from 5.45pm

The actor was left with a very short time in which to respond to the invitation to be honoured, from King Charles

Idris Elba has told how he nearly missed his chance of a knighthood – because the letter asking him if he wasn’t to be a Sir got lost in a pile of letters.

Revealing how the honour almost passed him by, the Luther star said: “It’s a bit embarrassing. I was sent a consideration letter asking whether I would or wouldn’t accept it, but I didn’t see it as it got lost in a pile of post.”

Luckily, word went to his management that he’d had the invitation and needed to respond. “My agent told me that if I didn’t accept it would pass me by,” he tells Graham Norton on tonight’s BBC1 chat show. “By the time I found the letter I had only two days to decide.”

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Idris, who found fame in huge US series The Wire, said he had yet to receive his knighthood, which was announced in the King’s 2026 New Year Honours list.

Despite his long career on the screen, he was honoured for his anti knife crime work through the Elba Hope Foundation, which focuses on empowering youth and providing alternatives to violence. “I got it for services to young people and I was thinking, ‘Hang on a minute, that’s great, but I’ve been acting for 30 years!’ It is actually a great honour, and my mum is so pleased.”

And another family member is also delighted. Idris has told how wife Sabrina is already using her new title of ‘Lady’. “I haven’t had the sword on the shoulder yet, but my wife is loving it.”

At the time he said the honour reflected the efforts of the young people he has worked with rather than his own achievements. “I receive this honour on behalf of the many young people whose talent, ambition and resilience has driven the work of the Elba Hope Foundation,” he said.

“I hope we can do more to draw attention to the importance of sustained, practical support for young people and to the responsibility we all share to help them find an alternative to violence.”

He has also called for greater accountability from the technology companies behind social media, warning about young people’s exposure to violent content online.

“When it comes to big tech, there needs to be accountability within their own policies,” he said last year. “It’s great that they are big companies that make a lot of money with lots of social media followers, that’s fantastic, but by the way we don’t like knives.”

The second series of his hostage thriller Hijack was released on Apple TV this week, with the action this time taking place on a train rather than a plane. Asked about his role as corporate negotiator Sam Nelson he said: “The first season was a big hit and people bought into so we’re going to do it again. The story is about what happens next after the plane hijack. It’s a good old-fashioned thriller.”

Also on Graham’s sofa tonight – fresh from her latest win alongside Stephen Graham for Adolescence at the Golden Globes – was Erin Doherty. Chatting about the second run of Victorian drama A Thousand Blows on Disney + – in which she also stars alongside Graham, she told Norton it was the first time she’d been able to use her own voice for a role.

Erin explained: “Surprisingly I’ve never been able to use it before, so it was a real joy. When Stephen Graham heard I was being considered for the role he said, ‘I don’t think she is what we are looking for’ because he had only seen and heard me as Princess Anne in The Crown. He was delighted to find out I’m from Crawley.”

Other guests in tonight’s show are actors Wunmi Mosaku and Martin Freeman and there is a musical performance from Olivia Dean.

Like this story? For more of the latest showbiz news and gossip, follow Mirror Celebs on TikTok, Snapchat, Instagram, Twitter, Facebook, YouTube and Threads.

Now in their early 70s, Jean-Pierre and Luc Dardenne have spent their filmmaking careers worrying about the fate of those much younger and less fortunate. Starting with the Belgian brothers’ 1996 breakthrough “La Promesse,” about a teenager learning to stand up to his cruel father, their body of work is unmatched in its depiction of young people struggling in the face of poverty or family neglect. Although perhaps not as vaunted now as they were during their stellar run in the late 1990s and early 2000s — when the spare dramas “Rosetta” and “L’Enfant” both won the Palme d’Or at Cannes — the Dardennes’ clear-eyed but compassionate portraits remain unique items to be treasured.

Their latest, “Young Mothers,” isn’t one of their greatest, but at this point, the brothers largely are competing against their own high standards. And they continue to experiment with their well-established narrative approach, here focusing on an ensemble rather than their usual emphasis on a troubled central figure. But as always, these writers-directors present an unvarnished look at life on the margins, following a group of adolescent mothers, some of them single. The Dardennes may be getting older, but their concern for society’s most fragile hasn’t receded with age.

The film centers around a shelter in Liège, the Dardennes’ hometown, as their handheld camera observes five teen moms. The characters may live together, but their situations are far from similar. One of the women, Perla (Lucie Laruelle), had planned on getting an abortion, but because she became convinced that her boyfriend Robin (Gunter Duret) loved her, she decided the keep the child. Now that she’s caring for the infant, however, he’s itching to bolt. Julie (Elsa Houben) wants to beat her drug addiction before she can feel secure in her relationship with her baby and her partner Dylan (Jef Jacobs), who had his own battles with substance abuse. And then there’s the pregnant Jessica (Babette Verbeek), determined to track down the woman who gave her up for adoption, seeking some understanding as to why, to her mind, she was abandoned.

Starting out as documentarians, the Dardenne brothers have long fashioned their social-realist narratives as stripped-down affairs, eschewing music scores and shooting the scenes in long takes with a minimum of fuss. But with “Young Mothers,” the filmmakers pare back the desperate stakes that often pervade their movies. (Sometimes in the past, a nerve-racking chase sequence would sneak its way into the script.) In their place is a more reflective, though no less engaged tone as these characters, and others, seek financial and emotional stability.

The Dardennes are masters of making ordinary lives momentous, not by investing them with inflated significance but, rather, by detailing how wrenching everyday existence feels when you’re fighting to survive, especially when operating outside the law. The women of “Young Mothers” pursue objectives that don’t necessarily lend themselves to high tension. And yet their goals — getting clean, finding a couple to adopt a newborn — are just as fraught.

Perhaps inevitably, this ensemble piece works best in its cumulative impact. With only limited time for each storyline, “Young Mothers” surveys a cross-section of ills haunting these mothers. Some problems are societal — lack of money or positive role models, the easy access to drugs — while others are endemic to the women’s age, at which insecurity and immaturity can be crippling. The protagonists tend to blur a bit, their collective hopes and dreams proving more compelling than any specific thread.

Which is not to say the performances are undistinguished. In her first significant film role, Laruelle sharply conveys Perla’s fragile mental state as she gradually accepts that her boyfriend has ghosted her. Meanwhile, Verbeek essays a familiar Dardennes type — the defiantly unsympathetic character in peril — as Jessica stubbornly forces her way into her mystery mom’s orbit, demanding answers she thinks might give her closure. It’s a grippingly blunt portrayal that Verbeek slyly undercuts by hinting at the vulnerability guiding her dogged quest. (When Jessica finally hears her mother’s explanation, it’s delivered with an offhandedness that’s all the more cutting.)

Despite their clear affection for these women, the Dardenne brothers never sugarcoat their characters’ unenviable circumstance or latch onto phony bromides to alleviate our anxiety. And yet “Young Mothers” contains its share of sweetness and light. Beyond celebrating resilience, the film also pays tribute to the social services Belgium provides for at-risk mothers, offering a safety net and sense of community for people with nowhere else to turn. You come to care about the flawed but painfully real protagonists in a Dardennes film, nervous about what will happen to them after the credits roll. In “Young Mothers,” that concern intensifies because it’s twofold, both for the mothers and for the next generation they’re bringing into this uncertain world.

Jodie Foster is such a trustworthy actor, so intelligent about her credibility, that she can lead a patchwork French mystery-drama like “A Private Life” — which boasts the Academy Award winner’s Franco-fluency — as if it were simultaneously a wink at her celebrity, a perfect showcase for her talent and a handsome mess fortunate to have her imprimatur. In a way that makes her an ideal French movie star: a special brand of high wattage (Deneuve, Huppert, Binoche) that imbues just the right amount of class to an undercooked piece of adult peekaboo, while still burnishing the actor’s reputation.

Filmmaker Rebecca Zlotowski, whose last film was the heartfelt, complicated “Other People’s Children,” does well to cast Foster as American-born, Paris-based psychiatrist Lilian Steiner. It isn’t long after meeting Lilian in her well-appointed apartment/office, alone on a rainy night, bristling at her upstairs neighbors’ loud music and leaving a brusque voicemail for an absentee patient, that we sense this control-minded professional is in for some destabilizing. And knowing this is in Foster’s hands comes as close to a guarantee of quality as a movie can offer.

The swerve comes when Lilian learns that the absentee client — a beautiful, troubled woman named Paula (Virginie Efira, seen in flashbacks) — died suddenly. After being thrown out of the family’s shiva by widower Simon (Mathieu Amalric), but clinging to cryptic messages from the daughter (Luana Bajrami), Lilian suspects foul play rather than the official ruling of suicide. She even wrangles her affable ex-husband, Gaby (Daniel Auteuil), an eye doctor she’s still on good terms with, for investigative support.

It’s debatable, however, whether Lilian is on to something or just scrambling to make sense of a tragedy to assuage her own guilt, a question that rattles in our ears with every campy symphonic flourish or percussive ornamentation in the aggressive musical score. Zlotowski, working again with co-screenwriter Anne Berest and ultra-capable cinematographer George Lechaptois, doesn’t go for half-measures, so when Lilian sets aside her skepticism to look into things with a suspicious hypnotist, it comes complete with a red-hued Freudian dream sequence that convinces this tightly wound, coldly reasoned doctor to believe in the florid logic of past lives. It’s a change that comes as a surprise to her grown son (a wry Vincent Lacoste) who’s always had to accommodate a carefully distanced mom.

As “A Private Life” moves along, with Lilian negotiating a break-in, threats and lapses in judgment, it never exactly coheres. Yet it somehow entertains, which is a testament to Zlotowski’s energy juggling her various theme-colored story balls. While the mystery plot strains to be interesting as a lesson for its protagonist about how one never can fully know another human being, Lilian’s and Gaby’s rekindled affection is a wonderfully mature strand of midlife complexity, with Auteuil and Foster giving all their scenes the kind of nuanced, lived-in humor that suggests a flinty couple who never fully believed they were done with each other.

The slouchless cast also includes icons Irène Jacob and Aurore Clément, “Return to Seoul” breakout Park Ji-Min and documentary legend Frederick Wiseman (as Lilian’s mentor), but all in bits that range from stunty to blink-and-you’ll-miss-them. Again, the party seems like it was fun, and Foster attracts a deserving cohort for her first all-French-speaking role since 2004’s “A Very Long Engagement.” But it also leaves one realizing that “A Private Life,” despite the commanding leading lady holding its center, is a bit mixed up by design.

The 93% rated series is now available on the streamer

Every episode of a drama many consider ‘one of the best series ever’ is now streaming on Netflix.

All four seasons of Everwood are now included in the streamer’s extensive library. It is said to be a perfect binge watch for those who are big fans of Virgin River.

According to the series synopsis, it centres around a world-renowned brain surgeon Dr. Andrew Brown, from New York who decides to start a new life after the death of his wife. He leaves glamorous Manhattan and his prosperous medical practice for the idyllic small town of Everwood.

He chooses this destination because of his late wife’s emotional attachment to the town. Along with him are his two kids, Delia and Ephram.

The show revolves around the family’s relationships as they adjust to small-town life and the kids’ relationships with their peers, both as friends and in the dating world.

While the show’s cast was lead by the late Treat Williams, it also included some soon to be famous faces in early roles. This includes Emily VanCamp who would go on to star in multiple Marvel projects as well as medical drama The Resident. Also starring is a young Chris Pratt, before he went on to appear as Andy in Parks and Recreation or Star Lord in Guardians of the Galaxy.

According to an article found in Southern Living: “Everwood is a cosy and sentimental show that ran on The WB from 2002-2006 with a storyline so similar to that of Virgin River that people have wondered whether or not it provided the blueprint for Netflix’s adaptation of the Robyn Carr books.”

They go on to claim that Virgin River fans would be ‘crazy’ not to check out the series. They also list several plot points that the two shows have in common.

Fans also agree as one responded to a post on Reddit that asked: ” I have just finished watching Virgin River for the first time. Does anyone have any recommendations for similar shows?”

One of the top answers was: “Everwood should definitely be your next watch!! One of my all-time favorites and I’ve watched a lot of the same shows as you.”

While originally being broadcast between 2002 and 2006, it was considered a critical hit at the time. It boasts an impressive 93% on website. The show has also remained a firm favourite with fans, who still recommend it 20 years after it concluded. They still claim it is an easy binge watch and more should discover it.

One fan claimed: “I got so hooked that couldn’t do anything else and became a daily binge watch marathon. Great acting. Great story.”

Another went so far as to say: “One of the best series ever. A pity it ended after just four seasons. Talented actors, beautiful photography, a complete and amazing drama, full of sentiments, sensations, fun. It makes me smile, makes me laugh, makes me cry a lot too.”

While a third added: “A gem. Truly one of the greatest shows ever. Always nice to visit Everwood.” Someone else shared a similar view as they commented: “An underrated TV series. The characters are interesting, and draw you in from the first episode. Well written and very clever humors at times. Quite relaxing and worth watching.”

A viewer called the series ‘addictive’ and continued: “I’m speeding through this show way too fast. I think it’s been less than a week and I’m already on the third season. We are talking 20+ episodes per season, not the usual 8-12 episodes that we get nowadays.”

Everwood is streaming on Netflix. **For the latest showbiz, TV, movie and streaming news, go to the new ** Everything Gossip ** website**

This action packed film picks up directly from the prequel before it, and it’s packed full of motorcycle stunts, gunplay and intricately choreographed fight scenes

A film starring Keanu Reeves in one of his most iconic roles has been hailed as ‘literally the best movie of all time’, and it’s on Film4 tonight.

John Wick: Chapter 3 – Parabellum, released in 2019, picks straight up from Chapter 2 and follows super-assassin John Wick as he becomes “excommunicado” after killing a High Table member, Santino D’Antonio on Continental grounds, and putting a $14 million bounty on his head.

The pressure is forcing Wicks to fight waves of elite assassins across New York, Morocco, and beyond, seeking aid from old allies like Sofia while grappling with his debt to the shadowy High Table to survive and find peace. The film is another action packed thrill seeking movie, with lead actor Keanu Reeves undergoing intense training to keep up the pace from the previous John Wicks saga.

Reeves trained for four months before filming, mastering new martial arts, gunplay, motorcycle stunts, and horse riding, stating he loved the character and universe so wanted to stay committed to the role.The film involves complex fights, including a glass room scene, that don’t involve any CGI and instead focused on intricate choreography and real-world physics.

The reviews for this action film speak for themselves, with movie review site Rotten Tomatoes giving the film an 89 percent approval rating. One fan wrote: “Literally one of the best movies of all time this movie is amazing. It was very dramatic and had lots of action and John Wick is like the coolest person ever.” Another said: “Hands down has the best mix of hand to hand combat with firearms mixed in. The movie has a good runtime but does drag at certain points but overall has the best keeping your eyes glued to the screen factor.”

“My personal favorite of the John Wick series; peak cinematography, action, acting, and set pieces. Absolutely beautiful,” said a third. Another posted: “John Wick: Chapter 3 – Parabellum is the most relentless chapter in the series, built entirely around consequence. The film opens with Wick racing against the clock, and it never lets up. Every injury carries forward, making the action feel punishing rather than flashy.

“The set pieces are inventive but disciplined. The antique shop knife fight is brutal and methodical, the horse stable sequence turns the environment into a weapon, and the use of trained dogs emphasizes coordination and tactics instead of chaos. Even at peak intensity, the choreography stays clear and readable.

“What defines Chapter 3 is its commitment to rules. Defying the High Table doesn’t make Wick powerful—it makes his world smaller and more dangerous. The film leans into myth while reinforcing that freedom comes at a steep cost, delivering a focused, exhausting, and uncompromising action experience.”

Another praised Keanu Reeves for his lead role, as they posted: “A fun action movie that you shouldn’t take super seriously, just enjoy. It’s well made with practically constant action with set locations. The villain is fun and some of the action scenes are brutal but also just so well done. Keanu’s acting is pretty amazing. Can’t believe he hasn’t gotten an Oscar lol.”

“This was thrilling to watch John Wick 3 Action from start to finish. Can’t wait for No 4 Highly recommend this film. Amazing action, Keanu Reeves at his best yet again,” said another.

John Wick: Chapter 3 — Parabellum airs on Friday 16 January on Film4 at 11.05pm.

BARCELONA, Spain — Spanish prosecutors are studying allegations that Grammy-winning singer Julio Iglesias sexually assaulted two former employees at his residences in the Dominican Republic and the Bahamas.

The Spanish prosecutor’s office told the Associated Press on Wednesday that the allegations were related to media reports from earlier this week that alleged Iglesias had sexually and physically assaulted two women who worked in his Caribbean residences between January and October 2021.

Iglesias has yet to speak publicly regarding the allegations. Russell L. King, a Miami-based entertainment lawyer who lists Iglesias as a client on his website, didn’t immediately respond to a request for comment by the AP.

The Spanish prosecutor’s office that handles cases for Spain’s National Court said that it had received formal allegations against Iglesias by an unnamed party on Jan. 5. Iglesias could potentially be taken in front of the Madrid-based court, which can try alleged crimes by Spanish citizens while they are abroad, according to the court’s press office.

‘Forced labor and servitude’

Women’s Link Worldwide, a nongovernmental organization, said in a statement that it was representing the two women who had presented the complaint to the Spanish court. The group said that the women were accusing Iglesias of “crimes against sexual freedom and indemnity such as sexual harassment” and of “human trafficking for the purpose of forced labor and servitude.”

The organization said the women in their testimony also accused Iglesias of regularly checking their cellphones, of prohibiting them from leaving the house where they worked and demanding that they work up to 16 hours a day, with no contract or days off.

The organization said it did not reach out to authorities in the Bahamas or the Dominican Republic, and that it didn’t know whether authorities in those Caribbean nations had initiated an investigation.

Gema Fernández, senior attorney at Women’s Link Worldwide, said in an online news conference Wednesday that “Spanish legislation regarding sexual violence, gender-based violence and trafficking could be an interesting option” for the two women making the allegations against Iglesias.

“Listening to what [the two women] are seeking and their definitions of justice, it seems to us that filing a complaint with the Public Prosecutor’s Office of the National Court of Spain was the path that best suited their definition of justice. That is why we are supporting them along this path,” Fernández said.

Jovana Ríos Cisneros, executive director of Women’s Link Worldwide, asserted that Spanish prosecutors had decided to take statements from the two women and granted them the status of protected witnesses.

“Being heard by the Prosecutor’s Office is a very important step in the search for justice,” she said.

Fernández said prosecutors had not set a date to take statements from the women and noted that prosecutors have up to six months to determine whether the information they receive warrants a criminal prosecution. Those six months could be extended to a year, she added.

The prosecutor’s office did not immediately return a message seeking comment.

A singer under scrutiny

Spanish online newspaper elDiario.es and Spanish-language television channel Univision Noticias published the joint investigation into Iglesias’ alleged misconduct.

Ríos said the two women initially contacted elDiario.es, which began investigating the allegations but also advised the women to seek legal help.

Spanish government spokeswoman Elma Saiz said that the media reports regarding Iglesias “demanded respect.”

“Once again I can reaffirm this government’s firm and complete commitment to take on any act of violence, harassment or aggression against women,” Saiz said Tuesday after the media reports were published.

Panky Corcino, spokesman for the attorney general’s office in the Dominican Republic, declined to comment, saying he couldn’t confirm or deny an investigation.

By law, any case in the Caribbean country that involves sexual aggression or violence must be investigated by prosecutors, even if no one has filed a complaint.

The 82-year-old Iglesias is one of the world’s most successful musical artists after having sold more than 300 million records in more than a dozen languages. After making his start in Spain, he won immense popularity in the United States and wider world in the 1970s and ’80s. He’s the father of pop singer Enrique Iglesias.

Julio Iglesias won a 1988 Grammy for best Latin pop performance for his album “Un Hombre Solo.” He also received a lifetime achievement award at the Grammys in 2019.

Spain’s culture minister said Wednesday that its left-wing government, which holds women’s rights and equality among its priorities, will also consider stripping Iglesias of the state’s Gold Medal of Merit in the Fine Arts, which he was awarded in 2010.

“It is something we are studying and evaluating, because evidently we feel obliged to do so when faced by such a serious case,” Culture Minister Ernest Urtasun said.

Wilson and Coto write for the Associated Press. Coto reported from San Juan, Puerto Rico. Associated Press reporters Suman Naishadham in Madrid and Martín Adames in Santo Domingo, Dominican Republic, contributed to this report.

Scottish actress Simone Lahbib is supporting Strathcarron Hospice’s campaign after losing her brother Stephen six months after his terminal diagnosis

Former EastEnders star Simone Lahbib is encouraging people to “make every moment count” after losing her younger brother to cancer.

The 60 year old Scottish actress, famed for her roles in Bad Girls, Eastenders and Wire in the Blood, tragically lost her brother Stephen just six months after he was given a terminal diagnosis.

Stephen was informed he had only two years left to live in May 2024. He sadly passed away at Strathcarron Hospice in November of the same year. Simone has bravely decided to share her experience with end-of-life care in support of Strathcarron Hospice’s 2026 Campaign ‘What Makes Life Meaningful’, as the hospice celebrates its 45th anniversary.

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She revealed that her parents, both in their 80s, were initially Stephen’s main carers but as his condition worsened, he became unstable on his feet. The family sought help from Strathcarron, whose staff provided daily assistance to wash and dress him and were always available for emergency call-outs, reports the Daily Record.

She expressed: “Strathcarron’s Hospice at Home team was invaluable toward the end. They were so lovely, understanding and supportive. It was a very difficult, distressing time and we came to rely on them.

“When the time came for Stephen to be admitted to the Hospice, I imagined that it would be more hospital-like and sterile, with nurses who were caring and efficient but overstretched. But the staff made not only Stephen, but his family and friends feel welcome and important.

“Stephen was a very sociable man. I believe he made some good friends during his time there. The kindness and support continued towards our family, even after his death. Stephen was not only cared for at Strathcarron Hospice – he was loved. My family and I can’t thank them all enough for all they did.”

Simone recalled in her brother’s final weeks he vowed to make the most of every moment. His main goal was to finish songs for his band Mama Mayhem’s album with his bandmate John Drummond.

Their album, ‘Hangman’ was released on Spotify shortly after Stephen’s death, with a number of vinyl copies printed. Simone said the loss of her brother has made her more aware of how much the people in your life matter.

“Like Stephen I’ve always loved and cared for my family and friends as a priority. Since his death, I’m more aware of how precious and fragile life is,” she continued.

“Stephen wanted to make every moment count and in his music he lives on. It will be treasured forever and played often. He loved his family and friends before anything else. His biggest passion though was his music. He was a singer, songwriter as well as a very talented graphic designer.

“I’ve never seen so many people attend a funeral as I did Stephen’s, including some of the nurses from the Hospice. It says so much about Stephen, and the lovely nurses who looked after him.”

Research commissioned by Strathcarron as part of its campaign revealed that Scots place greater importance on time, relationships and compassion than wealth or achievement when considering what gives life meaning.

The findings showed that nearly six in ten people believe family and close relationships provide life’s greatest sense of purpose, surpassing personal accomplishments. The research also revealed that in everyday life, almost 60 per cent of respondents valued physical and mental wellbeing, whilst nearly half prioritised independence and freedom over their work or career.

However, it appears to be life’s smaller moments that bring Scotland’s population the most happiness – with 59 per cent of people choosing to spend quality time with family, friends and pets.

Mags McCarthy, Chief Executive of Strathcarron Hospice, commented: “This results of this research reflect what we find in our everyday lives at the Hospice. Meaningful connections, finding joy in the little things and making the most of life’s experiences – listening to a favourite song or sharing precious moments with those we love – these are the things that mean the most to people.

“Hospices play a vital role in delivering palliative care, supporting families, and reducing pressure on NHS services.”

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WHEN it comes to thinking of punk’s most memorable monikers, how about Captain Sensible and Rat Scabies?

They’re up there with Johnny Rotten and Sid Vicious as top pseudonyms for the rabble-rousers who turned popular music on its head.

Maybe the pair didn’t snarl and spit quite as much as the Sex Pistols but they left a trail of mayhem wherever they went . . . usually with a smile on their faces.

They gave up being toilet cleaners at Croydon’s Fairfield Halls, as you do, to become founder members of The Damned, Sensible on bass and Scabies on drums.

They joined guitarist Brian James and singer Dave Vanian in releasing the first punk single, New Rose, on October 20, 1976, beating the Pistols’ Anarchy In The UK by a month.

“I was neither Captain material nor at all sensible,” the bassist, now guitarist, born Raymond Burns tells me today. “More a liability, if I’m honest.”

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He recalls the band’s fateful trip to the trailblazing Mont-de-Marsan punk festival in south-west France, also in 1976.

“Some of the older pub rockers on the bus heading back to Calais thought my erratic behaviour might attract the attention of customs people and get everyone strip-searched.

“Larry Wallis [Pink Fairies guitarist] remarked to Brian, ‘You’ve got a right Captain Sensible there’, and the name stuck!”

In a separate chat, I ask the drummer — birthname Chris Millar — if he minds whether I call him Rat.

“Yes you can, even my mother called me Rat,” he replies.

So, how did he get the name? “Well, it depends on which story you believe,” he continues. “It’s either that there was a rat in the rehearsal room or because the others thought I looked like a rat.

“Oh, and I had scabies when I went for the audition.”

Having assumed his lurid alter-ego, he remembers thinking, “Well, it’s punk, it’s not going to last. If I become Rat Scabies now, when the bubble bursts in a couple of weeks, I can return to being Chris Millar and get a proper job.”

In 2026, as The Damned celebrate their 50th anniversary, he admits: “Everyone is still calling me Rat.”

The reason I’m talking to these lovable reprobates, both past 70 but still going strong, is all to do with the founder member who kept a “sensible” name, Brian James.

Their latest LP is an affectionate tribute to James, who died last year. Not Like Everybody Else is a collection of covers by artists he loved growing up, drawing heavily on unvarnished Sixties rock — the inspiration for punk if you like.

There are songs by The Kinks, The Animals, The Stooges, The Yardbirds and The Creation.

It begins, however, with R Dean Taylor’s There’s A Ghost In My House, perfect for vampiric singer Dave Vanian’s gothic style, and there’s even room for See Emily Play, prime Syd Barrett-era Pink Floyd, with the Captain taking lead vocals.

It ends with a rousing and, with hindsight, poignant live rendition of The Last Time by the Rolling Stones, recorded with James in 2022 when the original line-up reunited for five UK shows.

Only five shows were arranged, probably over doubts that old differences might erupt and cause shows to be cancelled. Remarkably, that didn’t happen.

Captain Sensible on the band’s 2022 gigs

Scabies says: “Brian was a big Stones fan and he liked the irony that it really could be the last time.”

As it turned out, The Last Time, which served as the final encore, proved prophetic. When I mention it, Scabies says with genuine emotion: “You’ll have me in tears in a minute.”

The album is an acknowledgment of how important James was, not only within the band but also for punk in general.

He wrote New Rose, “a raucous, blitzkrieg of sound” says Sensible, as well as most of their first two albums, Damned Damned Damned and Music For Pleasure, before quitting at the end of ’77.

The Captain explains the sudden departure: “I’d see people shuffling towards the exit when me and Rat entered the room. We could be quite chaotic and Brian had had about enough. I can’t blame him.”

He considers the impact of the debut album, half an hour in length with it’s indelible image of the four miscreants covered in fake cream pie.

Kicking off with the machine-gun assault of Neat Neat Neat, he thinks of it as “a gloriously gnarled slice of raw punk rock. All the rough edges were intact — just the way it should be”.

Those 2022 gigs with James rekindled the old fire, what Sensible dubs “our wonderful garage vibe”.

“It was back in a magical way and we found ourselves grinning like school kids,” he says. “All the rows the band had in the past — we’ve forgotten what most of them were about now.

“Only five shows were arranged, probably over doubts that old differences might erupt and cause shows to be cancelled. Remarkably, that didn’t happen.

“Brian wasn’t 100 per cent health-wise but we were hoping, when fit again, he could do more. Sadly, it wasn’t to be.”

Now let’s pick up Scabies’ story. He left The Damned in 1995 but also returned for the 2022 shows.

The following year, he became a permanent member again “for two reasons”, as he explains with refreshing honesty.

“One was the money — and the other was that I didn’t want to be standing around a grave saying, ‘You know what, we should have done that reunion’.”

Thankfully, as Scabies reports, “It all went pretty good. Everybody got on well. We had a laugh and the band played great.

“I suddenly realised this is better than I thought it would be.”

Then, early last year, The Damned were touring North and South America — Vanian, Sensible, Scabies, Paul Gray on bass and Monty Oxymoron on keyboards.

On March 6, the day before they were due to play Sao Paolo, Brazil, Scabies took a call from James’ wife Minna to say that their ex-bandmate had died.

From the moment the phone rang and he realised who was calling, Scabies feared the worst.

He says: “One of the ugly things of life is that you know something’s going to happen but you keep putting it to the back of your mind.

“When it does, it comes as a big shock. Even though you’ve cushioned yourself for the blow, it’s a blow.”

He remembers how he and the rest of the band reacted to the sad news. “We just spoke a lot about him, about when we first met him and we told Brian stories to each other.”

By the time The Damned completed the tour’s US leg at the end of May, they decided to head into Revolver Studio, Los Angeles, on a mission to pay tribute to their fallen comrade.

Sensible says: “It was decided to record a bunch of tunes that got Brian into music in the first place — not the raunchy stuff that shaped him as a guitarist but rather the singles he bought with his pocket money.

Rat and myself would often get completely out of control but Brian left us to it because that bit of chaos differentiated us from all the boring stadium prog bands.

Captain Sensible

“Some of these we knew, the rest of the list being supplied by his wife Minna, one or two being quite a surprise.

“Never having played most of ’em and with no rehearsals, five days looked optimistic but the band didn’t hang about.”

I ask Sensible and Scabies to share their memories of James, explaining their affection for him and their compulsion to make an album in his honour.

The Captain tells of his first encounter: “Chris [later Rat] told me he was a drummer and had joined this new band.

“He said it was being formed in London by a bloke who said a music revolution was just around the corner — and this band would help ignite it.

“Long hair down your back wasn’t part of it, which explained why Chris rolled in to work the morning after his audition with freshly shorn hair.

“He told me the band leader, Brian, was also looking for a bassist.

“I thought, ‘Hmm, no potential girlfriend would look at me with short-chopped hair’ but I reluctantly agreed to make the trip to Kilburn where I met Brian in his basement flat.

“He played me New Rose on acoustic guitar and expanded on his vision — a gang playing short, aggressive songs with zero compromise.

“I was impressed, so I had the obligatory haircut, and joined him on his mission. I’m very glad I did ’cos toilet cleaning is, let’s face it, a really s**t job!”

‘Steely glare’

So, what was James like as a person? “Strong, forceful but didn’t need to use fisticuffs,” answers Sensible.

“He had this steely glare that put you back in your place. He was two or three years older than the rest of us. He’d travelled a bit, lived in Brussels, and we looked up to him.

“Rat and myself would often get completely out of control but Brian left us to it because that bit of chaos differentiated us from all the boring stadium prog bands.

“We caused mayhem. Occasionally, we had to spend a night in the cells but, no matter how bad our behaviour got, Brian never became unpleasant or physical.

“He just thought we were kinda funny and, looking back, I guess he was right.”

Scabies says James was “very cool, but without trying. He didn’t work at it, he just was. We’d be sitting around, there’d be wine, and he’d say, have you ever seen Borsalino? [a cult French gangster movie].

Although we got on with the Pistols, that bloke was a total pillock!

Rat Scabies on Sex Pistols manager Malcolm McLaren

“Then he’d put on obscure tracks by the MC5 when I’d only ever heard one of their songs [Kick Out The Jams most likely].

“And he played like something else. I’d never heard a guitar like that.

“On our early records, he and I just hit it off. It was like getting kicked up the a**e.”

Looking at the tracklist for the new covers album, you can see, through the lens of James’ music taste, how The Damned were set apart from their peers by their keen sense of melody, mischief and fun.

Scabies insists there wasn’t “any real rivalry” with other punk bands when they started.

“The whole thing for us was to be different,” he says. “And that meant not being the same as the Pistols. If Johnny Rotten wore a safety pin through his ear, I didn’t.

“The nearest thing to rivalry was a game of football with The Clash one Sunday afternoon — and I’m sure The Clash won!” Sensible chips in with: “We also joined The Stranglers in their cricket match against the music press, with whom they famously didn’t see eye-to-eye. A grudge match with plenty of cheating going on, at Paddington Rec, I believe.”

He maintains that it was the managers who were the real rivals — Bernie Rhodes (The Clash), Malcolm McLaren (Sex Pistols) and Jake Riviera (The Damned).

“They all wanted their boys to be top dogs, whereas the bands got on fine. We went to each other’s gigs, took the p**s but socialised later in the bar.

“If we hadn’t supported each other this way, some of those early shows would’ve been extremely sparsely attended.”

When it comes to The Damned famously supporting the Pistols at London’s home of punk, The 100 Club on Oxford Street, on July 6, 1976, Sensible has mixed feelings.

“We were skint so McLaren charging us ten quid for the using the PA, knowing we’d only got a fiver for the show, didn’t go down terribly well.

“Although we got on with the Pistols, that bloke was a total pillock!”

Next, he reflects on The Damned’s longevity by asking: “Who’d have bet they would still be on the road, 50 years on? As a punk band, you’re expected to crash on to the scene, make one great album and then implode.

“Thankfully, we’ve a loyal fanbase and our audiences are getting increasingly younger, possibly a reaction to the choreographed, overproduced garbage their generation is spoon-fed by the likes of Simon Whatsisname. (Could he mean Mr Cowell, possibly?)

Lastly, how does he explain The Damned’s lasting appeal?

“’Cos we ain’t like everybody else!”

THE DAMNED

Not Like Everybody Else

★★★★☆

Robbie Williams Britpop

★★★★☆

ROBBIE WILLIAMS hopes new album Britpop will be his lucky 16th No1, after he surprised fans by dropping the record today.

He moved the date forward from February 6 to coincide with new tour dates.

Robbie is aiming for the top spot in next week’s charts, which would surpass The Beatles’ record of the most UK No1 albums.

And he has a good chance, as Britpop is packed with punchy, rock-infused tracks which are a departure from his usual fare.

Fans have already been treated to my personal favourite, Rocket, with the highlight of a blistering 16-second guitar solo by Black Sabbath’s Tony Iommi, but there are some previously unheard gems on the 11-song album.

For those who prefer Robbie’s older work, All My Life captures everything he is best known for, with strong vocals and sentimental lyrics including: “Masochistic but I’m always entertaining. And I know I’ll die, but I’ll never leave the stage.”

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It’s OK Until The Drugs Stop Working follows a similar path, with a distinct nod to his 1997 track Angels – recorded before he went into rehab – with the lyrics: “I have to smile when she offers me protection.”

The reflective song includes the lyrics: “It’s all good until the birds stop chirping, the strangers leave and the drugs stop working.”

You is one of my favourites on the album, with Rob seemingly emulating Liam Gallagher in his blunt, direct delivery.

Fans will no doubt be poring over Morrissey, the song he wrote and recorded in lockdown with his former Take That bandmate Gary Barlow.

It could be easy to pin the lyrics to their own rocky friendship, with Rob singing: “I like the singer, he’s a little eccentric.

“He did an interview, I think what he meant is I’m lost, I’m lonely, I’m hurt, I’m abused. I need love, baby, just like you.”

The pair previously insisted the track was about Morrissey, who went on to have his own successful career after The Smiths disbanded in 1987 and has long been locked in a war of words with his ex-bandmate Johnny Marr.

That doesn’t half sound familiar . . .

It’s a change from the norm but one I enjoyed.

And even if Robbie’s devoted fans aren’t totally into it, you can guarantee they’ll be doing everything in their power to get it to No1 next week.

Lucasfilm President Kathleen Kennedy will step down this week, marking a major — though expected — changing of the guard at the Walt Disney Co.-owned “Star Wars” studio.

In her place, current Lucasfilm Chief Creative Officer Dave Filoni has been named president and will retain his creative title and Lucasfilm Business President and General Manager Lynwen Brennan has been named co-president, Disney said Thursday. The pair will co-lead the San Francisco-based studio and will report to Disney Entertainment Co-Chairman Alan Bergman.

The move comes amid widespread speculation about Kennedy’s future. Handpicked in 2012 by “Star Wars” and “Indiana Jones” creator George Lucas to helm the company he founded, Kennedy, 72, oversaw the expansion of the “Star Wars” franchise into a new trilogy, two spin-off movies, as well as several TV shows, including “The Mandalorian” and “Andor.”

But the expansion, and her tenure, were not without setbacks.

2018’s “Solo: A Star Wars Story” grossed just $392.9 million at the box office, after a fraught production in which the studio replaced the directors during shooting. Several “Star Wars” projects have been announced over the years with big names attached, only to be delayed or dropped, including a planned trilogy with “Game of Thrones” showrunners David Benioff and D.B. Weiss.

Kennedy told The Times in 2019 that perceptions of director churn at Lucasfilm were overblown.

“Nobody in our business develops something with one person, that’s it, and everything goes perfectly,” she said at the time. “That’s a fairly common part of the process. We fall under incredible scrutiny because it’s ‘Star Wars.’ Because of the quality I’m striving for, I’m reaching out to top talent, and vice versa.”

Kennedy also had to weather scrutiny from die-hard fans about the new direction of the franchise. Nevertheless, the newest “Star Wars” trilogy grossed a collective $4.3 billion in worldwide box office revenue, with spinoff “Rogue One: A Star Wars Story” hauling in more than $1 billion globally and leading to the popular series “Andor.”

She will continue as producer of Lucasfilm’s next two theatrical films — May’s “Star Wars: The Mandalorian and Grogu” and “Star Wars: Starfighter,” which is being helmed by Shawn Levy and set for release in 2027.

“The Mandalorian and Grogu” will mark the first “Star Wars” theatrical film since 2019’s “Star Wars: Episode IX — The Rise of Skywalker.” During production for that movie, Kennedy asked Disney Chief Executive Bob Iger if the company could take a pause on “Star Wars” films to give them more time develop new storylines. At that point, the company had released at least one “Star Wars” movie a year since 2015, while Lucas himself had previously waited at least three years between films. (Since 2019, the studio did release “Indiana Jones and the Dial of Destiny,” as well as several “Star Wars” series and streaming films.)

Both Filoni and Brennan step into their new roles as Lucasfilm veterans.

Filoni, who frequently wears a cowboy hat in public and is thus widely recognizable to fans, was chosen by Lucas in 2005 to build the studio’s animation business. He created Lucasfilm’s first series, “Star Wars: The Clone Wars” as well as “Star Wars Rebels,” was the executive producer on shows including “The Mandalorian” and “Ahsoka” and is producer and writer of the “The Mandalorian and Grogu” film.

Brennan joined Lucasfilm visual effects studio Industrial Light & Magic in 1999 and currently leads business strategy, franchise and production operations, as well as ILM’s expansion worldwide.

It was another tough year for film and television production in Los Angeles as the total shoot days for 2025 dropped 16.1% compared to the previous year, according to a new report.

Last year’s 19,694 shoot days was the lowest total since 2020, according to the nonprofit FilmLA, which tracks filming in the greater L.A. area. In 2024, that total was 23,480 shoot days.

The drop in filming comes as L.A. continues to battle runaway production to other states and countries, as well as the continued effects on the industry of the pandemic and the 2023 dual writers’ and actors’ strikes, as well as cutbacks in spending at studios.

The production decline has left many in Hollywood without work for months or even years, leading to a widespread lobbying effort last year to bolster the state’s film and TV production incentive program. An increased annual cap, as well as expansion of eligibility criteria, was passed by lawmakers last year, buoying the industry’s hopes that filming could return to the Golden State.

The new inclusion of 20-minute shows to the qualification categories could also lead to more production in L.A., particularly for TV comedies, FilmLA said.

So far, more than 100 film and TV projects are among those awarded production incentives for filming in California under the revamped program, including TV shows like a reboot of “Baywatch” and a new “Jumanji” movie. In the fourth quarter of 2025, incentivized projects made up about 13% of all shoot days in the L.A. area.

Several of the projects awarded production incentives have relocated from other states or countries, including the action series “Mr. and Mrs. Smith,” which returned to California from New York and Italy.

But it will take time for those awarded projects to show up in filming data, said Philip Sokoloski, FilmLA vice president of integrated communications.

“While the year-end numbers are disappointing, they are not unexpected,” he said in a statement. “Although our overall numbers remain low, there are dozens of incentivized projects that have yet to begin filming.”

For the fourth quarter, on-location production totaled 4,625 shoot days, down 21.1% compared to the same time period in 2024.

The steepest filming declines that quarter were in commercials, which saw a decline of 23.2% to 586 days compared to 2024. Television shoot days dropped 21.9% to 1,247 days. Feature film shoot days were down 19.7% to 473 from the fourth quarter in 2024, and FilmLA’s “other” category, which includes student films, documentaries and music videos, was down 20.4% to 2,319 days.

Within the TV category, filming for pilots saw a 62.5% decline that quarter compared to 2024 with 9 days, while dramas fell 36.4% to 336 days. Reality TV shoot days were down 9.8% to 698 days and TV comedy filming was down 6% to 110 days for the fourth quarter.

IT was an era of Men Behaving Badly on TV and men behaving badly in life, Don’t Look Back In Anger, Union Jack guitars and dresses, rock stars thinking they were politicians and politicians believing they were rock stars.

It may now be 60 years since Beatlemania mesmerised the planet and Bobby Moore lifted the 1966 World Cup but, to many of my vintage, the most significant year came three decades later as Cool Britannia and Britpop turned London into the coolest city on Earth.

In 1996 I was handed an access-all-areas pass to chronicle that fabled Nineties apex, joining The Sun as a showbiz reporter exactly 30 years ago.

I was in the right place at the right time, with a ringside seat as ­Madchester’s Maine Road and Knebworth were slain by Oasis, Robbie Williams became a solo star and the Spice Girls were born.

It was also a time when club and alternative culture fused, Britain’s fashion and art movements rose in tandem, New Labour blossomed and England came mighty close in Euro 96 during a balmy summer.

As we reach the 30th anniversary of that astonishing moment in Britain’s creative history, I have been revisiting it all for my memoir 1996: My Backstage Pass To The Wildest Year Of Britain’s Wildest Decade.

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Creative alchemy

Permit me to escort you back to a rather more carefree time when the average annual wage came in at £17,500, a pint was £1.74, only four per cent of the population had access to the internet and AI was nothing more than a friendly Geordie greeting.

It appears a simpler era, the world less divided, free from the poison of social media, when Britain felt safer and the drum of political correctness was yet to beat so loudly.

Britain’s population then was 58million, more than ten million fewer than today, but The Sun newspaper, which I had just joined in January that year, was shifting close to five million copies some days — not related to my arrival, I might add.

The country swarmed to newsagents to devour revelations about their nation’s new breed of idols, inhabiting the worlds of football, music, politics, food, film and television, but with working-class artists like Damien Hirst and Tracey Emin breaking into the mainstream, alongside designers Stella McCartney, Alexander McQueen and model Kate Moss.

The Sun, alongside its fierce print rivals, jostled to capture something of a zeitgeist which sadly doesn’t seem to exist in Britain any longer.

The crucible of this creative alchemy bubbled earlier in the decade as club culture, led by figures like DJ Paul Oakenfold, alongside Madchester’s Stone Roses and Happy Mondays, gave confidence, authority and a strut to a new generation of normal kids from places like Lancashire, Sheffield, Leeds, Colchester, Brum and my home town Bristol.

With New Order penning their epic theme tune, Gazza’s magical England had reshaped modern football at ­Italia 90, sparking the formation of the Premier League in 1992.

Sky TV’s millions helped spawn a swarm of rock star footballers, led by Manchester United and Fergie’s Ryan Giggs and then, of course, David Beckham, soon to be cautioned by the fashion police for modelling matching leather suits with Cool Britannia’s very own Posh Spice.

Two significant deaths in 1994 also altered Britain’s social path to 1996. Nirvana’s Kurt Cobain blew his brains out on April 5 and I, an embryonic journalist in his early 20s, wrote his obituary in the Sunday Mirror, mainly because nobody else there really knew who he was.

Six days later, Oasis released their inaugural single Supersonic, Mancunia’s council estate ruffians killing off grunge as Britain’s youth searched for something home-grown and relatable.

Then, a month later, Labour Party leader John Smith had a heart attack aged 55, The Sun reporting that “Britain’s next Prime Minister died yesterday”.

By 1996, our generation had grown tired of grey, post-Thatcher conservatism and yearned for a more modern, dynamic society — and Smith’s ­successor, football-heading Tony Blair, was the right man in the right place.

Superstar chefs were born, such as Gordon Ramsay and Marco Pierre-White, who had ripped up the recipe book, and were snapped gracing the front rows of McQueen or McCartney’s fashion shows. The Cool Britannia ecosystem nailed right there.

Our hair grew longer and our ­clobber cooler. My former colleagues’ Planet Hollywood leather jackets and loafers were definitely out.

Burberry shirts and Clarks Wallabees definitely in, no maybe.

The Spice Girls were ubiquitous that summer, on TV music shows, radio, and even storming The Sun’s offices.

Dominic Mohan

Who needed Yank creations like Stallone, The Terminator and New Kids On The Block when we could celebrate scruffy Jarvis Cocker, Trainspotting and a tipsy Alex from Blur?

Noel Gallagher’s songwriting at this time was peerless, and his band’s moment of recognition came in ­February 1996 at the Brit Awards.

I’d been tipped off that the band would be celebrating early before the ceremony and I asked if we might be permitted to take a photograph to mark what would inevitably be the biggest night of their career.

They immediately agreed and brought girlfriends Patsy Kensit and Meg Mathews with them. Bingo!

They cleaned up that night.

The ceremony itself was tumultuous. TFI Friday’s Chris Evans, who then embodied lad culture on telly and radio, hosted.

Noel — who had apparently necked three ecstasy tablets, according to his label boss Alan McGee — hailed from the podium leader-in-waiting Tony Blair, presenter of an award to David Bowie, then insulted INXS singer Michael Hutchence and Blur.

The unknown Spice Girls, dancing on the cusp of global domination, watched on disbelievingly as Pulp crooner Jarvis stormed the stage and mooned at Michael Jackson, whose team subsequently called the Old Bill.

Incredibly, Jarvis was arrested but became a national hero.

That anarchic awards night typified the cultural wave of creativity, hedonism, humour, stupidity, arrogance and sparkle which had enveloped us.

But Oasis’s true moment of storming glory would come at their beloved Manchester City’s Maine Road in April for two mythical gigs.

I was dispatched and the city was absolutely buzzing and bulging with pride as its biblical sons came home.

Sandwiched between Maine Road and those epic nights at Knebworth was the trifling matter of the Euro 96 football tournament on home soil.

Preparations hadn’t exactly gone swimmingly — Gazza was punched in the face by a fed-up air steward on the way out to a cocktail-soaked Far East tour and, aslumber on the flight home, had his eyebrows shaved off.

The Sun’s headline was DISGRACEFOOL with wide-ranging demands for the twinkle-toed midfield general’s expulsion from the team — but redemption was at his feet as he netted his greatest career goal against the Scots and was, later, inches from propelling Engerland into the final.

I wrote a story before the tournament announcing the FA’s official song, something called Three Lions, featuring the Lightning Seeds alongside Fantasy Football League Show hosts David Baddiel and Frank ­Skinner, thinking it a terrible idea.

But, as I stood alongside the crooning comedians, Liam, Robbie and a load of mulleted Teutonic types in that epic semi-final on June 26, I will never forget the crowd’s thundering chorus as we sang together under Wembley’s fading Twin Towers.

Free from Take That, Robbie launched his solo career at midnight straight after the match and we trudged to Lancaster Gate to cover his midnight press conference where, bleary-eyed, and wearing a Bobby Moore shirt, he attempted a bit of “football’s coming home” to a weary room of jaded journalists.

He informed us he was releasing a cover of George Michael’s Freedom, and everyone assumed it would be a shoo-in for No1 — until five working-class wannabes appeared.

The Spice Girls were ubiquitous that summer, on TV music shows, radio, and even storming The Sun’s offices.

Wannabe topped the UK charts for seven weeks — holding off Robbie’s debut — and did the same in dozens of other countries, even ­Zimbabwe.

Collective explosion

In August, the biggest-ever British concerts were staged at Knebworth, while Kate Moss, Chris Evans, England hero Stuart Pearce, actress Anna Friel, Ant and Dec, Simply Red’s Mick Hucknall and John Squire of The Stone Roses gathered to pay homage.

We sneaked 22 friends into the free VIP bar. The Prodigy and The Chemical Brothers supported, ­emphasising that stunning collision of dance culture and alternative music.

The new superclubs like Ministry and Cream were heaving, and Paul ­Oakenfold became the world’s first superstar DJ. Alternative culture went mainstream in 1996 and the media I inhabited was madferit.

It was a relentless haze of cigarettes and alcohol, footie, clubbing and gigs in a Britain that seemed prosperous and comfortable with its creatives, writers, politicians and royals — particularly Diana as, tragically, she entered her final year of life.

In a fractured world where tech is king, of culture wars and real ones too, I’m not convinced that a moment like 1996 could ever happen in the same way again.

Music, entertainment and media are consumed in radically different ways in 2026, and the conditions for such a collective explosion seem impossible to reach.

It is a time for which many yearn today, as ­illustrated by the frenzy around the Oasis reformation last year, and the scores of reunion tours of Nineties bands and artists set for 2026.

But don’t look back in anger — let us celebrate a golden and magical period of British popular culture.

l 1996: My Backstage Pass To The Wildest Year Of Britain’s Wildest Decade by Dominic Mohan (HarperCollins, £20) will be published on April 23.

ITV’s McDonald and Dodds was cancelled after four series, but star Jason Watkins has now landed a new role in Channel 4 drama

ITV detective Jason Watkins has bagged a fresh role in a Channel 4 drama, following the abrupt end of the ITV series, McDonald and Dodds.

In McDonald and Dodds, Jason portrayed DS Dodds alongside Tala Gouveia, who played DCI Lauren McDonald, until the series was unexpectedly cancelled.

An ITV spokesperson confirmed the show’s termination at the time, citing that its viewership in season four had not met the necessary targets for its continuation.

However, Jason is now poised to star in Dirty Business, a major new factual drama delving into one of the largest potential corporate scandals in British history.

The drama is rooted in a decade-long investigation into England’s water companies, narrating the real-life stories of whistleblowers and victims who believe their lives have been ruined after exposure to sewage-contaminated water, reports the Express.

Dirty Business traces the journey of two unlikely detectives who notice that the fish in their picturesque Oxfordshire hamlet’s river are dying. Their enquiry to the water company about the cause triggers an odd and elusive response, sparking an investigation that continues to this day.

David Thewlis portrays Ash, a concerned citizen and former police detective from a small Oxfordshire town, who observes that his local river is becoming increasingly polluted.

Ash joins forces with his next-door neighbour, Peter, portrayed by Jason Watkins. Peter, a Professor of Computational Biology, employs scientific methods and investigative expertise to uncover that their neighbourhood sewage treatment facility is failing to process waste properly, regularly releasing raw, untreated effluent into surrounding waterways.

The cast also features Asim Chaudhry as Mickey, a sewage plant employee who blows the whistle on malpractice. Troubled by the incompetence and disregard shown by his employer, he collaborates with Ash and Peter, providing vital insider intelligence about serious operational failures.

The impressive ensemble is rounded out by Posy Sterling, Tom McKay, Vicky Pepperdine, Craig Parkinson, Charlotte Ritchie, Chanel Cresswell, Lucia Keskin, and Alex Jennings.

Jon Culshaw, fresh from his Midsomer Murders appearance, is also set to feature in a guest role.

Discussing his latest character, Jason Watkins explained: “I wanted to be part of this series because of how human and grounded the story is – it’s told through ordinary people who refuse to look away when something isn’t right.

“Dirty Business captures the quiet determination it takes to stand up to a system far bigger than the individual, and shining a light on the real human cost of environmental damage and corporate neglect felt both urgent and important to be part of.”

David Thewlis further commented, “What shocked me about this story was just how much has been allowed to go unchecked – two ordinary men uncovering negligence, illegal pollution, and corporate indifference that should never have been tolerated. Being a part of this series has been a chance to channel the anger and frustration so many feel about what’s been done to our rivers and communities, and to show the courage it takes to stand up and demand accountability.”

Asim Chaudhry also shared his thoughts, saying, “What drew me to this role was the courage it takes to speak out when a system is failing. There’s anger, frustration, and a deep sense of responsibility in the character, and I wanted to bring to life the human side of standing up for what’s right, even if there’s a risk it might come at a personal cost.”

FEARNE Cotton’s ex, Jesse Wood, has revealed he is unemployed and living on just £1,000 a month, as he faces speeding charges.

The revelations emerged as the musician, 49, appeared in court on Thursday to face a possible driving ban.

Since his split from TV presenter Fearne 13 months ago, Jesse has struggled to find paid work and is living off savings, the Daily Mail reported.

He was summoned to Lavender Hill Magistrates Court after he was snapped driving at 27mph in a 20mph zone in Earls Court last year.

Representing himself in court, the father-of-four said: “I was due to be employed in 2024 but it got delayed.

“At the moment I’m living off my savings and I am looking to get employment.”

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fresh chapter

Fearne Cotton’s ex Jesse Wood makes first public appearance with girlfriend

He added that his income recorded on last years tax returns cashed in at around £14,000.

Son of Rolling Stone legend Ronnie Wood, Jesse lives in a £3 million townhouse in Richmond.

He shares two children with Fearne and two from a previous relationship.

Jesse apologised to the court for his fourth speeding incident, which occurred on the A4 Cromwell Road.

The court was told he already had nine points on his license for similar speeding offences recorded in the last year.

Jesse pleaded guilty to the latest offence and received a six-month driving ban and three additional penalty points.

His plea secured him a third of a reduction on the fine which was cut from £134 to £89.

The court ordered him to pay a surcharge of £36 and £130 contribution to court costs.

Fearne announced her split with Jesse on December 16 2024, following 10 years of marriage.

A statement read: “It is with a heavy heart that I let you all know that Jesse and I are ending our marriage.

“Our priority has been and always will be our children.”

At the time, The Sun understood Jesse moved out while Fearne remained in the family home in West London.

The Sun previously revealed Fearne, 43, has found love again with TV director Elliot Hegarty.

Meanwhile Jesse made his first public appearance with his new girlfriend, Made In Chelsea alum Gemma Gregory in July 2025.

Daniel Brocklebank has spoken out about his brutal Coronation Street axing and revealed what he told producer Kate Brooks when she suddenly revealed he was about to be killed off

Daniel Brocklebank has admitted he “doesn’t even miss” his job on Coronation Street – just after his character was brutally axed. The actor, 46, starred as kindly vicar Billy Mayhew for over a decade on the world’s longest-running TV soap but was killed off in the programme’s crossover with Emmerdale earlier this month.

In the special episode, Billy had been driving the minibus back from Debbie Webster’s wedding when they were involved in a pileup on a dark country road and, instead of rescuing him, evil Theo Silverton, plugged his seatbelt back in and left him to die in the explosion.

Just weeks after the dramatic scenes aired, Daniel has admitted that he “doesn’t necessarily miss” the job, but still feels incredibly “lucky” to have been part of it in the first place and misses working with everyone on set instead.

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He said: “I don’t know how many characters have been in that show in the 65 years it’s been running. Hundreds, possibly thousands, you know. So, Billy is one of possibly thousands of characters that have graced those beautiful cobbles, and I was lucky enough to spend 11 years there, which is lot more than some characters are there for.

“I loved every minute of it. I will never have anything but love in my heart for anyone that has worked on that show in front or behind camera. It was joyful to skip into that place every day. It’s the people you miss. I don’t necessarily miss the work.

Shortly after filming his final scenes as Billy, Daniel went on to star in Young Frankenstein at the Liverpool Playhouse over the ferive period, and relished in the chance to only have to learn one script, as opposed to having pages and pages of different scenes come in on a weekly basis.

Speaking on the Conversation Street podcast, he added: “I mean, what was lovely about doing theatre straight afterwards was once I’d learned the script, I didn’t have any more lines to learn. Whereas obviously, Corrie, it’s constant. Once we’d done the rehearsals [for Young Frankenstein] and opened the show, all I had to do was turn up to the theatre. No more lines, not 30 bloody scenes a week coming in every week!

“You’ve been in each other’s lives for, in my case, 11 years. That’s births, deaths, marriages, divorces, and everything else in between. And you support each other through all of those things. So, when you’re no longer there, that’s what you miss. Not the job necessarily because you go on and you do your next job. “

“The first conversation I had with Kate Brooks when she told me that I was that Billy would be leaving in the crossover episode. I think one of my first questions was when are we shooting that? So when will I be finished? Because you know my agent needs to start planning for what’s after this. She said she wasn’t quite sure and I told her ‘Well, I need to know!’ I had to to start planning for what’s next.

“As it turned out, I started rehearsals for Young Frankenstein on the 17th of November. I didn’t finish filming with Corrie until lunchtime on the 18th and literally walked out of the studios at quarter to 1, rehearsal room by half one and the next job just started.

“So I timed it well. But as a self-employed person, you need to know what what’s next because I’ve still got bills to pay and food to put on the table and a mortgage so you’ve got to constantly plan!”

Coronation Street airs Monday – Friday at 8:30pm on ITV1 and ITV X. Like this story? For more of the latest showbiz news and gossip, follow Mirror Celebs on TikTok , Snapchat , Instagram , Twitter , Facebook , YouTube and Threads .

ACTRESS Sophie Turner looks incredible in new snaps as we get a first look at her transformation into Lara Croft amid the Tomb Raider reboot.

The Game of Thrones star looked exactly like the legendary video game character as she posed in a pair of black hotpants and a green vest top.

Stunning Sophie flaunted her toned arms as she made her debut as Lara Croft.

The actress donned the classic gun holsters around her thighs and she looked FIERCE.

Filming for the new Prime live action series is thought to be commencing this month after it was greenlit in May 2024.

The 29-year-old Aussie supermodel is the latest star to take on the huge role of Lara, an archaeologist and adventurer.

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A-lister Angelina Jolie previously played the 1996 video game character in two films and Alicia Vikander took on the job for one.

The X-Men icon is set to star alongside Martin Bobb-Semple, Sigourney Weaver, Jason Isaacs, Jack Bannon, John Heffernan, Paterson Joseph, Sasha Luss, and August Wittgenstein.

Celebrity Traitors’ Celia Imrie has always been named in the cast list.

Amazon Prime‘s Tomb Raider will be directed and produced by Jonathan van Tulleken – famed for his work on BAFTA winning series Top Boy.

Sophie was recently rumoured to be dating Coldplay frontman, Chris Martin after reports emerged.

The pair were entangled in rather high profile splits last year.

Chris, 48, and Dakota Johnson ended things after eight years while Sophie split with super posh man Peregrine ‘Perry’ Pearson in September.

A source told the Mail: “Their relationship has been over for a long time, they just haven’t been able to figure out to make it official. Dakota held a flame for them to be together because she loved him so much and loved his kids so much.“

According to reports Chris and Sophie had been “secretly dating” and their first meeting came just one week after the actress became single.

Tomb raider was first released as a video game and Lara Croft quickly became a fan favourite.

There have since been 20 Tomb Raider games released.

Joshua Rothkopf is film editor of the Los Angeles Times. He most recently served as senior movies editor at Entertainment Weekly. Before then, Rothkopf spent 16 years at Time Out New York, where he was film editor and senior film critic. His writing has appeared in the New York Times, Sight and Sound, Empire, Rolling Stone and In These Times, where he was chief film critic from 1999 to 2003.