SHOW BIZ

BRIDE-TO-BE Venezuela Fury, 16, looked amazing in her gold dress and tiara as she celebrated her hen do with mum Paris ahead of her wedding.

The teen has enjoyed a whirlwind engagement after it was revealed her boyfriend Noah Price, 17, got down on one knee at her 16th birthday party and popped the question.

The young couple have not yet announced a date for their wedding, but as the hen do was last night, this could be a big hint their big day is getting closer.

Venezuela, who appears in the Fury family’s hit Netflix reality series At Home With The Furys, pulled out all the stops as she stepped out for her bachelorette party.

The teen was dressed in a stunning metallic dress, and matching strappy heels.

Venezuela wore her hair up on top of her head with a tiara and bridal veil.

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She also made sure to flash her huge engagement ring as she made her way into her hen do, which was held at Morecambe Football Club

As Venezuela walked into her party, she told The Daily Mail: “I can’t wait. I’m really looking forward to married life. I’m very happy and excited.”

The youngster was joined by her glam mum Paris, 36, who looked incredible in her white bodycon dress.

The mother-of-eight showed off her stunning figure in the skintight dress.

It has been reported that Venezuela had an estimated 300 guests at the hen party.

According to the Mail, party goers were treated to a huge buffet, Karaoke and a DJ.

When it was announced last September that the teenager had got engaged, there was some backlash from fans, due to her age.

Venezuela has since been forced to hit back at trolls who have said that she is too young to marry.

Earlier this month the teen’s mum Paris, who has seven other children, shared her thoughts on the upcoming wedding.

“I didn’t feel old enough for this, but Venezuela is over-the-moon happy,” she told The Mirror.

“The two of them are in their own little bubble. And, look, I got married myself at 18.”

Although Paris is delighted for Venezuela and Noah, she insisted it is “too soon” for the pair to start having children – saying they want to travel first.

The mother-of-eight also admitted that she’s worried about herself when her eldest child eventually moves out.

She said: “I’ll feel like I’ve lost my arm. It’s going to hit me hard.

“Right now, Tyson’s in training camp in Thailand, the kids are in school, and Venezuela and I… basically co‐parent!

“But I do let her have her space. The weekends are her time. I know she’ll be fine, getting on with an exciting new life. It’s me I’m worried about.”

It comes as bride-to-be Venezuela recently revealed she is already packing up items to move into a house with her fiance Noah, who is a boxer and an East Midlands belt holder.

In a Q&A with fans on Instagram, the teenager confirmed she would be staying with her parents until she is married.

Venezuela told followers: “I’m trying to get everything booked for May/June time, but I’m not sure when it will be.

“I will be in my mam and dad’s home til I’m married.”

In order to get ready to set up her marital home, Venezuela has been buying home items ready and showed off the results from a haul.

Paris also recently opened up about her feelings surrounding Venezuela’s engagement, which has sparked controversy among fans regarding her age.

But speaking to The Sun, the matriarch insisted she’s “really pleased” for her daughter, adding: “I got engaged at 17, so even though I feel she’s young, I did it.

“I wouldn’t change a thing.

“So if that’s what she wants to do, then 100 per cent, me and her dad support her.”

Paris also dropped some hints about Venezuela’s upcoming wedding as she says the teen isn’t “rushing to plan weddings” – in sharp contrast to her daughter’s Instagram remarks.

“She’s not rushing to plan weddings or get married,” she said.

“We have very different tastes.

“She has said she wants a smaller wedding, so if that’s what she wants, I’ll go along with it.”

FOR Dermot Kennedy’s third album, he wanted to explore both the beauty and burden of a successful music career. 

The award-winning Irish singer might headline huge arenas but he has always had his feet firmly on the ground, valuing a normal life, privacy and simple things such as walking in his local woods — the theme of his new record. 

He says: “I feel I’m at a sweet spot, because I can play The O2 in London but I can walk around all day and no one really knows who I am. 

“Having a career in music is a blessing. It’s the most amazing thing, but at the same time, there are certain challenges that come with it. It tests relationships and tests your own resolve, it’s a ­pressure. And I wanted to write about that.” 

The pull of nature as a place to reset became more powerful to the singer as he found success — both his previous collections, Without Fear (2019) and Sonder (2022), topped the album chart. 

“With a career in music, you’re not anonymous, you’re constantly moving from city to city,” he explains. 

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“Being somewhere where you can only see trees in every direction has become more and more important to me, and more powerful. Where I live is quite remote, and that’s the way I want to be.”

This recurring woodland imagery reflects a sense of calm and nostalgia to Kennedy, and the cover of his new album, The Weight Of The Woods, features the singer in a woodland setting. 

As we chat in his central London record label offices, he’s signing a huge pile of his new CDs.  

“It’s a great album cover,” he says smiling. “Even signing these all morning, I’m not sick of looking at it yet.” 

A standout on Kennedy’s new record is the track Sycamore, a gorgeous introspective ode to home and identity. 

“The Irish landscape has always been important to me,” he says. “Where we took the picture for the album still resonates. It’s a big part of how I’m inspired.” 

Working with producer Gabe Simon — who produced Noah Kahan’s 2022 breakthrough album, Stick Season — Kennedy made The Weight Of The Woods in ­Ireland, Nashville and Norway. 

He says: “Sycamore is lush and smooth, which felt different for me. It was the first song we made when Gabe came over — there’s a sycamore tree right in front of my house that’s become a kind of ­talisman in my life. It felt like a lovely way to start. 

“A lot of these songs carry a vulnerability I haven’t shown before, and that felt important, because you can’t pretend you’re 100 per cent all the time. It’s just not true.” 

This shift shows a new confidence, one that allows him to do things his own way. 

“Generally, I’m a quiet person, so on previous albums I wasn’t the loudest in the room whereas with this one, I have the confidence to shout for it and take my time. 

“It’s taken this long to get to a point where I know what I want — what I need and what’s authentic.” 

The Weight Of The Woods reflects a stage in his life where Kennedy feels more secure, more at home and more fully himself. Now married with a baby daughter, his perspective has shifted in ways he struggles to fully articulate. 

“How has fatherhood changed me?” he ponders. “It’s hard to sum up, I can’t explain it in a couple of minutes. 

“It just means the world to me and gives you a completely new perspective on life. 

“It makes you realise there are more important things than chasing goals in music. 

“The best thing I can do now is make music that moves me and try to live in a way that feels like the purest version of who I am. It becomes the centre of everything. 

“Fatherhood has given me more confidence, but also a different kind of fragility, making me more emotionally open. 

“A lot of these songs carry a vulnerability that I haven’t shown in my music before, and that’s important.”  

Musically, Kennedy feels the album has a strong Irishness, though it was not a deliberate concept.  

Honest is a track that feels especially personal, as it directly references where he is from in Ireland. 

He says: The first lyric is about Kilteel [near Rathcoole, Co Dublin] which is an important part of where I’m from. It’s a more personal record so I needed to tell the story of where I’m from.” 

He reflects on the pull of home: “Sometimes when you’re trying to have a career in music, people assume they need to move away and live somewhere else. 

“But in Ireland we have one of the richest musical landscapes in the world, you know? So, it’s nice to be a part of that. 

“And it’s the most Irish-sounding track. I played the bodhran [a traditional Irish frame drum] on it, the drum you hear at the beginning, and there’s also a tin ­whistle. It all came together very naturally so these songs feel dynamic to me and they’re really going to work live.” 

Wasted is a favourite of Kennedy’s on the record. Inspired by US singer and producer Dijon, he says: “It felt like it had that excited, upbeat energy without being pop. It felt real in the room and exciting.” 

Then there’s The Only Time I Prayed, which explores the singer’s relationship with faith. 

“I’ve got songs like Glory, and lyrics about the devil, but I’d consider myself definitely agnostic. I believe in otherworldly things but I’m not a practising Catholic. 

“Still, when things get difficult, people pray — regardless of faith. It comes from desperation, and I find that fascinating. Sometimes I even feel envious of people with a strong faith.” 

Another highlight on the record is Funeral, a stunning track about letting go of the past to move forward. 

“I just wanted that song to be about ditching any difficult stuff I’ve been through,” he says. 

“Songwriters spend an awful lot of time wallowing in the past and I wanted it to feel triumphant — moving forward into something more positive. 

“It felt good and the vocal carries an energy which is always a fun thing on a song.” 

On this third album, Kennedy feels more confident, self-assured and clearer about what is authentic to him. 

He says: “It’s less inhibition and less stress — not poring over every decision. So confidence showed up in quite a carefree, exciting way.” 

It was important to Kennedy that the album was stripped back and imperfect to add to the studio atmosphere. 

“Musically, if you listen closely, there are lots of imperfections, little noises other artists or producers might take out,” he says.  

“You can hear someone talking, a chair creaking. It puts me back in that room, and I don’t want to lose that.” 

That same approach mirrors a wider creative release: “I feel like I’ve let go massively, which is a good thing.” 

That sense of letting go has also reshaped how he defines success. 

“Any pressure that came with the second album was internal, applied by myself,” he says. “I don’t think being competitive puts me in the best place to be the best artist I can be. I’m pretty sure it doesn’t.  

“Tracking streams or records isn’t success to me. With this record, it was just lovely to get back to a place where I really enjoyed making the music, the visual world around it, and playing the songs.  

“Don’t get me wrong, I still want lots of people to hear it, but I feel like I’ve already succeeded with this project.  

“If it reaches a ton of people, that’s fantastic, but I had a beautiful time making it, and that’s everything. 

“When you chase numbers and all that stuff, it’s all quite surface level and not very fulfilling in the end. 

“I don’t think trying too hard is the move. It’s important to work hard and promote things, but being overly try-hard isn’t appealing.  

“It’s better to sit back and let the music do the work. By letting go — stepping back from social media and putting the music first — it feels more likely to set my career up the way I want it.” 

Live performance remains central to Kennedy’s identity. He feels he has built his career the “old-fashioned way” by playing rooms and winning audiences over. 

He says: “Nowadays, there’s so many ways that someone can forge a career. You can blow up on the internet or go viral. For me, it’s never really been like that. 

“It’s been more about getting people into a room. I think I can play in such a way that they might want to come back and see it again next time.” 

“For me, when I dreamed about having a career in music, all I thought about was playing in big, beautiful theatres. So playing live is an important part of what I do.” 

Even as he now fills large venues, Kennedy is keen to preserve a sense of intimacy within those spaces. 

He explains: “We’re going to do it differently. There are lots of ways you can use tech in a live show. You can run tracks for things like horns and production, but then the whole show ends up on track and can feel like elevated karaoke. 

“You can come off stage feeling like you haven’t really achieved much. So, with this tour, we’ve got rid of the click track and any backing tracks. It’s about keeping it real and letting the performance have more freedom. 

“We’re getting rid of any kind of bells and whistles, and it’s just fun. I could start a song at any tempo, I could be feeling a certain way that ends up being a faster version with more energy, or we could pull it right back. 

“You go to a live show for the energy, and I think it’s far easier to tap into that special place if you don’t have that stuff.” 

Kennedy is also more careful about looking after his voice when he tours 

“I try not to do more than two nights in a row, because it compromises the rest of the tour. It means I can walk on stage excited, instead of just hoping I get through it.” 

It’s part of a wider shift in how he approaches performance. “It’s a process as well, working with vocal coaches and stuff. I run a lot more now, because you need that lung capacity. I’m not sure about other ­people’s experience touring, but it feels like a sport sometimes.” 

That mindset has also made him more aware of the level required to sustain a major live career — something he saw first-hand watching ­Taylor Swift live. 

“Well, I saw her at the venue I’m playing this summer, and it was inspiring.” he says. “I saw Travis, her fiancé, talking about her fitness regime and just how she’s operating at a kind of scary level. 

“I find that really inspiring, because it makes you realise this is a very high level of what we do — you have to take it seriously. When someone is that on top of their game, it’s just incredibly motivating.” 

“The show is, what, three hours long? It was wild to see. And honestly, it was just cool to be in Dublin and see people so excited by those songs.  

“What really struck me was that it was just her songs. You realise this is someone who started out just writing songs, and now it’s millions of people all over the world. 

“But it doesn’t feel like some manufactured pop machine. It just feels like someone who writes songs, and that’s what makes it so powerful.” 

• The album The Weight Of The Woods is out on April 3. 

DERMOT KENNEDY 

The Weight of The Woods 

★★★★☆

You thought the Oscars brought awards season to an end? Think again. The iHeartRadio Music Awards took place Thursday night with performances and appearances by Taylor Swift, Miley Cyrus, Sombr, Weezer, Alex Warren, Shaboozey and John Mellencamp, among other stars. Here’s a glimpse at the best looks from the red carpet and the best moments of the show itself, which took place at the Dolby Theatre in Los Angeles.

The Show

Lainey Wilson performs onstage at the 2026 iHeartRadio Music Awards at Dolby Theatre in Hollywood.

Taylor Swift accepts the pop album of the year award onstage at the 2026 iHeartRadio Music Awards at Dolby Theatre in Hollywood.

Miley Cyrus accepts the Innovator Award onstage at the 2026 iHeartRadio Music Awards at Dolby Theatre in Hollywood.

John Mellencamp, right, performs onstage at the 2026 iHeartRadio Music Awards at Dolby Theatre in Hollywood.

Terry Ellis, from left, Cindy Herron and Maxine Jones of En Vogue perform at the 2026 iHeartRadio Music Awards.

Red Carpet

Miley Cyrus on the red carpet for the iHeartRadio Music Awards at the Dolby Theatre in Hollywood.

Ella Langley on the red carpet for the iHeartRadio Music Awards at the Dolby Theatre in Hollywood.

Shaboozey and Kehlani on the red carpet for the iHeartRadio Music Awards at the Dolby Theatre in Hollywood.

Cheryl Porter on the red carpet for the iHeartRadio Music Awards at the Dolby Theatre in Hollywood.

Cindy Herron, Maxine Jones and Terry Ellis of En Vogue on the red carpet for the iHeartRadio Music Awards at the Dolby Theatre in Hollywood.

Teddi Mellencamp on the red carpet for the iHeartRadio Music Awards at the Dolby Theatre in Hollywood.

Brianna Mazzola and Wennely Quezada of ‘3QUENCY’ on the red carpet for the iHeartRadio Music Awards at the Dolby Theatre in Hollywood.

Sublime on the red carpet for the iHeartRadio Music Awards at the Dolby Theatre in Hollywood.

Brent Smith and Zach Myers of Shinedown on the red carpet for the 2026 iHeartRadio Music Awards at the Dolby Theatre in Hollywood.

Graham Stanush, Sebastian Gonzalez, Matty Bielawski and London Hudson of Return to Dust on the red carpet for the iHeartRadio Music Awards at the Dolby Theatre in Hollywood.

The home of Sean “Diddy” Combs’ son Christian “King” Combs and his girlfriend, Raven Tracy, was the target of what police said was a burglary attempt Thursday morning.

The pair were in Bali when police were summoned to their Porter Ranch home Thursday morning, according to a source familiar with the incident. Neighbors called police around 12:45 a.m. after they heard what they believed were shots fired in the 11900 block of Churchill Way in the affluent San Fernando Valley neighborhood. According to law enforcement, the commotion was actually a window being smashed near the rear patio of the $3-million residence.

King Combs, the 27-year-old rapper, model and son of disgraced music mogul Sean “Diddy” Combs, lives at the 5,400-square-foot property with Tracy, a 32-year-old influencer and fashion entrepreneur.

Images of at least two people were captured on security cameras, a law enforcement source told The Times. It’s unclear whether Combs and Tracy were targeted, or if the suspects were casing homes in the area. When police arrived, all suspects had fled the area. Police investigators told Fox 11 that nothing was stolen.

A source close to Combs told The Times that this was the second recent break-in attempt at the property. The first occurred during Sean “Diddy” Combs’ trial in the summer.

The attempted break-in is the most recent in a string of high-profile home invasions, although it is unclear whether the incidents are related. Earlier this month, “Real Housewives of Beverly Hills” star Rachel Zoe’s Bel-Air mansion was broken into while she was out of town.

The reality TV personality and fashion designer was in Las Vegas for the opening of the Wynn’s ultra-exclusive social club Zero Bond. Zoe is a close friend of club founder Scott Sartiano.

According to TMZ, Zoe’s alarm company received an activation alert and swiftly called local police. Officers responded and spotted two male suspects leaving the property, one of whom the outlet said was taken into custody.

In August, “All Night Long” crooner Lionel Richie was home when a man broke into his Beverly Hills residence around midnight. According to NBC4 Investigates, police responded to a 911 call and searched the neighborhood, finding a suspect blocks away. A 38-year-old man was arrested on suspicion of residential burglary.

Law enforcement sources told the outlet that security cameras at Richie’s home picked up images of the suspect, who entered the home but was spooked by an alarm.

For the second time in recent months, the civilian commission that oversees the LAPD has overruled Chief Jim McDonnell in a police shooting, concluding that officers were in the wrong when they shot at Jillian Lauren, an author and the estranged wife of Weezer bass player Scott Shriner.

McDonnell wrote in a report made public Thursday that two officers were justified in using deadly force against Lauren, 52, who pointed a gun and fired at officers during a standoff in the backyard of her Eagle Rock home last April.

But the Police Commission took the rare step of going against McDonnell’s recommendation, finding fault with the shooting and concluding that the officers made serious tactical mistakes.

Although the five-member panel is the final authority on whether a police shooting is in or out of policy, the chief has final say on officer discipline. Such decisions are rarely made public because of state police privacy laws.

The incident began at about 5:20 p.m. on April 8, 2025, when police responded to a request for help from the California Highway Patrol in tracking down three suspects wanted in a hit-and-run crash. Officers Joshua Wolak and Dorian Zhou joined in the search, along with several others from the nearby Northeast patrol station.

Body-worn camera footage released by the department showed Wolak, Zhou and a CHP officer standing on a retaining wall next to a fence that separated a neighbor’s home from Lauren’s property. The LAPD video shows Lauren, wearing a purple Weezer T-shirt and black tights, walk around the yard with a black handgun, looking around as though she were on high alert.

Police said that officers yelled at Lauren to drop her gun for several minutes, before she shot a round in their direction. Wolak then fired seven rounds, while Zhou shot five from a distance of roughly 50 feet.

Lauren was not connected to the hit-and-run incident, authorities said. Audio from a 911 call by one of Lauren’s neighbors indicated that Lauren believed she was being fired at by armed suspects, who had been spotted running through neighboring properties.

After the shooting, Lauren retreated into her home, where she stayed for about an hour until an officer called her personal assistant, who was also inside. She was later taken to an area hospital with a gunshot wound to her left arm, police said.

During his interview with internal investigators, Zhou said he saw Lauren raise the handgun at a 45-degree angle, “rack” the slide to chamber a round and fire at officers. In response, he said, he fired five rounds, aiming at her center mass.

He responded that he stopped firing “because I lost sight of her.”

The commission voted unanimously to rule the officers’ decision to shoot out of policy. Officials typically do not publicly discuss the rationale for reaching certain decisions.

Both the commission and the chief were critical of the command decisions of Sgt. Albert Hoang at the scene, noting his failure to ensure that the officers involved were interviewed and the fact that he didn’t notify his higher-ups about the shooting until three hours after it occurred.

The civilian panel also diverged from McDonnell in assessing the tactical mistakes made by Hoang and the two officers. In his report, McDonnell found that the differing tactics used by CHP and LAPD only contributed to the confusion in what was already a fraught situation.

McDonnell wrote that he wants to develop protocols to ensure that if a similar incident were to arise “the other agency should be directed to disengage from the tactical portion of the incident or, as practicable, placed in a position and role that minimizes the co- mingling of tactics.”

In a 4-1 vote, the commission also decided that the officers’ decision to draw their weapons did not comply with LAPD policies — another rare finding.

Lauren was initially arrested on suspicion of attempted murder of a peace officer, a charge that carries a lengthy prison sentence, then later charged with assault and negligent discharge of a firearm. In December, a Los Angeles County Superior Court judge granted her diversion due to mental health issues, sparing her potential jail time.

The bestselling author of “Everything You Ever Wanted,” she filed for divorce from her husband in December in Los Angeles County Superior Court. In her petition, she cited “irreconcilable differences” but did not list an official date of separation. The two married in November 2005 and share two teenage sons.

Before the confrontation with police, Lauren had been recovering from cancer treatment and a hysterectomy in March.

Times staff writer Alexandra Del Rosario contributed to this report.

Thursday’s episode of Channel 5’s The Hotel Inspector saw two friends in Bramber, East Sussex, attempt to turn their hotel and pub around

The Hotel Inspector followed best friends Jack and Danny on Thursday’s episode as they attempted to save their hotel and pub.

The two pals, who had been best friends since meeting on a ski season in 2010, had decided to go into business together, gambling everything to run the 16th-century Castle Inn, a 20-bedroom pub and restaurant in the charming village of Bramber, East Sussex.

However, after six months, the two pals were struggling as occupancy had plummeted with Jack having to dip into his wedding funds and Danny uprooting his young family from Birmingham to East Sussex to make the business venture work.

Thankfully, British hotelier, businesswoman and The Hotel Inspector host Alex Polizzi was on hand to help the duo turn things around. Alex, 54, was unimpressed with the hotel’s bare and dated decor, including fake flowers and all white decoration everywhere.

Alex even admitted she was “horrified” by the “ghastly” sitting area, saying there was no charm at all in the hotel, even likening the space to a canteen.

As part of her plan to combat some negative online reviews, Alex invited three different duos to come and stay. However, the next morning, the hotel guests didn’t hold back their words as they provided honest and brutal feedback.

One guest said of the dining space and “wedding like” white padded chairs used: “We use these [the chairs] in mental health hospitals because then people can’t throw them at you…” to which Alex pointed out: “That’s a new low!”

It was then revealed that the guests would be invited back, where they could see the changes made at the hotel and then provide a review for the hotel.

Talking about the brutal feedback, one of the owners said: “Luckily we’ve actually got each other through this because otherwise I don’t think I could have gone through that complete pounding alone.”

After gathering a £5,000 makeover budget, the team got to work modernising the dining area into a contemporary and clean space with green panelling walls, as well as stylish new furniture. The team also made some changes to the bedrooms, providing luggage racks, stylish lamps and removing unnecesary furniture.

Alex advised the duo to invite all the locals over for a ‘meet the owners’ evening, which was a roaring success and the guests who had previously stayed there loved the new features, saying they’d be happy to stay again.

At the end of the show, after Alex’s work and advice was done, the duo provided an update four weeks later. They revealed: “Hi Alex, hope you’re well…

“Just wanted to say, thank you very much for everything you and your team have done here. The locals have been raving about the changes, the food offerings, and the new decor. The vibes around the village are great!

“We’ve noticed a strong traction in repeat customers and new ones. Thank you very much for your support, hopefully see you soon!”

The Hotel Inspector continues on Thursdays at 9pm on Channel 5.

We spoke exclusively to Detective Hole creator Jo Nesbø and lead star Tobias Santelmann about the Netflix crime drama’s future

Netflix has only just dropped its thrilling new crime drama Jo Nesbø’s Detective Hole but some viewers are already keen to know if there will be another series.

The nine-part detective series is adapted from best-selling crime author Nesbø’s The Devil’s Star and takes Netflix viewers on quite the ride.

Detective Hole follows troubled detective Harry Hole (Tobias Santelmann) as he races against the clock to track down a serial killer before they can strike again.

At the same time, Harry is locked in a dangerous cat-and-mouse game with crooked fellow police officer Tom Waaler (Joel Kinnaman).

Will there be a Detective Hole season 2?

In an exclusive interview with Mirror publishers Reach Plc, creator Nesbø, lead actor Santelmann and Beate Lønn star Ellen Helinder addressed the future of the show.

Nesbø said: “No plans yet [for a season two]. Right now, we’re just concentrating on getting this TV series out to the audience and we’ve been working on this for three years now.

“So, just the thought of starting all over again right now is a bit premature and we’re so exhausted right now that we want a vacation.”

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However, Harry Hole star Santelmann said: “I’m ready. You might be exhausted.”

Nesbø jokingly added: “You’re ready? Then I’m ready too for season two.”

The crime author admitted that he hadn’t yet thought about the direction he’d like to take the show in or which Harry Hole novel a possible season two might take.

Meanwhile, actress Helinder, who portrays the brilliant forensics officer Beate, shared her hopes for more seasons of Detective Hole: “Just to keep working with these amazing people and develop the characters even more.

“There’s so much to find in these people, who work within the law enforcement.

“Even more the morality, the ethical dilemmas and how is Harry going to cope with everything? Who is Beate? I would like to explore her backstory.

“I think this ability that she has for facial recognition is so cool, just for her to keep tracking cases and doing her thing.”

Given Jo Nesbø’s Detective Hole has only just been released, Netflix will be keeping an eye on the viewing figures before making any renewal decisions.

The Devil’s Star is just one of 13 Harry Holes books that Nesbø has written, so there is plenty of content for the programme-makers and indeed the author, who also served as the screenwriter on the Netflix series, to draw on.

Jo Nesbø’s Detective Hole is streaming on Netflix now

LOVE Island’s Lucinda Strafford has been praised for showing off her natural skin as she gets her lips injected with filler in a new video.

The villa star, who is in a relationship with Sean Stone, popped into Jessica Rose Aesthetics for a couple of treatments.

She was makeup-free for the beauty session which included filler in her nose and 1ml of Revolax pumped into her lips.

Her eyes caught the attention of viewers as did her spots, with viewers pleased to see her proudly displaying them and urging her to represent brands that treat them.

Lucinda commented on the post: “The most humbling tiktok to ever see tbh xxx.”

She needn’t have felt self-conscious as all the comments were positive.

CITY OF LOVE

Love Island’s Lucinda jets off with Sean for a romantic trip to Paris

steady on

Lucinda and Sean accused of ‘moving too fast’ as she tries on WEDDING DRESSES

One follower posted: “She deffo needs to be on as many acne brands as she can, because this girl would be a role model for so many young women. You can be beautiful and have spots!”

Another said “She makes acne look hottt! Beautiful girl inside and out.”

A third shared: “She’s so gorgeous it’s crazy.”

A fourth commented: “Her eyes are insane.”

In the video, Lucinda did her best to stay still, only flinching slightly as the needle pierced her lips.

It comes amid her trip to Paris with Sean Stone, their first holiday as a couple.

In one sunny snap in front of the magic castle, Lucinda wore Minnie Mouse ears and captioned it: “Living our fairytale…”

They also visited the Eiffel Tower with Lucinda looking incredible in a tiny polka dot skirt.

The trip to the French capital saw the couple get off to an early start, and Lucinda struggled with her bulging suitcase.

The pair checked in for an EasyJet flight at 6.50am.

After weighing their cases, the couple grabbed breakfast in the airport before boarding.

Lucinda tucked into eggs Benedict while Sean appeared slightly flustered, keeping an eye on the time.

Things quickly turned chaotic as the pair were seen sprinting through the terminal in a last-minute dash for their flight.

Lucinda admitted she had no idea where they were staying, teasing fans that the hotel was a surprise.

The couple were then seen arriving at luxury accommodation before heading out to enjoy a romantic lunch.

Gushing over the glam getaway, Lucinda declared: “This is going to be the best holiday ever!”

Tom Skinner, an entrepreneur who was on The Apprentice in 2019, appeared on Question Time in Clacton-on-Sea, Essex, which featured a debate about social media giants

TV personality Tom Skinner squirmed under interrogation from Fiona Bruce during a showdown about social media on Question Time.

The presenter of the topical debate programme accused Mr Skinner, 35, of being “part of the problem” amid the debate around the pros and cons of apps, such as TikTok and Instagram. The entrepreneur regularly posts videos to his 536,000 TikTok followers, including clips of him eating full English breakfasts at his favourite café. He told Question Time he also makes money by promoting products on Instagram, TikTok and other apps.

But Ms Bruce fronted him on his use of the platforms, suggesting he himself was actually playing into the challenges young people and their parents face with social media. Meta and Google were this week found liable for causing addiction in users in a landmark £2.2million legal case, which led to last night’s debate around how they government should help protect children from such addiction.

Addressing Mr Skinner, the host said: “As you said, you are benefiting from social media, you make part of your living that way and, part of the reason you are able to do so is because of the addictive algorithms that will push people towards yours (social media content)… It is giving you a platform, and job opportunities come your way because of it. In the nicest possible way, you are part of the problem.”

The remark led to a wry smile from Justice Minister Jake Richards, also on the panel in Clacton-on-Sea, Essex. Dad-of-three Mr Skinner hesitated as he answered, eventually insisting his videos are harmless.

READ MORE: Calls mount for UK social media ban as Meta hit with ruling over ‘addictive’ appsREAD MORE: Parents across UK to get new powers to limit teenagers’ social media use under trial

Ms Bruce, presenter of the programme since 2019, said: “How can you on the one hand say ‘people shouldn’t be doing it so much’ but, on the other hand, you are benefiting from it?” It left the entrepreneur stuttering again, before he went on to stress the importance of the roles parents should play in protecting children.

“It’s bad. It’s bad when people sit on their phone all day. I’ve seen it myself. I’ve done it myself, I sometimes know I’ve got to be up in four hours and I’ve sat there and I’ve scrolled my brains through, watching absolute nonsense,” Mr Skinner, from Romford, east London, said.

Other panellists defended Mr Skinner, arguing his clips are innocent and “do not drive the worst of the algorithms”. The case this week heard Meta and Google both were negligent in the design or operation of their platforms — including the “infinite scroll” feature that was claimed to trigger addiction in users.

The jury also decided each company’s negligence was a major factor in causing harm to a 20-year-old woman, who says her use of social media as a child addicted her to the technology and worsened her mental health struggles.

Both firms have strongly rejected the verdict and plan to appeal. Meta said: “We respectfully disagree with the verdict and are evaluating our legal options”. A spokesperson for Google added: “This case misunderstands YouTube, which is a responsibly built streaming platform, not a social media site.”

OLIVIA DEAN proved she’s unstoppable after sweeping the MOBO Awards – just weeks after dominating the Brits.

The singer scooped Best Female Act, Album Of The Year for The Art Of Loving and Song Of The Year for Man I Need, cementing her reign at the top.

It means Olivia has now cleaned up at two of the biggest nights in British music in a matter of weeks – a seriously impressive streak.

Fresh from her chart-topping success, she also wowed with a stunning performance of A Couple Minutes, marking the song’s first televised outing.

There was another huge moment when Alesha Dixon made a surprise appearance to present Album of the Year to Olivia.

Elsewhere, Jim Legxacy took Best Male Act, Central Cee won Best Hip Hop Act and Raye picked up Video Of The Year, while Flo continued their rise with Best R&B/Soul Act.

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Special honours went to Pharrell Williams and Slick Rick, with the latter also taking to the stage.

Performances were just as big, with Flo debuting new music, Aitch bringing out schoolkids to join him on stage, and a huge Grime 25 medley featuring Chip and Wiley.

The star-studded night drew a huge crowd, with Leigh-Anne Pinnock, Emeli Sande, Tinie Tempah and Love Island stars Indiyah Polack and Ella Thomas all spotted on the carpet.

Earlier in the day, I caught up with some of them on the VIP train from London, where DJ Davda had kicked the party off.

In an exclusive chat, Keisha Buchanan – who later presented an award alongside Little Mix‘s Leigh Anne – told me: “It’s always a vibe – they have the best parties.”

Teasing new Sugababes music, she added: “We have new music coming this year, sooner than people think.”

Indiyah and Ella were dancing through the aisles, with Ella even bringing her dog along for the ride as the carriage turned into a rave.

Meanwhile, Tobi Brown kept it real, saying: “I don’t function this early.”

• The bash airs on BBC One at 11.25pm tomorrow night

Singer-songwriter FKA twigs is suing her ex-boyfriend, actor Shia LaBeouf, claiming that he is trying to “silence” her from speaking out against sexual abuse through the use of an “unlawful” nondisclosure agreement.

The complaint, filed in Los Angeles Superior Court on Wednesday, seeks a court order to prohibit LeBeouf from enforcing sections of an NDA which Tahliah Barnett — the Grammy Award-winning singer’s legal name — says violates California law.

“Shia LaBeouf has tried to control Tahliah Barnett for the better part of a decade,” the filing states.

“This action was taken in response to Mr. LaBeouf’s attempt to bully and intimidate twigs through a frivolous and unlawful secret arbitration he filed against her in December in which he sought to extract money from her,” said the singer’s attorney Mathew Rosengart, national co-chair of media & entertainment litigation at Greenberg Traurig in Century City, in a statement.

Rosengart added that twigs “refuses to be bullied anymore. She is instead standing up for herself and other survivors of sexual abuse who have improperly been silenced. This is the unusual case that is not about money but about justice and upholding and enforcing California law and policy designed to protect survivors by nullifying illegal NDAs.”

LaBeouf’s attorney Shawn Holley of Kinsella Holley Iser Kump Steinsapir denied the claims.

“When Ms. Barnett and Mr. LaBeouf both decided to resolve their differences and move on with their lives, no one forced her or ‘bullied’ her to stay silent,” Holley said in a statement.
“As a woman with agency, she decided to settle the case and accepted money to dismiss her lawsuit.”

The suit arises out of litigation that Barnett brought against LaBeouf in 2020, when she accused the actor of “physical, sexual, and mental abuse” during their relationship,” as well as “knowingly infect[ing]” Barnett with a sexually transmitted disease.” That case was settled last year.

In a response to the suit, the actor told the New York Times that “many of these allegations are not true.”

But he added, “I am not in the position to defend any of my actions. I owe these women the opportunity to air their statements publicly and accept accountability for those things I have done.”

In the statement Thursday, Holley added that the claim of sexual battery “was disputed, as were the other claims made in Ms. Barnett’s lawsuit.”

Shia LaBeouf poses for photographers upon arrival at the premiere of the film “The Phoenician Scheme” at the 78th annual Cannes Film Festival May 18, 2025.

(Lewis Joly / Invision / AP)

According to the new lawsuit, LaBeouf filed a secret arbitration complaint and “improperly sought exorbitant monies” from Barnett last December, claiming she had breached their agreement by violating its nondisclosure provisions after she gave an interview to the Hollywood Reporter in October.

In the interview, Barnett was asked if she felt safe and answered that as a woman of color in the entertainment industry, she “wouldn’t feel safe” and discussed her involvement with organizations that support survivors, saying, “I think it’s less about me at this point and more about looking forward. Just, you know, moving on with my life.”

The agreement Barnett reached with LaBeouf “contained a deficient and unlawful NDA that is unenforceable,” under California’s Stand Together Against Non-Disclosure Act, according to the complaint. The law forbids NDAs from being used to silence victims of sexual misconduct.

“As the California Legislature has made clear, survivors should have the right to tell their stories without fear or coercion, and California law does not and must not allow abusers and bullies to silence them through secret agreements containing unconscionable, unlawful gag orders,” the complaint states.

The lawsuit further alleges that while LaBeouf has sought to prohibit Barnett from talking about her abuse, he has “repeatedly brought up his relationship with Ms. Barnett—on his own and without being directly asked about her—materially breaching the very confidentiality provisions that he had just contended were fully enforceable against Ms. Barnett.”

While the actor agreed to drop the arbitration in February, he has “refused to acknowledge, however, that the NDA provisions are illegal and unenforceable,” the filing states.

The latest round in LaBeouf’s legal battle with Barnett comes just weeks after a New Orleans judge ordered the actor to begin substance abuse treatment and undergo weekly drug testing after he was arrested on suspicion of assaulting two men in the city’s French Quarter. LaBeouf was also required to post $100,000 bond as part of the conditions of his release. He was charged with two counts of simple battery, the Associated Press reported.

GO to Dungeon Lane today and it’s strange to think it occupies a special place in Paul McCartney’s heart.

Yet it will go down in pop history alongside other street names associated with him, joining Penny Lane and Abbey Road.

Situated in the Speke neighbourhood of Liverpool, the L24 postal district, a faded road sign sets the tone for its desolate air.

It is bordered on one side by a solar farm business and, on the other, by a fenced-off area of scrubland which separates it from the city’s John Lennon Airport.

Before you get very far, a bright yellow “emergency access gate” bars further exploration.

But, as a child, Dungeon Lane was McCartney’s gateway to a stunning rural idyll where he could escape the hustle and bustle of urban life.

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In the Fifties, the lane took him past a daffodil farm to the Oglet Shore on the widest stretch of the River Mersey.

I wonder if young Paul, a keen birdwatcher, ventured into this wilderness clutching his trusty The Observer’s Book Of Birds.

There, he may have spotted any number of waders — curlew, snipe, dunlin, black-tailed godwits.

What we do know is that his lifelong love of our feathered friends began in those days.

This helps explain the compositions dotted through his career such as Blackbird with The Beatles, Single Pigeon with Wings, Two Magpies with The Fireman and solo efforts Jenny Wren and Long Tailed Winter Bird.

To McCartney, his early rambles into the countryside represent humbler, simpler times before The Fab Four exploded on to the scene, before his storied life in the dazzling glare of publicity.

Sir Paul, 83, has called his 19th solo album The Boys Of Dungeon Lane . . . which is, as he suggests, a trip down memory lane.

He got the title from the lyrics of its first single, Days We Left Behind, released yesterday, a nostalgia-filled acceptance that he has a far longer past than future.

Intimate, beautifully sung with Macca playing acoustic guitar, bass, piano and harmonium himself (how does he do that!?), it is the first taste of a project that has been five years in the making.

“This is very much a memory song for me,” he says. “I was thinking about just that . . . the days I left behind.

“And I do often wonder if I’m just writing about the past — but then I think, how can you write about anything else?”

For McCartney, the song conjures up “a lot of memories of Liverpool. It involves a bit in the middle about John [Lennon] and Forthlin Road which is the street I used to live in. Dungeon Lane is near there.”

Paul was born on June 18, 1942, to his midwife mother Mary and salesman father Jim, and they moved with younger brother Mike to 20, Forthlin Road, Allerton, in the mid-Fifties from Speke, where they had lived since 1947.

We also know that Paul first bumped into John on July 6, 1957, at roughly 4pm, at a garden fete behind St Peter’s Church, Woolton.

In Days We Left Behind, he sings of the bond he formed with the lanky lad 20 months older than him: “We met at Forthlin Road/And wrote a secret code/To never be spoken.”

Continuing his reflection on the song, he says: “I used to live in a place called Speke which is quite working class.

“We didn’t have much at all but it didn’t matter because all the people were great and you didn’t notice you didn’t have much.”

As already mentioned, birdwatching was a hobby, one that required little cash and gave him a lot of pleasure “in the nearby woods and fields”.

A recent entry in Macca’s Spotify playlists, under the banner Sticking Out Of My Back Pocket, came accompanied by these musings . . .

“My mum had the midwife’s house on the edge of Liverpool, where we lived,” he says.

“It was where Liverpool just stopped and became deep countryside, so that was when I had the opportunity to do quite a bit of birdwatching.”

He particularly cherishes the moment he saw a “skylark rising into the sky, singing its sweet song”.

That unforgettable sight has found its way into Days We Left Behind, with its lines, “In the skies the skylarks rise/Above the sounds of war/Since that day I knew they’d stay/With me for evermore.”

All these decades later, he reflects: “And now because I live part-time on a farm [in Sussex], I’m able to see a lot of birds and I don’t need The Observer’s Book Of Birds quite so much as I did back then.”

McCartney’s new album promises to be one of the most personal, most autobiographical song cycles he’s ever recorded, while also finding room for up-to-date love songs dedicated to third wife Nancy.

Yesterday’s announcement states that it finds him in a “candid, vulnerable and deeply reflective mood, writing with rare openness about his childhood in post-war Liverpool, the resilience of his parents, and early adventures shared with George Harrison and John Lennon”.

I’m guessing here but songs yet to be heard, Momma Gets By and Salesman Saint, appear to be affectionate remembrances of mum Mary, who died when Paul was just 14, and dad Jim.

This is not the first time Macca has delved into his early years for songwriting inspiration.

I talked to him about the playful On My Way To Work, which appeared on his 2013 album, New.

He called it a “collection of memories all morphed together”, providing a fascinating glimpse into his life before Beatlemania.

“It’s about me going to my first job, before The Beatles took off, which was working on a lorry for a delivery company called Speedy Prompt Deliveries — SPD.”

McCartney described going to work on the council-run green and cream buses which led to him looking at risqué magazines like Parade.

“I’d go on the bus at some unearthly hour of the morning,” he said. “I might buy a magazine and look at the nudies. I was too young to be interested in the news!”

He remembered how hard-up kids like him ripped the fronts off cigarette packets and traded duplicates with their mates, instead of collecting “football cards or, like in America, baseball cards”.

“It was like, ‘I’ll swap you two Craven A for a Woodbine’. Then there were the posh brands because this bus route went from the centre of Liverpool to the outskirts.

“Posh people would be smoking Passing Clouds or Sobranies and packets of those were very prized.”

Another song, Queenie Eye, referenced a childhood street game from “1940s Britain”.

“It’s what we used to get up to before video games and that whole home entertainment thing,” he said.

“Someone would be elected to be ‘the one’ or the ‘queenie eye’. We’d all stand behind that person and he would throw a ball over his head and one of us would catch it and hide.

“Then we would all chant, ‘Queenie eye, queenie eye, who’s got the ball? I haven’t got it. It isn’t in my pocket!’ It was simple entertainment for simple minds but great fun.”

Now it is time to return to the 2020s and the creation of The Boys Of Dungeon Lane, the follow-up to his captivating lockdown album, McCartney III.

This time, we’re told we can expect “Wings-style rock, Beatles- style harmonies and McCartney-style grooves”.

The process began around five years ago when Macca met American live-wire producer Andrew Watt, known for his work with Ozzy Osbourne, Lady Gaga, Post Malone and The Beatles’ greatest Sixties chart rivals, the Rolling Stones.

Watt, I gather, “pulled a guitar” on his latest rock icon, who instantly happened upon a chord he didn’t recognise.

As the story goes, the ever- experimental McCartney changed one note, then another, until he had a three-chord sequence.

That led to his new record’s opening track, As You Lie There, which in turn set the ball rolling for the other 13 songs.

It’s remarkable that, as with McCartney III, he is credited with playing all the instruments himself across the whole thing.

It brings to mind how at ease this enduring music obsessive seemed as he suggested specific drum beats and fills to Ringo Starr in The Beatles’ Get Back documentary.

With Macca still touring and playing momentous shows like his 2022 Glastonbury epic, Days We Left Behind has been honed over half a decade when time permitted.

During that period, he even managed to introduce the Stones to producer Watt, who helmed their 2023 comeback album, Hackney Diamonds.

When McCartney was in Los Angeles working with Watt, he was brought in to play bass on Mick Jagger and Co’s punk blast, Bite My Head Off.

Upon its release, I spoke to Keith Richards who was made up over their special guest.

“Yeah, Macca just strolled in with his bass,” the guitar legend drawled. “I think the song reminded him of those times [in the Sixties]. Beatlemania was equally as bizarre as Stones mania.”

There’s a moment towards the end of Bite My Head Off where you can hear someone saying, “Come on Paul, play something”.

“That might have been me,” smiled Richards.

But this is all about Britain’s greatest living songwriter, Paul McCartney, and his new album The Boys Of Dungeon Lane.

Time is precious but when it comes to music and life, he’s still facing forward at 83 — even if he’s remembering a youth long ago when “in the skies, the skylarks rise”.

The Slaters have finally seen the video that proves Jasmine killed Anthony in self-defence, but Kat isn’t so convinced that the teen is innocent, despite what Zoe says

Finally, Jasmine Fisher‘s video evidence that killing her biological father Anthony Trueman was an act of self-defence has come to light. After watching the video during Thursday’s episode of EastEnders (26 March), Zoe Slater rejoiced that her daughter would soon be free. But Kat was less sure of Jasmine’s innocence, even after she saw what really happened.

Jasmine (Indeyarna Donaldson-Holness) was arrested for murder earlier this year and insisted that she only killed her father because he was going to kill her. She even had a video to prove it, in which Anthony (Nicholas Bailey) could be seen charging at her, but her phone mysteriously went missing as she was cuffed.

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Max Branning (Jake Wood) had stolen it, and Cindy Beale (Michelle Collins) stole it from him. Without the phone, many, including Jasmine’s boyfriend Oscar Branning (Pierre Counihan-Moullier) and her grandfather Patrick Trueman (Rudolph Walker), believed her to be a cold-blooded murderer who was lying to save herself from prison. But this week, Cindy brought the phone back to the Slaters, who then watched the video.

While Zoe immediately jumped into action to make sure the video could be used for Jasmine’s defence, and Oscar went to visit Jasmine and apologise for not believing her, Kat (Jessie Wallace) confided in Alfie (Shane Richie) about her doubts. She asked Alfie if Jasmine really had to hit him so hard, and implied she wasn’t sure Jasmine’s response was proportional to how scared she was.

Jasmine later revealed to Oscar that her lawyer was having similar thoughts. She had been told that she would still need to stand trial to prove it was reasonable force.

Some fans weren’t sure why Kat was being so suspicious about her granddaughter. One wrote: “Why is Kat so against Jasmine- like you’ve seen video evidence now honey?”

Another agreed emphatically: “Right, like, what did she expect her to do with a crazy man charging at her but protect herself by any means?” A third asked: “Does Kat not like Jasmine still even after seeing the evidence?”

Elsewhere in the episode, Jasmine’s brother Josh Goodwin (Joshua Vaughn) learned that his new beau was in fact his twin’s ex. After Oscar went to see Jasmine, the two decided to give their relationship another go, which he later told Josh.

Josh, it seems, had already developed feelings for Oscar, but kept that secret and instead teared up as Oscar told him what Jasmine was like. Fans are split on who they want Oscar to end up with, with some saying he has more “chemistry” with Josh, and others saying he and Jasmine are “fun”.

How much the fans are split has led some to wonder if EastEnders will ask the public to choose who Oscar’s eventual partner is. The show previously held a vote like this so that the public could decide if Denise Fox (Diane Parish) would end up with Ravi Gulati (Aaron Thiara) or Jack Branning (Scott Maslen). Ultimately, the public chose Jack.

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Scrubs fans have been wondering if any more original cast members will return.

Fans are wondering if one of the most beloved characters from the original series of Scrubs will appear in the revival.

*Warning – this article contains minor spoilers for the revival series of Scrubs*

A few weeks into the new season, we have already been reacquainted with JD, Turk and Elliott played by Zach Braff, Donald Faison and Sarah Chalke respectively. Early episodes have also featured brief appearances by John C McGinley’s Dr Cox and Judy Reyes’ Carla.

Unfortunately they are not series regulars for the new iteration. Although the Todd has been a more regular occurrence.

The Janitor was an instant favourite in the original series. He appeared during the original eight season run and was played by Neil Flynn.

Most dedicated viewers will know that the writers first considered the role would actually be a part of the main character’s imagination but they soon abandoned that idea part way through the first season.

He did not appear in the ninth season, having apparently quit as soon as he found out his adversary JD no longer worked at the hospital. Behind the scenes, Flynn’s commitment to starring in the sitcom The Middle at the same time prevented him from appearing.

But will the Janitor appear in the new series? Here’s what we know so far.

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Is the Janitor in the new series of Scrubs?

Yes, the Janitor is due to make an appearance in the series. A video shared to the show’s official Facebook page back in February confirmed it by sharing a short video. It was captioned: “Oh, he is SO back. Neil Flynn is scrubbing back in to Scrubs.”

However, the actor was not in his character’s usual attire. Instead of his maintenance overalls, he is seen wearing a suit. The person behind the camera drops a disposable coffee cup before Flynn enters the shot and says: “I’m not cleaning that.”

This clip sparked more than a 1,000 comments of fans sharing their excitement to the news. One person simply stated: “Best. News. Ever!” Another replied: “Shut the front door!?!!! I cannot waaaait!! I was getting so worried because I hadn’t seen him in any of the sneak peeks.”

However, six episodes have been released so far and Flynn is still to appear. The show seems in no rush to offer up more cameos as it spends time introducing fans to the new characters. This week, in the sixth instalment, only just saw the reintroduction of another beloved role – the stuffed dog Rowdy, who was revealed to now be living in JD’s office.

There only three episodes left of the revival series according to its Wikipedia page, so it should not be long before Flynn appears. We still don’t know for sure which one it will be though. It could be that the makers of the show are saving something special for the finale.

Scrubs is streaming on Disney+.

• The shift to L.A. Live will place the ceremony within a larger, campus-style complex, allowing the red carpet, show, press operations and post-show events to be staged in a more centralized footprint with increased capacity.

• The move will coincide with the Oscars’ shift to YouTube, part of a broader reset for the ceremony as it looks to expand its global reach after years of declining television viewership.

The Oscars are leaving Hollywood — or at least Hollywood Boulevard.

Beginning in 2029, the Academy Awards will move from the Dolby Theatre, their home for nearly a quarter century, to L.A. Live in downtown Los Angeles, the Academy of Motion Picture Arts and Sciences and AEG announced on Thursday. The ceremony will be held in the theater currently known as the Peacock Theater, which is expected to be renamed before the Oscars arrive as part of a new naming rights deal.

The new agreement runs through 2039. Discussions about the move have been underway for the last couple of years, according to people familiar with the planning who were not authorized to speak publicly.

The change in venue comes as the Oscars are also moving away from their traditional home on broadcast television. Earlier this year, the Academy announced that the ceremony will begin streaming live worldwide on YouTube in 2029, ending a five-decade run on ABC.

Since 2002, the show has been closely associated with Hollywood Boulevard, where the red carpet runs alongside the Walk of Fame and, for one night a year, the area becomes the symbolic center of the film industry. The Dolby Theatre sits at the corner of Hollywood and Highland, inside a retail and entertainment center near the TCL Chinese Theatre and the El Capitan.

L.A. Live offers a more centralized, campus-style setting, with venues and event spaces clustered together. The complex is adjacent to Crypto.com Arena and the Los Angeles Convention Center and is part of a larger sports and entertainment district developed and operated by AEG that regularly hosts concerts, sporting events and awards shows, including the Emmys and the Grammys. AEG has recently proposed adding a new hotel, residences and additional entertainment space to the complex, part of a longer-term expansion of the site.

In some ways, the move out of the Dolby is less a break than a return: The ceremony was staged for years in downtown L.A. at the Dorothy Chandler Pavilion and at the Shrine Auditorium before settling at the Dolby.

At the Oscars’ new home, the red carpet, ceremony, press operations and post-show events can all be staged within a compact footprint that includes the adjacent JW Marriott hotel and its ballroom. The theater itself is expected to undergo upgrades to its stage, sound and lighting systems, allowing it to be configured more specifically around the show. The move is also expected to increase capacity, a growing consideration as the academy’s ranks have expanded significantly in recent years, now numbering more than 11,000 members.

At the Dolby, space has long been tight. Each year, multiple blocks of Hollywood Boulevard are shut down for days at a time, rerouting traffic and turning the area into a heavily secured zone — conditions that were even more restrictive this year with security tightened further amid the war in Iran, including a one-mile police buffer around the theater.

The Academy had been looking for a venue that offered greater control over how the show is staged, including how the audience is arranged and how the room is used for both the broadcast and the live event. The new venue is expected to provide more room for press areas, green rooms and backstage operations, along with upgraded technical infrastructure for staging the ceremony.

Early design renderings released by the academy suggest that, for viewers at home, the Oscars may not look all that different. The stage retains the sweeping, curved proscenium that has defined the Dolby Theatre era, suggesting a similar visual approach at a larger scale, with expanded screen space and a more immersive ceiling design.

For both the academy and AEG, which owns and operates the complex, the appeal is in keeping everything in one place — arrivals, ceremony, the Governors Ball and afterparties — rather than spreading events across multiple locations. The setup also creates new opportunities for hospitality and sponsorship tied to the broader campus.

“L.A. Live was built to host the moments that define culture and there is no greater global stage than the Oscars,” said Todd Goldstein, AEG’s chief revenue officer. “Together, we will create an environment that celebrates creativity, honors excellence and delivers an unforgettable experience for movie fans everywhere.”

Taken together, the changes amount to a significant reset for the Oscars, which have seen their audience decline from more than 40 million viewers in the late 1990s to 17.9 million this year, down 9% from the previous year. Moving to YouTube offers a way to reach a broader, more global audience at a time when traditional television viewership has declined.

The Oscars will remain at the Dolby through the 100th ceremony in 2028 before making the transition the following year.

“For the 101st Oscars and beyond, the Academy looks forward to closely collaborating with AEG to make L.A. Live the perfect backdrop for our global celebration of cinema,” Academy Chief Executive Bill Kramer and President Lynette Howell Taylor said in a statement.

The new series of Beyond Paradise will see ‘unexpected hurdles’ for Humphrey Goodman and Martha Lloyd

Beyond Paradise returns for a new series on Friday night and fans will be delighted.

Series four episode one sees Detective Inspector for Shipton Abbott Police Station, Humphrey Goodman, played by Kris Marshall, investigate a crime novelist’s death that eerily mirrors the details of his final novel. Humphrey must uncover whether it was a coincidence or murder by design…

Meanwhile, The Lily Bond is caught adrift leaving Humphrey and Martha Lloyd, played by Sally Bretton, back home with Martha’s mother Anne Lloyd, played by Barbara Flynn.

However, things won’t be plain sailing for the couple in series four as Martha star Sally, 45, teased that the duo will face “unexpected hurdles”.

Talking ahead of series four, Sally said: “They have so much fun in this series, but as always, there are unexpected hurdles.

“They’ve taken on a huge house project that is stunning but comes with plenty of problems, and Martha is constantly juggling her business, the builder, the new home, and Humphrey.”

Meanwhile, Humphrey star Kris, 52, teased of his character and series four: “He’s finally a married man!

“They’ve put fostering on the back burner to focus on their new house project, which, as you can imagine with Humphrey’s clumsiness, is a recipe for disaster. He’s not at all gifted in the DIY department, causing more issues than he solves.”

Talking about Humphrey being forced to part ways with his beloved houseboat this series, Kris added: “Ever since we met Humphrey in the Caribbean, he’s been a frustrated sailor.

“He loves the romanticism of being on a boat and is always drawn to the water, so he is sad that this chapter of his life has closed. However, their new house is in the perfect location, and hopefully there will be more boats in his future.”

Elsewhere, a synopsis for series four teases: “DI Humphrey Goodman and the Shipton Abbott team are back, facing a fresh wave of mind-boggling puzzles. From the suspicious death of a crime novelist, whose final plot eerily mirrors their demise, to an intruder who returns to undo the crime scene they created, the team have their work cut out for them.

“Set against the breathtaking landscapes of Devon and Cornwall, fact and folklore blur when a witness claims a mermaid wrecked a local seaweed farm, an off-grid community fight developers with the image of the Green Man, a Morris dancer is targeted in plain sight, and a stolen pirate map reappears under mysterious circumstances.

“Beyond the station, Humphrey and Martha launch into married life as they search for a new place to call home, all whilst Humphrey faces mounting pressure when tasked with an impossible decision that will change his team forever.

“Meanwhile, Anne rises to new heights as a local councillor, Esther is forced to grapple with the consequences of her past choices, and Zoe starts planning her next steps. Elsewhere, Kelby’s dating life takes an unexpected turn when he meets someone online, but Margo spots warning signs that all may not be as it seems…”

Beyond Paradise returns this Friday at 8pm on BBC One and BBC iPlayer.

When you think of your earliest memory of reality television, what comes to mind? Is it “The Real World,” “Survivor” or “The Bachelor”? Perhaps it’s other fare like “Project Runway” or one of the “Real Housewives” franchises.

Growing up in the ‘90s and early aughts, my first exposure to reality programming was MTV’s slate of shows like “Real World” and “Road Rules” — thanks to being the youngest of four siblings, I was exposed to shows that were, in hindsight, too risque for me at too young an age. But they left an indelible mark. I saw Irene McGee of “Real World: Seattle” get slapped by her roommate Stephen Williams, a moment that at the time sent shock waves. Genesis Moss, of the Boston cast, was one of my earliest exposures to a gay person on TV. And Melissa Howard of the New Orleans season showed me how you can be 5-foot-2 and unapologetically feisty — as someone with a similar build and demeanor, I took that to heart.

Over the years, I’ve sometimes dismissed reality TV because it felt a little too personal or a little too competitive. I often wonder about the psychological effect on participants as their lives are laid bare for all to see. However, I can’t deny their appeal and why fans have continued to gravitate toward these shows season after season. They make for excellent watercooler talk; in recent weeks, my co-workers and I have spoken endlessly about “The Bachelorette” and Taylor Frankie Paul, and who did or didn’t stay married from Season 10 of “Love Is Blind.”

Few of us knew in the early days what effect reality television would have on the culture or how it would create a new type of star. Reality TV personalities have become influencers, pop culture icons and even political figures. One is the president.

And many shows have not only endured, they’ve spawned universes, international adaptations and spinoffs. Bravo, a TV channel that used to focus on the performing arts, is now an unscripted powerhouse that even has its own convention, BravoCon, where its various universes come together in service of fans.

What does that say about us as viewers? There’s always been a fascination with peering into the lives of others, seeing how they react to everyday problems under the glare of a camera. Perhaps it is a way to deflect from the reality of our own lives, which under the guise of normalcy is straining with the weight of political upheaval and economic turmoil, not to mention personal strife. Seeing someone else onscreen deal with their reality is sometimes the best escape.

So like it or not, reality television is here to stay.

The mysterious character is introduced early on in the Netflix series

*Warning: Contains major spoilers for Something Very Bad Is Going To Happen*

Netflix today released (March 26) all episodes of its highly-anticipated horror series Something Very Bad Is Going To Happen which explores the dark side of wedded bliss.

The eight-part show is created by Haley Z. Boston (Brand New Cherry Flavor) and executive produced by the Duffer Brothers (Stranger Things), and centres around a young couple, Rachel Harkin and Nicky Cunningham, in the week leading up to their wedding.

While the duo initially seem a match made in heaven, things start to unravel as Rachel (Camila Morrone) meets her soon-to-be-spouse’s family for the first time while they prepare for their big day at the sprawling, remote cabin owned by Nicky’s (Adam DiMarco) parents.

During her first encounter with Nicky’s siblings at the cabin, Rachel is told the story of the Sorry Man, a mysterious presence who allegedly roams the woods outside looking for women to murder.

Nicky’s sister Portia (Gus Birney) takes great pleasure in revealing that the Sorry Man believes his long-lost love is hiding inside another woman. She says that if he gets the scent of blood, he wastes no time in tracking down and ripping open the woman who is bleeding.

The tale originates from Nicky’s older brother Jules, who claimed to have seen the Sorry Man for himself when he was a child. The whole family are aware of the story, including Jules’ own son who lives in fear of the creature.

The Sorry Man and whether or not he will appear is one of the show’s enduring mysteries – especially after Rachel gets a nose bleed – until a major reveal explains what is really going on.

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As viewers know, Rachel is battling a curse that kills anyone in her family line who marries someone who is not their soulmate. That curse affected her own mother (portrayed by Victoria Pedretti) who shortly after wedding Rachel’s dad, collapsed while bleeding from her eyes.

As his new bride was pregnant, Rachel’s dad was forced to tear open his dead wife’s belly to save his unborn child all the while repeating “I’m sorry” as the tragic moment unfolds.

Viewers learn that Jules was actually present that day as the newlyweds had been staying at a cabin nearby to his family home. He had been hiding under the bed in their holiday cabin after leaving home and so witnessed Rachel’s mother die, and her father then tear her open, leaving him with the idea of the Sorry Man.

The moment of Rachel’s mother’s death was caught on a home video tape which is later shown to Rachel after the Sorry Man – a.k.a her actual dad – invades the Cunningham home and kidnaps Rachel in the dead of night to stop her from suffering the same fate as her mother after hearing about her impending wedding to Nicky.

Jules’ son sees Rachel being kidnapped and informs his dad, who tracks down where Rachel is being held. When he finds her, he recognises who he believes to be the Sorry Man, before Rachel informs him that is actually her dad.

Jules then realises what he witnessed that day as a child was the Harkin family curse unfolding, not a murder, and that he was actually present at Rachel’s birth.

Something Very Bad Is Going To Happen is now streaming on Netflix.