SHOW BIZ

The House of Pies, a Los Feliz institution, is bustling on a chilly January morning.

It wouldn’t be shocking if some of the patrons here for breakfast were casually chit-chatting about the cultural behemoth that “KPop Demon Hunters” has become. After all, the 2025 animated saga about three music stars fighting otherworldly foes is now the most-watched movie ever on Netflix; “Golden,” its showstopping track, has since become the first Korean pop song to ever win a Grammy.

But for Danya Jimenez, 29, who sits across from me sipping coffee, the reception to the movie she began writing on back in 2020 isn’t entirely surprising, but certainly delayed.

“When we first started working on it, I was like, ‘People are going to be obsessed with this. It’s going to be the best thing ever,’” she recalls. But as several years passed, and she and her writing partner and best friend Hannah McMechan, 30, moved on to other projects. They weren’t sure if “KPop” would ever see the light of day. Production for animation takes time.

It wasn’t until she learned that her Mexican parents were organically aware of the movie that Jimenez considered it could actually live up to the potential she initially had hoped for.

“Without me saying anything, my parents were like, ‘People are talking about this’ — like my dad’s co-workers or my aunt’s friends — that’s when I started to realize, ‘This might be something big,’” she says.

“But never in my life did I think it would be at this scale.”

“KPop Demon Hunters” is now nominated for two Academy Awards: animated feature and original song. And that’s on top of how ubiquitous the characters — Rumi, Mira and Zoey — already are.

“Everyone sends me photos of knockoff ‘KPop Demon Hunters’ dolls from across the border,” Jimenez says laughing. “My friend got me a shirt from Mexicali with the three girls, but they do not look anything like themselves. She even got my name on it, which was awesome.”

After graduating from Loyola Marymount University in 2018, Jimenez and McMechan quickly found their footing in the industry, as well as representation. But it was their still unproduced screenplay, “Luna Likes,” about a Mexican American teenage girl obsessed with the late chef and author Anthony Bourdain, that tangentially put them on the “KPop” path.

“Luna Likes” earned the pair a spot at the prestigious Sundance Screenwriters Lab, where Nicole Perlman, who co-wrote “Guardians of the Galaxy,” served as one of their advisors. Perlman, credited as a production consultant on “KPop,” thought they would be a good fit.

Jimenez didn’t see the connection between her R-rated comedy about a moody Mexican American teen and a PG animated feature set in the world of K-pop music, but the duo still pitched. Their idea more closely resembled an indie dramedy than an epic action flick.

“If [our version of ‘KPop’] were live-action, it would’ve been a million-dollar budget. It was the smallest movie ever. Our big finale was a pool party,” Jimenez says. “We had all of the girls and the boys with instruments, which obviously is not a thing in K-pop, and everyone was making out.”

Even though their original pitch wouldn’t work for the film, Maggie Kang, the co-director and also a co-writer, believed their voices as two young women who were best friends, roommates and creative collaborators could help the movie’s heroines feel more authentic.

“Maggie had already interviewed all of the more established writers, especially older men,” Jimenez says. “She knows the culture. She knew K-pop, she’s an animator. She just needed the girls’ voices to come through, so I think that’s why we got hired.”

Kang confirms this via email: “It’s always great to collaborate with writers who are the actual age of your characters! Hannah and Danya were exactly that,” she says. “They were very helpful in bringing a fresh, young voice to HUNTR/X.”

Neither Jimenez nor McMechan were K-pop fans at the time. As part of their research, they both started watching K-pop videos, but it was McMechan who got “sucked into the K-hole” first. Still, it didn’t take long until the video for BTS’ “Life Goes On” entranced Jimenez.

“K-pop is a river that you fall into, and it just takes you,” Jimenez says. BTS and Got7 are her favorite groups. For McMechan, the ensemble that captivates her most is Stray Kids.

In writing the trio of demon hunters, the co-writers modeled them after themselves. The characters’ propensity for ugly faces, silliness and a bit of grossness too, stems from the portrayals of girlhood and young womanhood that appeal to them. Jimenez, who says she was an angsty teen, most closely identifies with the rebellious Mira.

“I have a monotone vibe,” says Jimenez. “People always think that I’m a bitch just because I have a resting bitch face,” she says. “But as you can see in the movie, Mira cares so much about having everyone be really close. I feel like that’s how I’m with all my friends.”

Characters with strong personalities that are not simplistically likable feel the truest to Jimenez. In “Luna Likes,” the prickly protagonist is directly inspired by her experiences growing up, as well as the bond she shared with her dad over Bourdain’s “Parts Unknown” show.

“There’s a pressure to show that Mexicans are nice people and we’re hard workers. I was like, ‘Let’s make her kind of bitchy and very flawed,’” Jimenez says about Luna. “She’s a teenager in America and she should be given all the same opportunities — and also the forgiveness for being an ass— and [as] selfish at that age as anybody else.”

Hannah McMechan, left, and Danya Jimenez, co-writers of “KPop Demon Hunters,” met in college.

(Carlin Stiehl / For The Times)

Though their upbringings were markedly different, it was their shared comedic sensibilities that connected Jimenez and McMechan when they met in college. The two were close long before deciding to pen stories together. “Having a writing partner is the best. I feel bad for people who don’t have a writing partner, no offense to them,” says Jimenez.

McMechan explains that their writing partnership works because it’s grounded on true friendship. And she believes they would not have gotten this far without each other. While McMechan’s strong suit is looking at the bigger picture, Jimenez finds humor in the details.

“Danya is definitely funnier than me,” says McMechan. “It’s really hard to write comedy in dialogue versus comedy in a situation because if you’re putting the comedy in the dialogue, it can sound so forced and cringey. But she’s really good at making it sound natural but still really funny.”

Though she had been writing stories for herself as a teen, Jimenez didn’t consider it a career path until as a high schooler she watched the romantic comedy “No Strings Attached,” in which Ashton Kutcher plays a production assistant for a TV series.

“He is having a horrible time. But I was so obsessed with movies and TV, and I was like, ‘That looks incredible. I want to be doing what he’s doing,’” she recalls. “And my dad was like, ‘That’s a job.’”

Danya Jimenez grew up in Orange County.

(Carlin Stiehl / For The Times)

As an infant, Jimenez spent some time living in Tijuana, where her parents are from, until the family settled back in San Diego, where she was born. And when she was around 5 years old, Jimenez, an only child, and her parents relocated to Orange County. Until then, Jimenez mostly spoke Spanish, which made for a tricky transition when starting school.

“I knew English, but it just wasn’t a habit,” she recalls. “I would raise my hand and accidentally speak Spanish in class. My teachers would be like, ‘We’re worried about her vocabulary.’ That was always an issue, so it’s really funny that I turned out to be a writer.”

As she points out in her professional bio, it was movies and TV that helped with her English vocabulary, especially the Disney sitcom “Lizzie McGuire.”

Jimenez describes growing up in Orange County with few Latinos around outside of her family as an alienating experience. She admits to feeling great shame for some of her behaviors as a teenager afraid of being treated differently and desperate to fit in.

“I would speak Spanish to my mom like in a corner because I didn’t want everyone else to hear me speak Spanish,” Jimenez confesses. “If my mom pulled up to school to drop me off playing Spanish hits from the ‘80s or banda, I was like, ‘Can you turn it down please?’”

Like a lot of young Latinos, she’s now taking steps to connect with her heritage, and, in a way, atone for those moments where she let what others might think rob her of her pride.

“During the pandemic I cornered my grandma to make all of her recipes again so I could write them down,” she recalls. “Now I have them all written down on a website. Or if my mom corrects me for something that I’m saying in Spanish, I now listen.”

At the risk of angering her, Jimenez describes her mother as a “cool mom,” and compares her to Amy Poehler’s character in “Mean Girls.” Raised in a household without financial struggles, Jimenez doesn’t often relate to stories about Latinos in the U.S. that make it to film and TV. Her hope is to expand Latino storytelling beyond the tropes.

“That’s very important to me, to just tell Latino stories or Mexican stories in a way that’s just authentic to me and hopefully someone else is like, ‘Yes, that’s me,’” she says. “A lot of people have certain expectations for Latino stories that I’m not willing to compromise on.”

Though they still would like to make “Luna Likes” if given the chance, for now, Jimenez and McMechan will continue their rapid ascent.

They’re “goin’ up, up, up” because it is their “moment.” They recently wrapped the Apple TV show “Brothers” starring Matthew McConaughey and Woody Harrelson that filmed in Texas. They are also writing the feature “Attack of the Fifty Foot Woman” for Tim Burton to direct, with Margot Robbie in talks to star.

“I feel like I’ve just been operating in a state of shock for the past, I don’t know how many months since June,” says Jimenez in her signature deadpan affect. “But if I think about it too much, I’d be a nervous wreck.”

THE Brit Awards have always been known for controversial moments and risky jokes – especially when you have Jack Whitehall as host.

But it seems this year’s glitzy bash may have gone too far as horrified viewers slammed ITV with complaints to Ofcom following Saturday’s ceremony.

At the weekend, the Brits was broadcast on ITV with a slight time delay from Manchester‘s Co-Op Arena.

However, viewers were left disgruntled by a series of static sounds that were heard throughout the broadcast, which were used to censor the show.

This came about whenever ITV deemed a joke or a comment too risky to air, and instead edited out what had been said before it went out live.

But viewers weren’t happy that the show had been censored so much, and took to Ofcom to complain.

DROP OF DUA

Dua Lipa set for shock performance at Brits as she teams up with legendary star

‘HYPOCRITICAL B***H’

Why Nicole Appleton’s pals are set for Brits showdown with Lily Allen

They were also unhappy about some of host Jack‘s jokes, which included his swipe at the Bafta Film Awards following its N-word controversy during last weekend’s ceremony, which aired on the BBC.

Ofcom have confirmed to The Sun there were almost 150 complaints in total and the majority related to elements of the show being edited out, including acceptance speeches.

While other complaints related to jokes made by presenter Jack.

The comedian, who has hosted the Brits for five years now, is known for his close to the mark humour.

Earlier in the show, Jack had one of his links bleeped after he spoke to a table of politicians including Manchester Mayor Andy Burnham and Lisa Nandy.

After commenting on the table, he was bleeped as declared: “So many politicians! I thought I saw Peter Mandelson on the list.

“Oh no sorry, that was another list, my bad.”

Meanwhile, fans were also unhappy that big moments on the show were being edited out by ITV, and replaced by the static noise.

This came when I’m A Celeb winner Angry Ginge took to the stage alongside darts champ Luke Littler to present an award.

Salford native Ginge – real name Morgan Burtwistle – told the audience that he was glad that “people are realising that London is a s**thole”, which was also muted from the air.

After that, any insulting or risky language or jokes were taken out of the broadcast.

When Geese picked up their award for International Group, the New Yorker also suffered the static noise when the band’s drummer Max Bessin took to the stage, thanked the crowd before the award, before declaring: “Free Palestine, F**k ICE”.

Shaun Ryder and Bez also got in trouble when talking to Jack about their famously-hedonistic and drug-fuelled youth, some of which was also cut from broadcast.

Noel Gallagher also got muzzed towards the end of his appearance on stage as he was awarded Songwriter of the Year for his 35-year career with Oasis and the music that has influenced the generations since.

The comment clearly divided the audience, with cheers and boos alike, but we can confirm it was actually “Up The Blues” as a nod to football team, Manchester City.

Meanwhile the big winner of the night was Olivia Dean, who won three of the five awards she was nominated for.

These included Album of the Year and Artist of the Year.

She also performed on the evening, as did Raye, Harry Styles and Mark Ronson.

The Brit Awards are available to watch now on ITVX.

LONDON — Sherlock Holmes and James Moriarty are notorious literary foes, but in “Young Sherlock” the duo make the unlikeliest of friends. The Prime Video series premiering Wednesday reimagines the fictional detective’s early years as he investigates a murder case that originates at Oxford, where he first meets his eventual antagonist. Their relationship is the basis of the first season, and in the hands of actors Hero Fiennes Tiffin and Dónal Finn, it’s particularly electric.

“I was always interested in the Moriarty character because he’s a hugely iconic villain,” says showrunner Matthew Parkhill. Guy Ritchie, who directs and is an executive producer on the series, tapped him to expand on an idea for a show that revealed Sherlock’s evolution into the detective we know and love.

“He’s mentioned in four books, but he’s only ever in one,” Parkhill adds, speaking from London’s Rosewood Hotel during a press day in late February. “Why are these guys such great enemies? If a great friendship turns sour, it can become a great rivalry. But the story is basically going to be how this incredible friendship unravels.”

Tiffin, who previously worked with Ritchie in 2024’s “The Ministry of Ungentlemanly Warfare,” auditioned to play Sherlock while on vacation in Thailand. Parkhill responded to the “sense of innocence and wonder” Tiffin brought to the long-established character, who is 19 during the events of this season. After being cast, he did a series of chemistry reads with several actors up for Moriarty. Finn had been one of the last tapes Parkhill had watched, but the showrunner was immediately captivated by his “magnetism and intensity and charm.”

“Very quickly it became apparent that there was this energy and the chemistry they had together,” Parkhill says. “For me, they’re two sides of the same coin. What we’ll explore if we get to carry on even more is why one chooses one path and one chooses another. Dónal had a charm and these flashes of darkness.”

In “Young Sherlock,” Moriarty (Dónal Finn), left, and Sherlock (Hero Fiennes Tiffin) become friends at Oxford.

(Daniel Smith / Prime)

Both actors could feel it as well. “When Dónal came in within 2½ seconds I realized I need to bring my A-game because he was going to make me look bad otherwise,” says Tiffin, 28, speaking alongside Finn at the Rosewood later that day. “Once we started filming, we were on the same wavelength. We weren’t coming in and trying to go toe-to-toe and test each other, but we were collaborating and working towards the same goal.”

“The most dramatic version of this show was if an unstoppable force meets an immovable object and there’s an equality in what they do,” adds Finn, 30. “That required both of us to make each other look as good as we could.”

“Young Sherlock” is inspired by but not based on Andrew Lane’s “Young Sherlock Holmes” book series. Although it sees Ritchie returning to the world of Sir Arthur Conan Doyle, the show is not a prequel to the director’s 2009 film “Sherlock Holmes” nor its 2011 sequel, which starred Robert Downey Jr. as the titular character.

“This is a different universe,” Parkhill confirms. “They are cousins in terms of tone. But Guy’s not the same director he was when he made those. The things he was interested in exploring now were also different. But we wanted the show to have that same irreverence.”

He adds, “The most basic thing for me was: What makes him become this person? He’s on the cusp of trying to find his place in the world and his sense of self, which makes it an interesting period of his life to explore.”

“When Dónal came in within 2½ seconds I realized I need to bring my A-game because he was going to make me look bad otherwise,” says Tiffin, right, posing with Finn.

(Evelyn Freja / For The Times)

The eight-episode series opens with a flashback to Sherlock’s childhood, revealing the loss of his sister Beatrice. Her death has sent a ripple effect through his family — his mother, Cordelia (Natascha McElhone), is in an asylum and his father, Silas (Joseph Fiennes), has departed. Sherlock himself has been incarcerated, much to the dismay of his older brother Mycroft (Max Irons), a civil servant who pulls a few strings to get Sherlock out of prison. Sherlock accepts a job as a servant at Oxford, where he meets Moriarty. The pair investigate a murder at the university involving Princess Gulun Shou’an (Zine Tseng), which eventually is far more complex than they could have imagined.

“The plot has got to be clear enough that the audience can go on this journey with us, but difficult and mysterious enough that Sherlock doesn’t guess it straight away,” Finn says. “I have a great admiration for Matthew for managing that, and also giving each character a role to play in that journey.”

One of those characters is Silas, Sherlock’s adventuring father who doesn’t appear until the end of Episode 4. Parkhill approached Fiennes, Tiffin’s uncle, to play the role.

“When I sat down with Matthew, I thought, ‘Oh, God, is this a gimmicky thing of getting family members?’” says Fiennes in a separate interview. “But I quickly felt, ‘No, it’s not.’ It felt very natural and it’s a gift to play family members with family. Actors are always trying to research and unearth and unpack to get to that state, but we could walk on set and already have that.”

Tiffin and Fiennes hadn’t previously worked together, but they found a rhythm quickly when Fiennes arrived a few months into production in Wales. Episode 5, a chapter of the saga that pits Sherlock against his father and reckons with their history, felt like a real moment of collaboration.

Joseph Fiennes plays Sherlock Holmes’ father, Silas, in “Young Sherlock.” The actor is Tiffin’s uncle: “It felt very natural and it’s a gift to play family members with family.”

(Daniel Smith / Prime)

“We were four months into shooting, so I’d built this confidence up, and then Joe comes in and I shrunk back into the shell of myself,” Tiffin says. “I’d love to put it down to acting, but that’s definitely my relationship with Joe seeping through. It’s good because Silas has been absent in Sherlock’s life for a while, and Sherlock wants to please and impress him too.”

He describes an “unspoken, innate, really deep, almost inaccessible thing” between himself and his uncle. “When I opened the doors at the end of Episode 4 and see Joe, I’ve opened my front door at my parents’ house when he’s come over for dinner when I’m 6 years old,” Tiffin says.

Ritchie directed the first two episodes and then handed off the reins, but his signature style is infused through the series. It has a contemporary bent despite the 1870s setting, with modern music used as the soundtrack. It’s full of action and momentum, much like Ritchie’s “Sherlock Holmes” films, but here the character is still finding his footing. When we meet Sherlock, he’s not an established detective and he has no idea how to properly fight.

“I do have to admit from watching Robert Downey Jr. in Guy Ritchie’s movies, especially as a young boy, he was the epitome of cool,” Tiffin says. “So it was a complete surprise to me that my Sherlock was not just going to not be able to fight, but was terrible at defending himself. ”

Moriarty, however, is far better equipped, teaching Sherlock how to defend himself. Finn relished working with Ritchie, whose fight scenes are a signature of his work.

“They’re brilliant, but he knows that we see fight sequences every day and wants to make them special,” Finn says. “He knows how to sprinkle them with humor or to film them in a way you don’t expect.”

“I do have to admit from watching Robert Downey Jr. in Guy Ritchie’s movies, especially as a young boy, he was the epitome of cool,” says Tiffin about the “Sherlock Holmes” films.

(Evelyn Freja / For The Times)

“They’re also not one-dimensional,” Tiffin adds. “The fight always informs something. It’s never just two people fighting.”

Tiffin had a lot of previous iterations of Sherlock to draw from, as well as the novels themselves. He visited the Sherlock Holmes Museum in London ahead of shooting. He pulled from his longtime love of Downey’s portrayal, but he wanted to make the character his own.

“A big thing for us was making sure that our characters show signs of becoming the characters who are fully developed in Conan Doyle’s works,” he says. “They need to be close enough, but still have room to grow. Sherlock hasn’t been exposed to the hardships of the world yet, so he still has this youthful energy. If we get more seasons, we will see Sherlock lose that.”

There are fewer cinematic touchpoints for Moriarty, although Andrew Scott famously played him in the BBC’s adaptation alongside Benedict Cumberbatch. Finn had a photograph of Scott on his wall during drama school.

“It’s hard not to be inspired by what people have done before you, but you also have to draw the line somewhere,” Finn says. “And these aren’t iterations of the characters we’ve seen before. We have the opportunity to map out what events or what choices they make that shape the person we know.”

There are nods to the more established versions throughout the series, including Sherlock picking up his iconic hat in a shop and Moriarty rejecting it. Several of Sherlock’s famous lines from the novels are actually spoken first by Moriarty, who repeatedly emphasizes that he is not a sidekick but an equal.

“There are these great moments when these characters have left a mark on each other,” Finn says. “If you’re a fan of the Sherlock Holmes canon, you’ll notice them.”

“Its so fun and interesting planting those seeds,” Tiffin adds. “Not only is it fun to explore in our story, but it makes you understand Conan Doyle’s works in a different way and enriches that. Everything about the idea of Moriarty and Sherlock being enemies is enriched by the idea that they were once friends.”

“There are these great moments when these characters have left a mark on each other,” Finn says. “If you’re a fan of the Sherlock Holmes canon, you’ll notice them.”

(Evelyn Freja / For The Times)

There are a few glimmers of Moriarty’s future sensibility, although for the most part Sherlock and Moriarty remain steadfast pals. For Fiennes, this “bromance” is the heart of the story alongside the familial dynamic between Sherlock and Silas.

“You get these two incredibly intelligent misfits who are out of joint with the social world that they’re in,” Fiennes says. “Oxford, the mothership of intellect, is devoid of spirituality, and these two misfits have this spirit we love. We want to hang with them because of their mischievous nature. We know it will all come crashing down and feed into the characters we know later.”

“They are both looking for some sense of connection,” Finn adds. “And so it makes the friendship a really true friendship. It’s rare for both of these characters to feel that they find someone who is an intellectual match. It enriches the idea that when there is a rivalry it’s not just because of opposing moral views. What if it’s driven by revenge or heartbreak or betrayal?”

Parkhill has mapped out several potential future seasons of “Young Sherlock.” The finale concludes with a cliffhanger and a possible new mystery. The showrunner plans to take the show as far as 1887’s “A Study in Scarlet,” the first of Doyle’s novels, and then pass the baton back to literature.

“We will never go past that book, which psychologically gave me a freedom I needed to do this series,” Parkhill says. “We’re aware of the stories, but we used them as a playground in which to play instead of drawing from them directly.”

“We’ve shown signs of them eventually being able to become these more developed characters that Doyle established, but we need to document that journey,” Tiffin adds. “I will never feel complete until I can finish that journey and arrive at 221b Baker Street and meet John Watson and draw a line through the word ‘young.’”

Los Angeles has a secret magic to which you have to earn access, and the way you earn it is by making it, becoming a contributor to the city’s misapprehended culture of spectacle and soul, diversity and monolithic elitism. It’s a get-in-where-you-fit-in or get-edged-all-the-way-out kind of city, wherein a deceptively laissez-faire game of musical chairs can determine your fate. Kahlil Joseph has a private magic to which you have to earn access, and you earn it by resonating with the untapped nerve centers of Black culture that animate this city, and even then you might be denied.

Joseph is like the city (Los Angeles, not Hollywood), and the city enforces confidentiality, drive, wit, style and devotion often mistaken for diva-ism. The filmmaker and video artist moved to Los Angeles from Seattle for university, and was quickly followed by his brother, the painter Noah Davis, who would found the Underground Museum, a venue and near-speakeasy with West Coast casual gravitas and pan-African rigor and breadth, which became as important to the zeitgeist of Black Los Angeles as both brothers have.

Movie still from Kahlil Joseph’s film “Blknws: Terms & Conditions.” Funmilayo Akechukwu (Kaneza Schaal) channels a 93-year-old W.E.B Dubois, 200 years in the past.

(Courtesy Rich Spirit / BLKNWS©)

In somewhat rapid succession, Joseph lost his father, Keven Davis, an accomplished attorney who represented the likes of the Williams sisters and Wynton Marsalis, in 2012, and his brother Noah in 2015. Joseph navigated those years in the wake with unadorned reverence, while starting a family of his own and directing some of the most transcendent music videos of the 2010s. As testament to his resilience and that of the community around him, grief sharpened Joseph’s purpose and became a kind of grace he transmuted into moving images so saturated with feeling, sans easy pathos, they offered new ways of seeing. The stakes were higher and layered with the existential absurdity of abrupt shifts, which he carried with an elegant, slightly seething temperament that has found its expression in the work. It’s relevant that he shares a birthday with Miles Davis — this is Los Angeles, where it’s customary for a person to request your cosmic DNA before asking your name — and it’s relevant that like Miles, Joseph’s vocal tone is whisper-pitched, toward the mode of retreat that begets echo; you lean in and hear him twice. His quiet tone is not shyness or false modesty but circumspection and a sense of boundaries that imply respect and love for real communication. You sense this in his work ethic and what it produces, an intimacy of form that implies an almost ritualistic attentiveness to the world around him on its own terms. In the 2012 Flying Lotus music video “Until the Quiet Comes,” directed by Joseph and set in Los Angeles, death and rebirth are addressed as a duet, companions in the expansion of collective consciousness instead of foils or adversaries, as a fallen child leaves his body and returns more alive than before he was bloodied on screen. And the violent scenes aren’t grotesque or didactic — think of Miles’ muted trumpet sound reconfigured as resurrection visuals, of his ability to play and stage ballads so well that their uptempo momentum moves into territories too macabre to mute. Like Miles, Joseph tests and stretches his range.

With the closure of the family-run Underground Museum, first in 2020 and then officially in 2022, the path uptempo was visited by more obstacles and disappointments, a shift, if temporary, in Joseph’s role in the local community, as he became more private and distant from public elegy. On the phone recently, Joseph and I discussed the trauma economy, how much of a trap it is for Black art and artists, especially in this post-BLM, post-Obama, post-neoliberal dominance, post-nonprofit industrial complex dominance territory we’re all in now, whether we face it or not. As antidote and balm to the market for repackaged abjection, Joseph adapted the sensibility that makes his music video landscapes so lush and transgressive for the art world with “Blknws,” which debuted in 2019 as an imagined syndication or television network, a nonlinear merger of digitized Black archival material pulled from the center to the margins and the radical academic avant-garde — an infinitely looping ensemble wherein Fred Moten enters into conversation with memes of ghetto-fabulous street gymnasts doing backflips into a fried chicken spot, for example, collapsing so-called high and low into an endless woodshed for an impossible concert.

The result was so compelling that the project was commissioned by A24 as a feature film sans script, then purchased from them by Rich Spirit and released last year as “Blknws: Terms & Conditions.” In this longer and more structured form, what began as an intentional scattering of ashes becomes an elegiac letter home mediated by shipwreck. Joseph weaves together an imaginary “Transatlantic Biennial” and W.E.B. Dubois’ “Encyclopedia Africana” — a project that Henry Louis Gates Jr. and Kwame Anthony Appiah transformed into a book, which Joseph’s father had given his brother before they passed. In this way, the film becomes a manifesto for alternate destinies within the Black experience, and a semi-formal goodbye letter to the delusional but politically expedient optimism of the 2010s, wherein the end of the neoliberal order becomes a gateway to renewed self-possession and agency. Since our grief is less of a ready-made commodity lately, we can reorient it around ourselves, a little safer and more sovereign from the gnawing public gaze. And we can be more honest about its paces and paths in that more autonomous landscape. “Blknws” arrives how a successful jazz album does, belligerently inconclusive about the next stylistic leaps the music might make but clearly in the process of launching in that unknown or unspeakable (perhaps secret) direction. The film is agitation made vivid and precise in the dialectic between theorized “Black Study” and practical applications of Black marronage, where we realize that big disembodied ideas are no more sophisticated than what can be danced and gestured at and spoken in our real and virtual conversations. Here, the multiverse becomes one transcendental, transatlantic consciousness where past and present, life and afterlife, blur the way they do in Joseph’s interpretation of “Until The Quiet Comes” to give us a film with a song-like hook and an album’s non-sequitur whimsy.

Movie still from Kahlil Joseph’s film “Blknws: Terms & Conditions.” The underwater study of Funmilayo Akechukwu (Kaneza Schaal) located in the hold of the ship.

(Courtesy Rich Spirit / BLKNWS©)

Over the last several months, I’ve discussed with Joseph what might become of the momentum propelling “Blknws: Terms & Conditions,” after the film’s run, as speculators enclose searching for clues and stake in his next project. He’s considered its potential evolution into a media company, a real paper, a production house, a series of related films, or a hybrid of all of these endeavors. Alongside his experience on all sides of the art world, he has an acute awareness of the wayward state of print and digital culture, writing and production, the constant closure or downsizing of veteran media outlets, the aftermath of diversity fever in the form of shrinking major magazines often starting with those who cover culture explicitly, the mass turn toward brand-name digital platforms that become extractive monopolies and diminish what can be covered and produced as writers and artists are overworked, understaffed and undervalued. Galleries are also closing and downsizing, and films that don’t oblige the content farm aren’t solicited as readily as influencer-helmed or easily digestible projects that can be played as background noise for scrolling.

After a screening last December of “Blknws: Terms & Conditions” at 2220 Arts + Archives, a space I co-curate, the rapt audience of local cinephiles seemed eager for some magic-bullet insight into Joseph’s path to creative breakthrough and relative creative freedom. Rather than hacks and shortcuts, he shouted out collaborators and inspirations — Wales Bonner, who hand-stitched garments for the film’s Ghana-based scenes; British composer Klein, who helped score the film; Joseph’s time in Brazil, where his father was from and where he went to high school. Sensibility and natural eclecticism, rather than unchecked ambition, is what propels Joseph; he has an innate knack for assembling bands and ensembles, good taste and good timing.

Kahlil Joseph with friends at the screening of “Blknws: Terms & Conditions.”

“I found the encyclopedia at the Underground,” he explains, of the DuBois work that became central to “Blknws.” “It seemed no one had looked through it, as if my dad and brother left it for me in the future.” And instead of ruminating on the weight of that inheritance, he integrates it into his film, whose refrain-as-question is do you remember the future? As if his father and brother are awake in some scenes, asking him to remember. Another resurrection. “I just want to make films,” Joseph reaffirms as a personal coda when the questions get too meta or abstract, never conflating the material conditions of the craft with the magical thinking that can unfold in scripts and on screen. Most everyone in attendance at 2220 seemed to be there to meet or support one of their favorite artists, one of the devout purists of our time who manages to remain that without getting smug, lazy or feral, all common pitfalls.

Last October, I gave Joseph a copy of Hemingway’s “A Moveable Feast,” which I’d just finished reading myself for the first time. I was impressed to the point of restlessness with the authority of Hemingway’s memory, his recall; it’s one of those books you wanna throw at the wall and absorb word for word at the same time. Hemingway seemed to effortlessly savor and store every detail of his days, while remaining agile and present enough within them to focus on writing one true thing after another, in his daily sessions at the typewriter, as if possessing two coterminal minds and the capacity to access or silence both at will. A juggler too advanced for the circus, language’s great folk hero. Joseph is kind of like this, capable of intense simultaneous focus on both creative and mundane tasks without complaint, and he took to the book as I expected he might, sharing my sense of awe over the writer’s command of time and scene. They are both among the artists who have a polite way of making those around them feel like a team and want to work a little harder and little less aggressively (more communally) at the same time. Editors at his post-production studio have come from all over the country to work with him based on that leadership.

Joseph’s next feature, he suggests, will certainly be more narrative, more of a linear beginning-middle-end story, more Hemingway-esque in its commitments to the blunt daily reality that “Blknws” blurs with Black myth. He and his family have sacrificed unquantifiably in effort to defy stale archetypes and outdated patterns of art practice, and it might be his time or turn to be reciprocated for having endured those risks, time to give his family unequivocal and vivid afterlives on and off screen.

IT cheekily kept the home fires burning during the Blitz, and now Britain’s oldest strip club is set to reopen its doors once more.

The Windmill was one of the most iconic venues in Soho, where showgirls served up cocktails and stripteases while air raid sirens wailed outside.

Its famous motto, “Never closed,” was reworked into “Never clothed” — as the Windmill Girls bared all to keep punters smiling as war waged on.

Now the venue is roaring back to life as the Rhino At The Windmill after being forced to close due to Covid restrictions.

It was the club that made strip clubs the beating heart of Soho – and paved the way for hundreds more around the country.

Beloved by celebs and ordinary punters alike, Britain’s strip clubs have sparked scenes of debauchery and excess, which have gone down in legend.

DARK FANTASIES

The creepy Girlfriend for Hire sites where Incels splash £50k on ‘yes women’

NEWLYWEBS

Secrets of Zendaya & Tom Holland’s low-key relationship as stars ‘tie knot’

Here, we reveal the wildest tales from over the decades.

Rihanna’s head loss

At Stringfellows, pop superstar Rihanna is believed to have got a bit too close and personal with some of the club’s performers.

It was back in 2011 when the S&M songstress booked a private booth at the club – but ended up breaking the rules.

Rihanna – who is no stranger to getting pulses racing herself – is rumoured to have got a bit carried away with the show and ended up sticking her head between one of the women’s legs.

Her exuberance earned her a telling off from one of the burly bouncers who look after the club’s dancers.

It doesn’t seem to have deterred Rihanna though, who has been spotted back in the club on several occasions since.

Footie star’s eye-watering bill

Newcastle star Kieran Trippier was ‘stitched up’ by a group of friends who spent close to £10,000 on a strip club bill – before putting the defender’s name on the tab.

The Newcastle star was not believed to be present at the For Your Eyes Only club – however, his name still appeared on the bill, which included 76 £100 tokens for personal dances.

The bill was a staggering £9,663 and was believed to have been racked up by Trippier’s friends who play for National League side Gateshead.

A source told the The Sun: “Kieran has visited FYEO before but this bill was run up by some of the lads he knows at Gateshead. He wasn’t there.

“This seems to be their idea of a joke on Kieran. Who knows who footed the bill.”

Bieber’s revolting encounter

Notorious London nightclub The Box is infamous for its explicit late night cabaret shows, but Justin Bieber allegedly got more than he bargained for after a night of partying.

Drag queen A’Whora told GK Barry’s podcast Saving Grace that a few years ago, a revolting punter “threw semen at Justin”.

A shocked Grace then asked how he reacted, and A’Whora claimed Bieber joked: “Gotta keep an eye out for Selena!”.

The quip was a reference to lyrics from Justin’s hit song Beauty and Beat.

Whether or not A’Whora’s memory was entirely accurate has never been confirmed, but such an incident certainly wouldn’t be out of place given what else goes on at The Box.

Some of the celeb haunt’s most jaw-dropping shows have included simulated threesomes and a performer named “Laqueefa”, who played well-known tunes with her genitalia.

Corrie star’s dancer wedding

Corrie star Chris Quinten went into the lucrative strip club business after he left the cobbles.

But he faced a mass walk-out at his Secrets club after staff claimed their pay had been cut.

Back in 2019 the girls were said to have gone on a one day strike after he changed the rules on what percentage they got from punters.

At Secrets, a three-minute nude table dance cost £30. Half an hour with a stripper and champagne was £350.

The dancers claimed their earnings from the club in Hammersmith, West London, were halved. But after the strike the club agreed to make changes, with one stripper saying: “Our strike proved a success and we got what we wanted – fair rights and wages.”

Chris, then 61, went on to get engaged to one of his club’s dancers – 21-year-old Robyn Dellabarre, and celebrated with a party at the club.

Bedded five dancers… in a week

Blue star Lee Ryan has never been one to shy away from controversy.

But during his 2014 stint in the Celebrity Big Brother house he confessed to being banned from a strip club for bedding five of its dancers on five consecutive nights.

In a conversation in the house Lee confessed: “I walked into a club once right, I mean this is back in the day, I was a lot younger, I mean I would never do this these days.

“I walked in there right, this is probably one of the worst things I’ve ever done, I got five girls’ numbers when they were all dancing, I got the fittest girls’ numbers that were in there.”

Then he went on to say he slept with them all on consecutive days from Monday to Friday.

But when the girls compared notes and realised what he had done, they weren’t best pleased with him.

Lee then said he was subsequently banned from the club for some reason.

A-lister gets shirty

Back in 2010 Hollywood star Kiefer Sutherland’s night out at Stringfellows came to a rather abrupt end.

The actor was said to have been tossed out of the London club shirtless and drunk after an altercation with the bouncers.

The Emmy and Golden Globe award-winner, best known for his role as Jack Bauer in TV series 24, was described by onlookers as “absolutely screamingly paralytic” and was put in a headlock by security as he lashed out during a drinking bender.

But club owner Peter Stringfellow later played down the incident, writing on his blog: “(Sutherland) had a wonderful time, was incredibly charming to all the staff, very generous to all the girls and made friends with my security people.

“Around about 3.15am he decided it would be very funny to take his shirt off. When it was explained to him very gently that that was the job of the girls and not the customers he burst out laughing. His friend thought that this would be a good time for them to go home.”

Stripper’s undercover mission

Stringfellow was the undisputed king of the strip clubs – until a new rival club started to steal his girls and his crown.

Crowds were flocking to the new Spearmint Rhino club in Camden – leaving Peter and his scantily clad dancers in an empty club.

So he hatched a daring plan to foil the opposition.

Peter sent one of his longest-serving dancers as an undercover spy to get a job at Spearmint Rhino to find out what all the fuss was about and why the girls there were earning so much money.

But the cunning plot failed miserably. The dancer quickly realised she too could earn more money at Spearmint Rhino, where the girls were offered mega money for full nudity, and promptly never returned to Stringfellows.

BBC Breakfast shared a heartbreaking story on Wednesday, as a guest broke down in tears

A BBC Breakfast star confirmed a sad death during the latest live show.

Wednesday’s (March 4) edition of the hit BBC programme was hosted by Sally Nugent and Ben Thompson, who updated viewers on the latest news from across the UK and around the world.

They were joined in the studio by Carol Kirkwood, who presented regular weather forecasts, while John Watson handled the sports segment. Meanwhile, Peter Ruddick shared highlights from the Chancellor’s recent spring statement.

Later in the show, Sally and Ben shared a heartbreaking story of a sub postmaster who was wrongfully convicted in the Post Office Horizon IT scandal. Tom Millward has now had his conviction quashed, eight years after his death.

Sally explained: “[He] was accused of stealing £5,000, convicted of false accounting, and forced to move his young family into a static caravan to live.”

Tom’s daughter, Isobel Saunders, emotionally spoke to reporter Debbie Tubby in a pre-recorded segment.

“Tom Millward’s daughter finally has the letter she’s been waiting for and campaigning for – The Ministry of Justice quashing her father’s conviction. But it’s been delivered all too late, eight years after he died from cancer,” Debbie said.

Tom died in 2018, just one year before the scandal reached a turning point. “He never got to see that he was innocent, and never got to know that other people would know that he was innocent,” Isobel said.

Reflecting on her dad’s change in behaviour after his conviction, Isobel continued: “I think there was a lot of internalised shame. He stopped talking, he just became very, very quiet to us and to the family as well.”

Tom tried balancing the books on the Post Office Horizon computer system by cashing in his life insurance and re-mortgaging their home.

After watching the hit ITV drama, Mr Bates vs The Post Office, Tom’s wife, Margaret, realised that her late spouse wasn’t the “only one” affected. She sadly passed away last year.

Isobel soon became emotional as she continued speaking about her father’s struggles. “Sorry,” she said, as she tried to compose herself.

She went on: “We had decided a little bit, sort of feeling-wise, that it probably was this that had happened, [but] it’s different to know. To have that confirmed by the Ministry of Justice really meant a lot.”

Isobel concluded: “I’m angry [at] the people at the top, who knew about it. Fair enough, honest mistake, fine. But once they knew and carried on, I think that’s the bit that makes me angry.”

In a statement, the Post Office chairman says he wants to make a “clear and unequivocal apology” to everyone affected by the scandal.

BBC Breakfast airs daily on BBC One at 6am

Ensure our latest headlines always appear at the top of your Google Search by making us a Preferred Source. Click here to activate or add us as your Preferred Source in your Google search settings

ITV stars Susanna Reid and Ed Balls caused mixed reactions from Good Morning Britain viewers.

Good Morning Britain viewers were less than impressed with the ITV show during Wednesday’s episode (March 4)

During the programme, presenter Ed Balls informed his co-star Susanna Reid, who recently addressed a mistake on the show, that he had made a Shepherd’s Pie for dinner on Tuesday night with beef mince.

He replied: “That’s what proper Shepherd’s Pie is-” Cutting him off, Susanna replied: “No, Shepherd’s Pie is with lamb mince. You made a cottage pie!”

Ed added: “If we did a poll of our viewers, in their lives, was Shepherd’s Pie made with beef or lamb’, 70% of people would say beef.”

Wanting to settle the debate, Good Morning Britain’s official X account asked their viewers in a poll.

They asked: “@edballs has revealed that he made a shepherd’s pie with beef mince last night, but @susannareid100, @Kevin_Maguire and Kwasi Kwarteng say Ed made a cottage pie. Help us settle the debate: Is it OK to make shepherd’s pie with beef mince?”

However, it was clear people weren’t thrilled with the question, as many flocked to comment on the topic.

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

One person said: “What utter garbage for a news or even a current affairs programme.” Another reeled: “Is this even a newsworthy debate: how or what Balls cooks for dinner?”

Someone else commented: “That’s your take on world news.” As another shared: “This is taking up airtime. Wtf.”

However, some fans were thrilled to take part in the debate, as one person commented: “Morning, I’m with Ed. I don’t eat Lamb, but I’ve had many tasty Shepherds pies, made with beef.”

Later on in the show, Susanna remarked: “We are losing sleep this morning on whether a pie topped with potato and mince is a Shepherd’s Pie, if it’s made with beef mince.

“My view is that it’s clearly a cottage pie, your view is that it’s clearly a Shepherd’s Pie, despite the fact that Shepherds don’t look after cows.”

While Ed insisted that he was correct, there are some people who are a ‘bit fussy’ over what is correct.

Speaking about the poll, Susanna added: “Obviously, we’re in the middle of conflict, and there are, as we understand, more important things to talk about. But, we’re on air for three and a half hours every morning, so real life does go on, doesn’t it?

“We put a Twitter poll up, help us settle the debate: is it OK to make Shepherd’s Pie with beef mince? No, 63.4%, of course it isn’t.”

Good Morning Britain is available to watch weekdays on ITV from 6am.

Ensure our latest headlines always appear at the top of your Google Search by making us a Preferred Source.** Click here to activate**** or add us as your Preferred Source in your Google search settings.**

BBC Breakfast was presented by Sally Nugent and Ben Thompson on Wednesday morning

The hosts of BBC Breakfast announced several tragic deaths during the latest live show.

Wednesday’s (March 4) episode of the hit morning programme was hosted by Sally Nugent and Ben Thompson, who updated viewers on the latest news from across the UK and around the world.

They were joined in the studio by Carol Kirkwood, who presented weather forecasts throughout the show, while Ben Thompson handled the sports segment. Meanwhile, Peter Ruddick shared updates after the Chancellor Rachel Reeves delivered her spring statement on Tuesday.

At the start of the programme, Sally and Ben shared further updates from the Middle East, after the US and Israel launched attacks on Iran over the weekend. The UK government has since announced the first repatriation flights from Dubai.

In a pre-recorded segment, it was confirmed that the American military had named its first troops to be killed in the conflict. Six soldiers died when an “unmanned aircraft system” evaded air defences to hit a command centre in Port Shuaiba, Kuwait, on Sunday.

Four of the deceased, all US Army Reserve soldiers, were identified on Tuesday by the US military: Capt Cody Khork, 35, Sgt Noah Tietjens, 42, Sgt Nicole Amor, 39, and Sgt Declan Coady, 20.

This is a breaking showbiz story and is being constantly updated. Please refresh the page regularly to get the latest news, pictures and videos.

You can also get email updates on the day’s biggest stories straight to your inbox by signing up for our newsletters

Paramount Skydance’s jubilation over its come-from-behind victory to claim Warner Bros. Discovery has entered a new phase:

Call it the deal-debt hangover.

Two major ratings agencies have raised concerns about Paramount’s credit because of the enormous debt the David Ellison-led company will have to shoulder — at least $79 billion — once it absorbs the larger Warner Bros. Discovery, bringing CNN, HBO, TBS and Cartoon Network into the Paramount fold.

Fitch Ratings said Monday that it placed Paramount on its “negative” ratings watch, and downgraded its credit to BB+ from BBB-, which puts the company’s credit into “junk” territory. Fitch said it took action due to “uncertainty” surrounding Paramount’s $110-billion deal for Warner Bros. Discovery, which the boards of both companies approved on Friday.

S&P Global Ratings took similar action.

To finance the Warner takeover, Ellison’s billionaire father, Larry Ellison, has agreed to guarantee the $45.7 billion in equity needed. Bank of America, Citibank and Apollo Global have agreed to provide Paramount with more than $54 billion in debt financing.

“Potential credit risks include the prospective debt-funded structure, Fitch’s expectation of materially elevated leverage and limited visibility on post-transaction financial policy and capital structure,” Fitch said.

Late last week, Paramount sent $2.8 billion to Netflix as a “termination fee” to officially end the streaming giant’s pursuit of Warner Bros. That payment paved the way for Warner and Paramount’s board to enter into the new merger agreement.

Paramount hopes the merger will be wrapped up by the end of September. It needs the approval of Warner Bros. Discovery shareholders and regulators, including the European Union.

Paramount executives acknowledged this week the new company would emerge with $79 billion in debt — a considerably higher total than what Warner Bros. Discovery had following its spinoff from AT&T. That 2022 transaction left Warner Bros. Discovery with nearly $55 billion of debt, a burden that led to endless waves of cost-cutting, including thousands of layoffs and dozens of canceled projects.

Warner still has $33.5 billion in debt, a lingering legacy that will be passed on to Paramount.

Paramount plans to restructure about $15 billion in Warner Bros. Discovery’s existing debt.

Paramount CEO David Ellison at a 2024 movie premiere for a Netflix show.

(Evan Agostini / Invision / AP)

Paramount told Wall Street it would find more than $6 billion in cost cuts or “synergies” within three years — a number that has weighed heavily on entertainment industry workers, particularly in Los Angeles.

Hollywood already is reeling from previous mergers in addition to a sharp pullback in film and television production locally as filmmakers chase tax credits offered overseas and in other states, including New York and New Jersey.

Some entertainment executives, including Netflix Co-Chief Executive Ted Sarandos, have speculated that Paramount will need to find more than $10 billion in cost cuts to make the math work. More recently, Sarandos went higher, telling Bloomberg News that Paramount may need $16 billion in cuts.

Cognizant of widespread fears about additional layoffs, Paramount Chief Operating Officer Andrew Gordon took steps this week to try to tamp down such concerns.

Gordon is a former Goldman Sachs banker and a former executive with RedBird Capital Partners, an investor in Paramount and the proposed Warner Bros. deal. He joined Paramount last August as part of the Ellison takeover.

During a conference call Monday with analysts, Gordon said Paramount would look beyond the workforce for cuts because the company wants to maintain its film and TV production levels.

Paramount plans to look for cost savings by consolidating the “technology stacks and cloud providers” for its streaming services, including Paramount+ and HBO Max, Gordon said. The company also would search for reductions in corporate overhead, marketing expenses, procurement, business services and “optimizing the combined real estate footprint.”

It’s unclear whether Paramount would sell the historic Melrose Avenue lot or simply centralize the sprawling operations onto the Warner Bros. and Paramount lots in Burbank and Hollywood.

Workers are scattered throughout the region.

HBO, owned by Warner Bros. Discovery, maintains its West Coast headquarters in Culver City; CBS television stations operate from CBS’ former lot off Radford Avenue in Studio City; and CBS Entertainment and Paramount cable channels executive teams are located in a high-rise off Gower Street and Sunset Boulevard, blocks from the Paramount movie studio lot.

“The combination of PSKY and WBD could create a materially stronger business than either individual entity,” Standard & Poor’s said in its note to investors. “However, this transaction presents unique challenges because it would involve the combination of three companies, with the smallest, Skydance, being the controlling entity.”

David Ellison’s production firm, Skydance Media, was the entity that bought Paramount, creating Paramount Skydance.

Ellison has not announced what the combined company will be called.

Paramount shares closed down more than 6% Tuesday to $12.45.

Warner Bros. Discovery fell 1% to $28.20. Netflix added less than 1% to close at $97.70.

A TRAILBLAZING 80s supermodel who starred alongside TV titan Larry Hagman in Dallas has died aged 62.

Annabel Schofield – once one of the defining faces of Britain’s style revolution – passed away on February 28 in Los Angeles following a battle with cancer, it has been confirmed.

The Welsh-born beauty became synonymous with the bold, rule-breaking glamour of 1980s London.

At the height of her fame, she was represented by London’s powerhouse Take Two Agency and became a cover girl sensation.

She fronted hundreds of fashion magazines and landing major campaigns for Yves Saint Laurent, Rimmel, Revlon and Boots No. 7.

Her international breakthrough came in unforgettable fashion – roaring through the desert in a black Ferrari for a Bugle Boy Jeans TV advert before delivering the now-iconic line: “Excuse me, are those Bugle Boy jeans you’re wearing?”

ARGY BARGY

Jordan Henderson has to be held back in furious scrap at Bournemouth

RISKY BUSINESS

Dragons’ Den star’s business collapses – despite year of ‘phenomenal’ sales

She later crossed into primetime television, playing Laurel Ellis opposite Larry Hagman in the hit US soap Dallas – cementing her place in pop culture history.

Melissa Richardson, former owner of London’s Take Two Agency, paid tribute in an emotional statement.

“She was one of David Bailey’s favorites and appeared in countless shoots for Italian Vogue. She was the forerunner of Take Two without her, we could never have made it as we did.

“We loved her because she was funny and real and beautiful and down to earth. She never changed from the sweet little 17-year-old Welsh girl I first met.

“She was directly loyal, caring, and above all, a raging beauty. She knew her craft. She was the best.”

Born on September 4, 1963 in Llanelli, Wales, Schofield was trained in the art of the silver screen.

Her father was British film production executive John D. Schofield – a powerhouse behind major box office hits including Romancing the Stone, Jerry Maguire and As Good as It Gets.

At the height of her modelling fame, Schofield made the bold move to Los Angeles – and swiftly landed a coveted role in 12 episodes of Dallas, playing Laurel Ellis opposite Larry Hagman’s legendary oil tycoon J.R. Ewing.

She starred as Alex Noffee in Solar Crisis alongside screen icon Charlton Heston, and went on to appear in Dragonard and Eye of the Widow.

In later years, she quietly built a formidable career behind the scenes, working in production on major films including The Brothers Grimm, Doom and City of Ember.

In 2010, she launched her own Burbank-based company, Bella Bene Productions, carving out a new chapter as an executive producer.

She developed commercials, music ventures and high-end fashion projects.

Schofield formed a creative partnership with director and graphic artist Nick Egan – famed for his work with music royalty including The Ramones, The Clash, Duran Duran and Oasis.

The beauty also collaborated with celebrated photographers Andrew McPherson, Ellen von Unwerth and Michael Muller.

She served as a producer alongside photographer Will Camden on the striking 3D Guerlain campaign starring Angelina Jolie.

Coronation Street legend Beverley Callard, who was diagnosed with the early stages of breast cancer, says she is trying to “disguise what she is going through” to appear on a red carpet

Coronation Street’s Beverley Callard has admitted that she is “even more nervous” than usual about going on red carpets amid her cancer battle. The actress, 68, who played Rovers landlady Liz McDonald on the ITV soap on and off for 30 years, revealed last month that she had been diagnosed with the early stages of breast cancer and is continuing to recover from her first bout of surgery.

The soap legend has been keeping fans up to date regularly, but after taking some much-needed time away from social media to spend time with her husband, she returned with another candid post on Tuesday evening, where she sadly explained she is trying to “disguise” any signs of her illness as she prepares to step in front of the cameras again to promote a project.

Beverley, who has been married to Jon McEwan since 2010, said: “Hi. An update. I’ve not posted for the last couple of days because to be honest, I’m just really tired, I’m rubbish at the moment. But also, a lot of your messages have been so great and lots of them said ‘Just take a bit of time for you!’ So I’ve done that and it was good for Jon and I just to have some quiet time because, obviously, it gets to him, just as much as me.

READ MORE: Corrie’s Beverley Callard in heartbreaking health update saying she’s struggling to eatREAD MORE: Corrie’s Beverley Callard cries as she shares health up date amid cancer battle

“Anyway, today has been a good day. I’ve had more energy and I actually went and had my nails done today, which was quite nice. But I was exhausted when I came back not doing anything!

“Another thing I wanted to talk about was…I have to, hopefully, go back to work on Sunday and Monday, just for two days but it’s to do promotion for a job that I filmed last year, a few months ago and I’ve got the most worrying thing. It’s a bit of a red carpet do and anybody who knows me knows I hate those things.”

The star, who recently signed up to appear in the Irish soap Fair City and was preparing to film her first scenes when doctors informed her she had cancer, insisted that she “loves” everything about being an actress apart from the publicity side of things and admitted that her fears have got “even worse” since her diagnosis.

She said: “I love my job, I love learning lines, I love creating a character but standing posing on a red carpet is my worst nightmare. But now [it’s] even worse because I feel lopsided.

“I’ve just had to have a lady come to alter a dress that I’m thinking about wearing, and try and disguise what I’m going through at the moment so I’m even more nervous about it.

Ensure our latest headlines always appear at the top of your Google Search by making us a Preferred Source. Click here to activate or add us as your Preferred Source in your Google search settings.

“I know loads of people will think ‘Ooh, red carpet, and getting all dressed up…’ I prefer being dressed like this, but there you go! I’m nervous and anxious about that, and I’m trying to prepare.” Beverley

“The other thing is that I’ve got the hospital again in the morning and hopefully I will find out tomorrow if I have to have a second procedure, that’s at 9am, so I’ll know more about where I stand then but I’m sending loads of love, and thank you for the love you’re sending me.”

The update comes just days after Beverley tearfully revealed she was struggling following her surgery. The Two Pints of Lager and a Packet of Crisps star told her followers: “Full disclosure, it’s a week today since my operation and I woke up this morning and I put yesterday’s clothes on – which were dropped on the floor last night when I went to bed.

I I’ve not cleaned my teeth, I’ve not combed my hair. I can’t answer my phone because if somebody says a kind word to me, I just cry.”

And I’m so absolutely, absolutely rubbish today and I’ve been like that all day. I’m really tired, I keep feeling a bit queasy but I’ve no idea why. And I just thought, ‘oh well I’m not going to post anything today because I don’t want to make people feel miserable’ – but maybe you are feeling the same.”

If you have been affected by this story, advice and support can be found at Breast Cancer Support.

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