SHOW BIZ

Amazon’s Prime Day sale is underway, and members can subscribe to platforms such as Apple TV, Paramount+ and MGM+ with up to 60% off.

Amazon has slashed the price of Apple TV, Paramount+ and MGM+ by up to 60% to mark the start of its latest Prime Day sale. On Tuesday (June 23), the retail giant kicked off its latest site-wide sales event, where subscriptions for several major streaming platforms now start at £2.99.

During the sale, Amazon customers can bag an Apple TV subscription for half price at £4.99 (was £9.99) per month. Those securing the deal will lock in the lower price for two months, after which it reverts to the usual £9.99 until cancelled.

Similarly, MGM+ – the home of Project Hail Mary – is now £2.99 (was £5.99) for two months, while Paramount+ is £2.99 (was £7.99) for one month. The deals are running until July 2 and come as Amazon kicks off its Prime Day 2026 sale.

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Across June 23-26, there are discounts on thousands of items exclusively for Prime members or shoppers on a Prime 30-day free trial. Elsewhere in the sale, Prime Video is offering free trials of Lionsgate+, Studiocanal Presents and Crunchyroll.

A caveat is that both the reduced streaming subscriptions and free trials will roll on to standard paid subscriptions at the end of the promotional period. This means subscribers should make sure to cancel their subscription before the end of the discounted or free period if they want to avoid paying the standard rate.

Get Apple TV half price for two months

£9.99

£4.99

Amazon | Apple TV

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Amazon customers can subscribe to Apple TV through Prime Video for £4.99 per month for two months until July 2.

Elsewhere, Sky is giving away streaming subscriptions at no extra cost with its TV packages, with customers signing up for the £24 Ultimate TV bundle able to claim free access to Netflix, HBO Max and Disney+. It also comes with around 135 channels, including Sky Atlantic

For those opting for Apple TV, the streamer has released some highly acclaimed titles already this year. Including comedy horror Widow’s Bay, which holds an impressive 98% Rotten Tomatoes score.

Just launched is the sophomore season of Sugar. The neo-noir detective series led by Colin Farrell as private investigator John Sugar.

Also available to stream are beloved series like Ted Lasso, Severance and Slow Horses. Alternatively, Apple TV offers a seven-day free trial when signing up directly on the platform.

MGM+ also has some hit new titles streaming now, such as Ryan Gosling’s space epic Project Hail Mary. The box-office smash only hit cinemas in March but is included at no extra cost with the Amazon deal, alongside series like Outlander and the James Bond film catalogue.

On Paramount+, members can catch the latest series of Michael Fassbender’s spy thriller The Agency and new episodes of Yellowstone spin-off Dutton Ranch. These are also available on the Paramount+ platform, which is running its own £2.99 deal.

Little Disasters is a gripping Channel 5 drama series that has been keeping viewers on the edge of their seats.

Channel 5 audiences have been gripped as they follow the compelling series Little Disasters, starring EastEnders‘ Jo Joyner, Bridgerton’s Shelley Conn and The Office’s Patrick Baladi.

The six-part drama chronicles the lives of four friends who have been close for a decade. Yet their bond faces its ultimate test when a single incident transforms everything.

When one of the women, Jess (Diane Kruger), brings their baby daughter to hospital with an unexplained head injury, her close friend and A&E doctor Liz (Jo) finds herself with no option but to alert social services.

This triggers a devastating domino effect as the pressures of motherhood, hidden truths and feelings of guilt are all laid bare in the Channel 5 drama.

Meanwhile, the central question persists: what truly happened to the baby to cause her injury?

The concluding episode of the series is scheduled to broadcast this week, with revelations that could potentially shatter the group completely unveiled, reports the Express.

Last year, actress Jo posted some behind-the-scenes photographs from her time filming the programme, including shots of her alongside castmates wearing prosthetic pregnancy bumps in a flashback sequence.

Another image captured Jo wearing a pink wig, which was donned by Emily Taaffe in one episode. Further snaps featured the cast relaxing during breaks, sharing meals and enjoying games.

Others show Jo smiling at the camera sporting various hairstyles. She captioned the post: “What I did last summer…! After three months in Malta, I had two weeks at home before heading off to Budapest to film the first half of #littledisasters an adaptation of the gripping novel by @svaughanauthor. It was just long enough for me to change my hair from blonde to dark brown with the help of Tracy @westgate_salon & @racoonintl”.

“Filming in 38 degrees in the bustling city surrounded by a wealth of talent. Sitting next to a beautiful and talented Chanel model every morning in makeup, whilst having broken veins and dark circles painted on me, did nothing for my ego.

“But getting to play the down-to-earth, capable and witty Liz more than made up for it. Blessed to have spent the hours off set having great meals, hikes and conversation, and not to forget, crosswords- with the best of cast mates, glad and grateful for the visits from friends and family @n1cky00.

“Yes, we did all try the pink wig on! Choosing baby bumps is harder than you’d think. After spending the first half of the year away, it was a joy to come home and film the remainder in Richmond last summer.”

Little Disasters is currently available to stream on Channel 5.

TV host Lorraine Kelly saw her team lose jobs in the IT shake up – her show Lorraine has been slashed to 30 weeks a year and gone from an hour to 30 minutes on screen

Lorraine Kelly has said the ITV cuts to her show have left her feeling “really rubbish” as rumours continue that she could leave.

The TV host has now been on screen for over 40 years, but said in an interview last year she was “not done yet” despite ITV cutting her hours. As part of daytime ITV budget cuts her show Lorraine has been slashed to 30 weeks a year and gone from an hour to 30 minutes on screen.

Speaking to Saga magazine when asked how she felt about what happened, Lorraine said: “Really rubbish. A lot of my team got made redundant. It was really hard and harder for them. We were very close-knit, but it’s all about budget. All television shows are in the same boat, we’re not alone.”

She went on to insist despite the role and hours changing, it was still “the best job in television” with lovely guests. Lorraine, 66, also spoke in the interview about her beloved dad John dying aged 84 in January and her mum’s health.

She said: “Mum’s health’s bad, but she’s grand. She’s very self-sufficient, like all those war babies are. I always keep an eye on her but don’t let her know I’m keeping an eye on her. I’ve said, ‘You can stay with us any time for as long as you like’. It’s weird. When something massive is happening, your hand still goes to your phone. Dad is – I keep speaking about him in the present tense – really into space. When [NASA’s rocket] Artemis II flew around the moon, I wanted to say, ‘Are you watching this? It’s amazing’. Then you remember he’s not there.”

She added: “When Dad wasn’t well, it brought us closer, supporting each other. It’s been a tough time, but the conversations you have with your relatives you wouldn’t have had otherwise are amazing: you talk about the past and then the wedding – that’s a new beginning.”

Lorraine is upbeat and optimistic despite a series of setbacks in life in recent months. In June 2025 Lorraine was told she was a “national treasure” during an interview and replied: “Well, that’s nice, but it’s only because I’ve been around for so long.

“I’ve been doing telly for over 40 years. It’s mad isn’t it? It’s absolutely crazy. I started in breakfast telly in 1984, and I’m still getting away with it. Extraordinarily.”

Speaking to Tom Kerridge on the Proper Tasty podcast, she added: “40 years in TV last year was incredible. I got a BAFTA. ‘Here’s a BAFTA for being alive’. I thought, ‘Hang on a minute, I’m not done yet’.”

Lorraine was told in person by ITV boss Kevin Lygo about the changes to her show which began at the start of 2026. Reports have suggested she is considering leaving her ITV show in the future and could work for BBC or other broadcasters. She made her Radio 2 debut at Christmas presenting in Jeremy Vine’s midday slot during the festive period. Her presence would also likely give any other channel a ratings boost if she ever moves, as she remains hugely popular.

* The full interview with Lorraine is in July’s Saga magazine, out now.

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ASHLEY Cain has spoken out for the first time since he was axed by the BBC after allegedly making degrading comments about women online.

The reality TV star penned an apology on Instagram, addressing “language I used many years ago that I am not proud of”.

The 35-year-old was dropped by the Beeb last week after historic social media posts came to light which were deemed “offensive” to women.

His BBC Three documentary Into The Danger Zone has been shelved for its second season.

In response to a disastrous day as he was dropped by his management, Cain took to Instagram to address the controversy.

“You may have seen a recent article concerning language I used many years ago that I am not proud of.

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“I don’t deny it. I don’t excuse it. And I certainly don’t condone it,” he began.

Cain blamed the loss of his football career as one of the factors which caused him to feel “lost, frustrated and unsure of where my life was heading”.

He went on: “The reality is that growth doesn’t happen overnight. It happens through experience.

“Through mistakes. Through hardship. Through being forced to look in the mirror and ask yourself whether you’re willing to become better.”

Yesterday, the Daily Mail reported that Ashley had been dropped as a client by his management company Off Limits amid recent events.

“Ashley has been dropped by Off Limits, who also represent stars such as Jimmy Bullard, Jesy Nelson and Harry Redknapp,” an insider told the publication.

“They have a roster of talent who are household names, they don’t want to be associated with him after the vile posts came to light.

“Ashley is now pretty much blacklisted in the industry, and it’s doubtful he will ever be on television again.”

Ashley no longer appears on Off Limits website as a listed client.

The Ex on the Beach star’s Twitter posts made in 2011 and 2013 are said to have referenced extreme sex acts and appeared to make light of consent.

He reportedly used offensive, sexualised and aggressive language about women.

Derogatory terms allegedly written in 2014 and 2015 include “sl**s”, “b***hes” and “psychos”.

He also said he’d like to “choke slam” and “spit in the face” of Love Island star Jessica Hayes while commenting on the ITV2 reality show.

Cain’s apology post said he has learnt lessons from fatherhood over the past decade.

His daughter Azaylia Cain sadly died in 2021 of a rare form of acute myeloid leukaemia.

She was just eight months old when she died after a battle with the aggressive disease.

“Losing my daughter changed me forever,” Cain wrote.

“Since then, I have dedicated my life to trying to honour my daughter’s legacy and help others wherever I can.”

The reality star added: “I cannot change what I said over a decade ago. What I can do is take responsibility for it.

“What I can do is continue striving every day to be a good father, a good human and a positive force in the lives of others.”

Cain’s shock slurs sit uncomfortably alongside his more recent work as a BBC presenter exploring masculinity and gangs in dangerous locations around the world.

A BBC spokesperson said: “We are very clear we expect the highest standards of behaviour from everyone who works with or for the BBC.

“When allegations are brought to our attention we take them seriously. We will consider this information carefully and do not intend to comment further at this stage.”

The BBC were reportedly unaware of the offensive content prior to recruiting Cain as a host.

Dad-of-three Cain was a professional footballer at the time of his oldest offensive tweets.

Following contracts at Coventry City and non-league Barwell, he was forced to retire from the game in 2014 due to the effects of a serious achilles injury.

He turned to reality TV and starred in the first series of Ex on the Beach. More recently he appeared on Celebrity SAS, The Real Full Monty and Celebrity MasterChef.

Cain was left devastated in 2021 when his daughter Azaylia died from leukemia aged just eight months.

He set up The Azaylia Foundation in her name and has tackled gruelling endurance challenges to raise money and awareness.

Linda Cohn, an ESPN veteran who has anchored more episodes of “SportsCenter” than anyone in history, announced her retirement Monday.

A Los Angeles resident since 2018, Cohn, 66, will make her final ESPN appearance Friday.

After starting her career in radio and local TV, Cohn joined ESPN’s “SportsCenter” in 1992 when female hosts on sports programming were still a rarity. In a statement, she acknowledged her trailblazer status.

“What I’m most proud of is that my career lasted long enough for me to see little girls grow up watching ‘SportsCenter,’ enter this business, and succeed in it,” she said. “If my journey helped make that path a little easier for them, then that’s the achievement I’ll cherish most.”

Cohn moved to Los Angeles in 2018. She regularly anchored the late-night edition of “SportsCenter,” which originated from the city until last year.

She hit a milestone of anchoring 5,000 “SportsCenter” episodes in February 2016 and appeared on at least 650 more over the 10 years that followed.

Cohn, who played collegiate hockey at Oswego Stage University and competed on the boys team in high school, regularly contributed to ESPN’s NHL coverage. She once did a live “SportsCenter” segment where she tried out for the job of emergency goalie for the Florida Panthers.

Cohn will return to ESPN’s Bristol, Conn., studios on Friday and appear on four editions of “SportsCenter” throughout the day. She will also reconnect with longtime co-host John Buccigross during coverage of the NHL Draft.

“Linda Cohn is a legend and a major part of the history of ESPN,” said Burke Magnus, ESPN president, content. “She has brought enthusiasm, personality and her love of sports to our audience for more than 30 years and her contributions to ESPN both in front of and behind the camera would make a very long list.”

DAVID and Victoria Beckham put on brave faces as they celebrated their second Father’s Day without their estranged son Brooklyn. 

The pair were spotted heading to a London gastro-pub with their son Cruz, 21, and his girlfriend Jackie Apostel, 30. 

David, 51, and Victoria, 52, who were cut off by Brooklyn, 27, last year were also joined by their son Romeo and David’s mum Sandra, 77. 

On Father’s Day, David shared a photograph of all of their children, including daughter Harper, 14, and said: “Being a dad is my most important job… I love you all.” 

Brooklyn is understood to be “furious” with his parents once more after their Father’s Day posts.

David and Victoria both marked the annual event yesterday by sharing snaps of all of their children – including Brooklyn.

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He had previously instructed his parents not to tag him in online posts – something that they have continually ignored.

The feud has rumbled on for over a year with a source telling The Sun that Brooklyn has been left filled with rage following his mum and dad’s latest stunt.

An insider told The Sun: “He’s fuming about it.

“He’s asked them to leave him alone and they just keep posting him.

“It just brings the whole thing up all over again.

“He wishes they’d leave it and leave him alone.”

Brooklyn, who lives in Los Angeles with his American actress wife Nicola, 31, has been estranged from his family for over a year and has accused them of trying to “control” him. 

A Southern California music festival featuring only women musicians and created by Olivia Rodrigo? That’s not such a bad idea.

Rodrigo, fresh off the release of her junior album, on Monday unveiled her Daisy Chain Fields music festival and the roster of all-women artists set to take over Irvine’s Great Park on Aug. 29. The lineup will include Rodrigo, Chappell Roan, Katseye, Mitski, Doechii and special guests Karen O, Sarah McLachlan and Stevie Nicks.

The 23-year-old Grammy winner and vocal advocate for women’s rights said in her post that her dream festival has finally become a reality and that earnings from the spectacular will go to charities benefiting women and girls.

“The lineup is truly insane and full of my heroes and friends,” Rodrigo said in her announcement. “I firmly believe that joy, community, and music can be the drivers of meaningful change and I’m hopeful this festival will be just that.”

Artists Bikini Kill, Die Spitz, Eli, Garbage, Not for Radio, Quiet Light, Rachel Chinouriri, Santigold and the Breeders are also set to perform. Fans hoping to snag tickets can sign up for pre-sale access on the festival’s website.

Rodrigo’s Daisy Chain Fields comes to Irvine a month before the former Disney Channel star kicks off her massive Unraveled tour, promoting her latest release “You Seem Pretty Sad for a Girl So in Love.” She will take over Inglewood’s Intuit Dome for four nights in 2027: Jan. 12, 13, 16 and 17.

In his album review, Times pop music critic Mikael Wood writes that Rodrigo’s latest release sees the singer-songwriter approach romance and heartbreak with “new wisdom, drawing sophisticated conclusions about why people in love do the things they do (and don’t do the things they don’t).”

HE stands to inherit his late dad Liam Payne’s £21million fortune, but nine-year-old Bear might not see a penny until he is at least 25.

His mum Cheryl Tweedy wants the legacy to be withheld until the lad is old enough to make informed financial decisions.

She has gone all out to protect their son since he was born in 2017, shielding him from the public eye in a bid to give him as normal a childhood as possible.

And she is keen not to expose him to the pressures of having such huge wealth at his young age.

One Direction star Liam died suddenly in October 2024 without leaving a will, and Cheryl quickly doubled down on her determination to protect her son from the trappings of fame and fortune.

High Court probate documents published over the weekend confirmed Bear is the sole beneficiary of his father’s fortune.

Parts of the estate — which includes the five-bedroom home at Chalfont St Giles, Bucks, that Liam bought for £3.25million in 2021 to be closer to his son following his split from Cheryl — can be used immediately to look after Bear’s needs.

However, Cheryl, who was named an administrator of Liam’s assets last year, would prefer he does not gain full access until he is much older.

“Protecting Bear is Cheryl’s priority in life,” a friend explained. “She is a devoted mother and will do everything she can to take care of him.

“Cheryl knows how difficult it can be to live in the public eye and has shielded Bear from that as much as she can.

“Inheriting this amount of money at a young age is enough to have the potential to send anyone sidewards — and that is what she wants to protect Bear from.

“She is going to stop him receiving Liam’s inheritance until he is at least 25 years old, if not older.

“For Cheryl, she feels that she wants Bear to be of an age where he can make informed decisions about the money.”

Cheryl and Liam first met when he auditioned for The X Factor in 2008 and she was on the judging panel.

It was not until 2016 that they started dating, and Bear was born the following year.

Their relationship ended in 2018, with Cheryl and Liam becoming devoted co-parents to their young son.

In a statement following their break-up, Liam wrote online: “We still have so much love for each other as a family.

“Bear is our world and we ask that you respect his privacy as we navigate our way through this together.”

In the years that followed, Liam regularly praised Cheryl’s ability as a mother and revealed she had stayed at home with their son while he pursued his solo music career.

He said of the former Girls Aloud star: “What I’ve learnt about being a dad is how hard it is to be a mum and she hasn’t had any help from anybody and she’s done it all herself.

“She supported me going off and doing my career and stuff. She is amazing.”

Cheryl, too, spoke fondly of Liam and revealed becoming a mother had changed the way she wanted to live her life. She said in 2019: “Everything changed for me from the moment Bear was born.

“My old brain came out of my head, and all my worries, anxieties and feelings of emptiness went, and a new brain replaced it.

“I knew the word ‘fulfilled’, but I’d never known what that felt like.

“Money, fame, success should have made me feel that, but they never did, which is probably why I looked for it in my relationships with men, but that never worked either.

“I was always angry at myself.

“And then, even though I’d had a really tough pregnancy because I had gestational diabetes, I felt more peaceful. The moment I held him in my arms I had that feeling: Fulfilment. It’s stayed with me. And I’ve changed so much. I really have.”

Together, Cheryl and Liam chose to keep their son out of the spotlight and, to date, the schoolboy is rarely seen.

Last month, Cheryl revealed she had taken him on a dream holiday to Orlando, Florida, but chose not to post in real time about their trip on social media.

She also continued to keep his face shielded from view, a decision she made with Liam when Bear was still a small child.

A friend explained: “Giving her son a normal and happy childhood is what Cheryl remains focused on.

“She wants him to have a life that other kids have. His parents might have been public figures, but Bear is not. Keeping that normality and stability for her son is paramount for Cheryl.

“It’s why the idea of him inheriting such a vast amount of money is worrying. Not everyone in this world has good intentions and Cheryl knows that.

“She wants him to still have ambition and the drive to succeed without the back-up of the money — and she’s aware that people may want to befriend him because they are aware of his situation.

“Guiding her son and controlling his access to the money will allow her to keep him safe. The older he is, the more wise he will be and, ultimately, when he is a man in his twenties with a job and a life of his own, he will be better able to make informed decisions with her guidance.

“It is all any mother would want for their child.”

Liam’s passing at the age of 31, friends say, only fuelled Cheryl’s determination to allow their son to live a normal life.

The singer fell to his death from a third-floor hotel balcony in Buenos Aires, Argentina, in October 2024.

An autopsy confirmed he died from multiple traumas and internal and external bleeding.

He had been with his girlfriend Kate Cassidy in the days leading up to the tragedy. She left the country to return to the house they shared in the US days before Liam died. Two men were arrested on suspicion of supplying him with cocaine before his death.

Liam’s body was repatriated to the UK for his funeral in Amersham, Bucks, which was attended by his closest friends and family.

Cheryl was supported by her former Girls Aloud bandmates Nicola Roberts and Kimberley Walsh, as well as Liam’s friend and former mentor Simon Cowell.

Liam’s One Direction bandmate and close friend Niall Horan spent time with him in Argentina prior to his death after Liam flew there to watch him perform.

Three weeks ago, he spoke movingly about Liam and said he will cherish their last meeting. Niall revealed: “I’m glad of that, it means my last memory of him was happy. It still feels surreal.

“On day one I was, like, ‘Nah, it didn’t happen’. Our friendship was a bond that was there for ever, even if we hadn’t seen each other for a while.

“And it’s wild that one day, like the flick of a switch, he’s gone.

“All our families are in touch, they shared those experiences, too.”

Recalling the good times he shared with Liam, Niall added: “When I think of Liam’s passing, there is sadness, but it also makes me laugh because of the memories we had.

“I’ll go to places and think of something random that makes me laugh.”

Niall joined One Direction stars Harry Styles, Louis Tomlinson and Zayn Malik at the funeral.

In the days before the service, Cheryl issued a statement about Liam, saying: “As I try to navigate this earth-shattering event, and work through my own grief at this indescribably painful time, I’d like to kindly remind everyone that we have lost a human being.

“Liam was not only a pop star and celebrity, he was a son, a brother, an uncle, a dear friend and a father to our son.

“A son that now has to face the reality of never seeing his father again.”

She added: “Before you leave comments or make videos, ask yourself if you would like your own child or family to read them.

“Please give Liam the little dignity he has left in the wake of his death to rest in some peace at last.”

Since then, friends say Cheryl has devoted her time to caring for Bear and is determined to give him stability.

“Cheryl loves being a mum and doing all the normal things that parents do,” a pal explained.

“The school drop-off and pick-up, play dates with friends, cooking the dinners — she does it all while juggling work commitments.

“Cheryl knows there will be interest around Bear because of who his parents are. But that doesn’t mean he has to live that life — or even have any part in it. Protecting him from that and caring for him is all she cares about.

“She is a mother first and foremost. Her son will always be her number one priority.”

ASHLEY Cain has been dealt a fresh blow following his BBC axe after allegedly making degrading comments about women online.

Historic social media posts by the reality TV star, 35, that have been deemed ‘offensive’ to women came to light last week and resulted in him being dropped by the Beeb – with the second series of his BBC Three documentary Into The Danger Zone now shelved.

The Daily Mail reports that Ashley has now been dropped as a client by his management company Off Limits amid recent events.

“Ashley has been dropped by Off Limits, who also represent stars such as Jimmy Bullard, Jesy Nelson and Harry Redknapp,” an insider told the publication.

“They have a roster of talent who are household names, they don’t want to be associated with him after the vile posts came to light.

“Ashley is now pretty much blacklisted in the industry, and it’s doubtful he will ever be on television again.”

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Ashley Cain’s axed BBC doc is still on iPlayer after bosses admits vetting failure

STAR PROBE

BBC launching investigation into Ashley Cain ‘failings’ after his show is axed

The Sun has reached out to Off Limits and Ashley Cain for comment.

Ashley no longer appears on Off Limits website as a listed client.

The Ex on the Beach star’s Twitter posts made in 2011 and 2013 are said to have referenced extreme sex acts and appeared to make light of consent.

He reportedly used offensive, sexualised and aggressive language about women.

Despite this, series one of Ashley Cain: Into the Danger Zone aired in April 2025.

It followed his journey to the world’s most dangerous places, interviewing young men who live on the fringes of society.

Filming for a second series took place earlier this year however, it will no longer air following The Guardian‘s report accusing Ashley of writing derogatory terms in 2014 and 2015 including “sl**s”, “b***hes” and “psychos”.

The newspaper also revealed Ashley was secretly sacked from a BBC job last year for being “drunk on set”.

After the success of his documentary, he was picked to host, Sin City: The Real Las Vegas.

Ashley was flown out to Nevada to film the show but concerns were raised about his conduct.

Appearing to be drunk during filming of the show, the production was suspended and Ashley was ultimately dropped from the project and replaced by another presenter.

Despite this, the incident went largely ignored as Ashley returned to filming with the BBC earlier this year for the second series of his Into The Danger Zone series.

A BBC spokesperson told The Sun:  “The posts by Ashley Cain, albeit from many years ago, are completely unacceptable.”

“The BBC has clear requirements around vetting and social media checks, which are undertaken by the production company.

“In this instance, the process clearly failed and we are investigating why.

“We are continuing to strengthen our processes to ensure everyone working for, and on behalf of, the BBC meets our values and standards.

“We have no plans to broadcast the new series of ‘Into the Danger Zone’, and no future projects with Ashley Cain.”

Holly Willoughby is reportedly planning to relaunch her television career in the coming days on a show which could rival ITV’s This Morning, which she stepped down from in 2023

Holly Willoughby could be back on screens very soon. Since stepping down from ITV’s This Morning in 2023, the presenter has kept a relatively low profile, only appearing on two TV shows.

But according to reports, the 45-year-old has already participated in top-secret on-camera rehearsals for a new TV show, which could see her back on screens in no time. The new lifestyle series, which has recently been looking for staff ahead of its launch, will be titled Together.

And it comes as her This Morning replacement, Cat Deeley and co-star Ben Shephard are taking their summer break from the ITV magazine show. The firm behind the show, Hungry Bear, was recently advertising for a video editor, who would be required to work on “a new online series, producing high-performance, long-form content to be placed on YouTube“.

The hiring advert stated that the candidate would be required to start today or next Monday. The Daily Mail reports that the advert states: “Ideally starting Monday 22nd June (29/06 would be a possibility for the right candidate), the initial term will be four weeks, with the potential to extend to a year-long contract.”

Holly’s husband, Dan Baldwin’s firm, Hungry Bear Media, is behind the new show. She previously hinted at a return to work in a cryptic social media post. Sharing a snap on Instagram last week, Holly said: “Reunited with my absolute dream team today and my face, hair and outfit have never been more grateful.”

In her upload, she tagged make-up artist Patsy O’Neill, her stylist Danielle Whiteman, and hairdresser Ciler Perksah. She went on to add: “Nobody does it like the OGs. But honestly? The drive home might have won the day. My not so baby babies are waiting and that’s the only call time that really matters.”

The star has also filed trademark requests for a wide variety of products under the Together brand, indicating that Holly is keen to launch a spin-off, should the series become a success.

Holly stepped back from her telly roles with ITV in 2025, after appearing as a guest panellist on You Bet! Her time on This Morning came to an end in October 2023, after a plot to abduct her came to light. Since her departure, she has turned her attention to her lifestyle brand, Wylde Moon, which she launched five years ago.

Accounts for the firm from October 2024 show that current net assets amount to £4,831, a significant increase over the previous year’s £ 1,885. However, the company currently owes £733,485 to creditors, an increase from the £583,748 from the previous year. Creditors include HMRC with a £67,262 for Corporation Tax.

She later fronted Celebrity Bear Hunt with Bear Grylls, but the Netflix show was scrapped after just one season.

The Mirror has approached Holly’s spokesperson for comment.

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Death in Paradise star Ralf Little has been acting for over three decades, and he has reflected on nearly 30 years since his Royle Family journey began.

For four years, Death in Paradise audiences watched Ralf Little portray Detective Inspector Neville Parker in the enduring BBC drama. The actor departed the programme in 2024, with Don Gilet assuming the role as the lead DI in the cherished show.

However, prior to solving crimes in the BBC series, Ralf was recognised as Jonny Keogh in the sitcom Two Pints of Lager and a Packet of Crisps.

His acting journey commenced over three decades ago when he featured as Robbie in the 1990s ITV children’s drama Children’s Ward, which he credits with securing him a part in The Royle Family, the breakthrough that propelled his career.

In a clip he posted on Instagram from the programme Ricky & Ralf’s Very Northern Road Trip, he detailed the audition process for becoming Antony Royle, reports the Express.

He captioned the post: “It’s been nearly 30 years since my Royle Family journey began! It all started after I was on an ITV drama called ‘Children’s Ward’, which also launched the careers of Danny Dyer and Stephen Graham. Here’s the backstory, taken from ‘Ricky & Ralf’s Very Northern Road Trip’.”

Ralf told Ricky: “I’d done a few episodes of that, and I can only assume that Caroline (Aherne) and Craig (Cash), when they were doing the Royle Family, they couldn’t be bothered seeing hundreds of kids, like what normally happens.

“They said, ‘Just send three or four lads that you know’. I walked in, I sat down, and I read the script with them. I must’ve have been in the room more than three minutes, four minutes tops.

“I walked out going, ‘I did nothing, nothing interesting, nothing different’. Got to my car, got a parking ticket that was £50, which I couldn’t afford. It was like, ‘This is the worst day of my life. Got in the car, drove home back to Bury, got in, this was before mobile phones.

“I walked in, and my mum said, ‘Just had a phone call from Granada, they offered you the part’ before I’d even got home! Never happens like that, it was bonkers.”

It didn’t take long for the comments to flood in, with fans quick to reminisce about his iconic past role. One person said: “So glad they picked you to be in The Royle Family, leading to an amazing career for a fantastic actor.”

Another wrote: “Still going strong & still an incredible actor. Well done Ralf.” A third chimed in: “Right choice! And this was just the beginning of a versatile, great career. Thx for so many wonderful TV moments.”

One follower added: “Great story. Time is flying.” While another remarked: “Dang, I can’t believe it is going to be almost 30 years.”

Ricky & Ralf’s Very Northern Road Trip is available to watch on U.

BBC fans can catch this one-off special before tuning into tonight’s World Cup match.

A BBC documentary takes a deep dive into how seven people “tragically perished”.

Fifa World Cup 2026 continues with France vs Iraq coverage kicking off from 9.30pm this evening, Monday, June 22, but there is more than just football on tonight.

At 8pm, viewers can tune into the hour-long documentary Millionaire Superyacht: Why Ships Sink on BBC Two.

The special takes a look at the intense storms of August 19, 2024 when the 54m superyacht Bayesian mysteriously sank off the coast of Sicily where seven people onboard died.

“As search and rescue teams scoured the coast for survivors, questions were asked”, the synopsis continues.

“Why did a multimillion-pound superyacht sink when others nearby didn’t?

“This documentary investigates what went wrong and what needs to be done to keep ships safe at sea.”

When the incident was taking place, all other vessels in the area mysteriously remained afloat but in that same year, aSea Story, a Red Sea dive boat, also capsized without warning.

Why Ships Sink features interviews with experts, including Bayesian’s former captain Stephen Edwards and Dr Sarah Martin who survived the Sea Story.

This documentary is part of a wider anthology series which takes a deeper look at why certain events happen.

BBC states that it delves into the “mysteries and science behind the stories that hit the headlines”.

BBC Two has previously looked at other memorable events, including “South Korea’s deadliest aviation disaster” and the three fatal shark attacks in Egypt in 2010.

Unfortunately, the “Why…?” franchise won’t be returning next Monday night as live coverage from Wimbledon will instead be shown.

Millionaire Superyacht: Why Ships Sink premieres on Monday, June 22, at 8pm on BBC Two.

The Westside subway extension has long been L.A’s most stubborn urban fantasy: an infrastructural mirage chugging toward the sea, and then, with less sex appeal, Westwood. Stalled since the ‘80s, the first western leap of the elusive project is now real. And in the month or so since the Metro D Line pushed beyond Wilshire/Western to three new stations — Wilshire/La Brea, Wilshire/Fairfax, and Wilshire/La Cienega — multiple rides have made the benefits, and shortcomings, clear.

Suddenly the city feels different. Not transformed, exactly. But more connected. The fracturing grip of the city’s incomprehensible expanses, clogged arteries, and stagnant governance — all intimidating barriers to healthy civic life — feels a little looser. The dense belt tying the city together more complete, a critical mass of movement, still expanding, where there used to be a vestigial nub.

The stations, too, feel more connected, with art, architecture and infrastructure blending seamlessly into a cohesive experience, a tribute to Metro’s sharpened design approach and its ever-evolving commitment to public art. But above ground, it’s a tale of two (transit) cities. Outdoor plazas lack the kind of textured civic presence that’s been created below. Metro, which has become the most dominant regional force for urban transformation, is still less ambitious once it leaves the station box.

Passengers wait to board the first train to arrive at the Metro D Line at the Wilshire/Fairfax station in Los Angeles in early May.

(Genaro Molina / Los Angeles Times)

Before descending into the new stations, you might want to take a moment to appreciate that they exist at all, surviving, among other trials, a massive methane explosion, federal and local bans, major delays, and a battalion of lawsuits. Then notice how their myriad components work together. Art, for instance, is not simply attached to walls, but forms them, its patterns tracing your descent through space. Lighting doesn’t just illuminate surfaces, but becomes an artful complement to what’s around it. Escalators are not just conveyances, but reflective surfaces forming a utilitarian palette for art and light. The line between each piece becomes blurred, creating a sense that all is working together — a layered place that is intuitively easy to use.

This fluent incorporation of art builds on the long-running L.A. Metro Art program (formerly Metro Art in Transit), which since the early ‘80s has commissioned and installed over 200 artworks across the sprawling system, from mosaics and photography to multi-story murals. In fact, it’s quietly hummed along as one of the most successful public art programs in the country.

Artist Fran Siegel’s artwork at the Wilshire/La Brea Metro station is part of one of the most successful public art programs in the country.

(Carlin Stiehl / For The Times)

In many of its earlier iterations, art and architecture were conceived together to create strange, jaw-dropping, one-of-a kind spaces, like Peter Millar and Ellerbe Becket’s Santa Monica/Vermont station. Opened in 1999, this Red line stop featured among other things, a goliath stainless steel wing canopy topping a 42-foot-tall, raw concrete-clad escalator cavern, lit by massive skylights, etched with row after row of enigmatic questions.

Another personal favorite is Stephen Antonakos’ “Neons for Pershing Square,” a postmodern wonderland of suspended neon sculptures in the depths of downtown’s Pershing Square station that creates a kind of 3-D sculpture playing off the ‘80s gridded ceilings and Miami Vice white columns.

Wild creativity aside, these 20th century stations are marked by inconsistency in quality, comfort, and maintenance — and the lack of predictability can be confusing. (Wait, where do I go now?) This includes Metro’s inaugural A line, in which art-driven architecture, though fun, often feels like a quixotic gesture, unable to compete with loud, uncomfortable, concrete-dominated settings.

A man waits for a train on a platform at the Wilshire/Vermont station, which is along Metro’s B Line, formerly the Red Line.

(Brian van der Brug / Los Angeles Times)

Lines opened in the 2010s had their own issues. The Expo line (now the E line), barely 14 years old, features rather tentative wavy canopies and surface wraps and comparatively small spaces for artworks. With the new extension, Metro has found a balance between completely foregrounding art and relegating it to background. The new designs are guided by a “kit of parts,” a shared language of materials, lighting, signage, and wall systems that was developed first by local architects Johnson Fain and later by the global architectural firm Gensler, which served as the D Line’s systemwide station designer.

Yes, I miss the epic scale and immersive feeling of those older stations. But the tradeoff is a cleaner, brighter, more legible and human-scaled version, lending long-needed coherence to both the stations themselves and the system at large. And by the way, the art is still fantastic.

At the descending entryway of Wilshire/La Brea, for instance, the cosmic, angled lines of Eamon Ore-Giron’s “Infinite Landscape: Los Angeles Para Siempre,” which are embedded into porcelain enamel, channel not only the geometric forms of Wilshire’s Art Deco Buildings, but the visceral one-point perspective of a train speeding into a tunnel, and even the angled geometries of adjacent escalators.

Artist Eamon Ore-Giron’s “Infinite Landscape: Los Angeles Para Siempre,” at the Wilshire/La Brea Metro station.

(Carlin Stiehl / For The Times)

Heading down allows you to ponder its shifting mysteries. Circular abstractions might suggest headlights zooming along Wilshire, or perhaps a train’s fast-approaching lights? Its artfulness expands outward. Frosted glass panels wrapping the entry portal are clad with a similarly mystical language, accentuated by neon strips of light, with the lightweight canopy above reflecting the colorful lines. Art and architecture are working together, each feeding off the other.

A particularly fertile locale for drama at each station are the wide bands of art topping the tunnels themselves: beacon-like destinations for your eyes, not to mention invitations to occupy more of the platform. In the same station, Mark Dean Veca’s “Miracle of La Brea” takes its cues from the curvy ornament and stepped motifs of the nearby Wilshire Tower’s Art Deco façade. Look closer, and those crisp patterns dissolve into swirling, viscous forms that evoke the La Brea Tar Pits, flowing oil, and even barley-shaped references to the area’s agricultural past. The mural’s repeating forms also mirror the station’s rigorous order, its clean, syncopated forms and linear perspectives.

Another hallmark of the new stations is how they subtly make infrastructure itself into art. Celebrating — whether intentionally or not — the improbable engineering feat of carving a subway under one of the most dense, congested, and geologically and politically complicated parts of Los Angeles. Jogging white lines along concourse floors, meant as tactical guides for the vision impaired, rhythmically and playfully lead you forward. Glinting stainless steel railings, gridded perforated metal ceilings, and thin bands of suspended light bouncing off polished terrazzo floors, pull you forward on stairs and platforms, tracing the speed and linear movement of trains. Corduroy concrete walls, etched with endless vertical grooves, give tunnels a tightly rhythmic texture while still exposing their hefty bones.

The Wilshire/La Brea Metro station is part of the D Line extension and features evenly lit spaces, with porous surfaces and long sight lines to improve navigation and safety. Glass fare gate doors organize entry without turning the stations into fortresses.

(Carlin Stiehl / For The Times)

The quality of surfaces and experiences has been upgraded too. Unlike most older Metro stations, where low light and heavy surfaces can feel tired and oppressive, spaces are more evenly lit, with porous surfaces and long sight lines to improve navigation and safety. Glass fare gate doors organize entry without turning the stations into fortresses. Glass elevators and large cuts between levels create a sense of connected, kinetic openness.

Sometimes this palette feels too uniform and predictable. The heroic scale and quirkiness of older stations can be more exciting; more unique to their place. A surprise or two never hurt anyone. But overall it’s a good balance of unity, utility and identity, allowing the art to sing, but as part of a chorus, not a soloist.

The tune, however, shifts dramatically above ground. Station plazas wrap handsome modern architecture—clean, controlled, well-detailed portals of beveled stainless steel, frosted glass, and art peeking above entryways and on peripheral panels. But the hard plazas themselves are barren; lacking enough shade, art, greenery and invitation. Benches, where they exist, are tiny and defensive.

Pedestrians walk past the Metro D Line at Wilshire and LaBrea, which features a barren plaza lacking the beauty and design of the art-filled stations below.

(Kayla Bartkowski / Los Angeles Times)

These places seem scared to let people linger — clearly trying to avoid some of the city’s intransigent challenges, like homeless encampments, disorder, maintenance burdens, and controversy. This is understandable, but in avoiding those risks, the areas also avoid the purpose of public space: to create a place for everyone, not just a zone for people passing through.

Yet life appears anyway. At Wilshire/Fairfax, a dance class from a nearby studio recently gathered in a thin sliver of shade around the station. It was beautiful, and improvised, but also indicative of the underlying problem. Civic life was there, but the space had failed to make enough room for it. Imagine if that plaza had real shade, generous seating, creative sculpture, plantings, water, and edges that encouraged people to stay.

Another unresolved question is service. On multiple visits trains were not crowded. They also didn’t come often enough. Ten or 12 minutes of stagnant wait time does not feel like freedom if you are trying to lure Angelenos out of cars.

The last-mile problem doesn’t help. There is no easy parking near stations for those who don’t live close, no seamless transfer or final step. The bikes that Metro provides still have share docks, meaning you’ll need to find another dock on the far end (good luck). This remains, as it should, a system for people who already need transit. But for an institution struggling to add ridership, you wonder if it can become a system for people who have choices.

The Wilshire/La Cienega Metro station is part of L.A.’s new D Line extension. The outdoor plazas are not conducive to community or gatherings.

(Carlin Stiehl / For The Times)

Still, we should not understate what has happened. Los Angeles finally has subway stops that serve some of its densest, most public destinations, and Metro is still growing. The D Line makes the Miracle Mile feel less like a traffic corridor and more like a metropolitan spine. It suggests a Los Angeles in which neighborhoods, jobs, cultural destinations, and sidewalks begin to connect physically and with surprising immediacy. (Twenty minutes from LACMA to downtown feels like light speed!) It makes the city feel more like a city.

It also reveals the imbalance of power and imagination in Los Angeles. Metro, for all its flaws, has the ability to marshal money, planning, engineering and art at a scale the city itself generally cannot. All the more reason to branch more boldly beyond its tracks and stations.

The question remains: Can the agency coordinate with government, developers, cultural institutions, and neighborhoods to make these stations into places rather than portals?

The new stops prove that Los Angeles can design infrastructure artfully below ground. Above ground, however, it too often retreats into caution. The subway has arrived. The city around it still has to catch up.

Netflix’s brand new romantic comedy has one of the streamer’s best needle drops for a minute, but who features in the soundtrack?

Jill and Isabelle’s favourite song is an absolute pop banger.

Voicemails for Isabelle is currently Netflix’s number one film in the UK as fans flock to the streamer’s latest romantic comedy.

Starring Zoey Deutch and Nick Robinson, this rom-com features a devastating twist that pulls at the heartstrings as much as it will make you laugh and swoon.

In fact, plenty of viewers have admitted they were left emotionally wrecked by the new release.

This is partly thanks to a pitch perfect soundtrack that features enough upbeat tunes to get fans dancing in their living rooms, as well as some poignant ballads that have them reaching for the tissues.

As Voicemails for Isabelle is poised to become one of Netflix’s biggest hits of 2026, let’s take a look at all the iconic songs featured in the soundtrack.

Voicemails for Isabelle’s full soundtrack

The new Netflix film depicts an inspiring romance between aspiring chef Jill (played by Zoey Deutch) and estate agent Wes (Nick Robinson), who becomes her secret admirer.

When Jill’s sister Isabelle (Ciara Bravo) tragically dies, she continues to call her number to leave her voicemails. However, she doesn’t realise that her new crush Wes was reassigned Isabelle’s number and has been listening in. Will his secret tear their relationship apart?

Such a gripping premise certainly deserves a soundtrack for the ages and Voicemails for Isabelle delivers in spades. Here’s the track list in full:

1. Dancing On My Own – Robyn
2. Almost Happy – LACES and Butch Walker
3. To Build A Home – The Cinematic Orchestra and Patrick Watson
4. JOYRIDE. – Ke$ha
5. Walking at a Downtown Pace – Parquet Courts
6. Hey Daddy (Daddy’s Home) – USHER
7. El Cielo Azul – Mirna Orozco & Francisco Cendejas
8. Electric Love – BØRNS
9. Boys Wanna Be Her – Peaches
10. marjorie – Taylor Swift
11. De Primeras Veces (De la Banda Sonora de la Obra “Compost de primeras veces”, de Katia Mora) – Ceshia Ubau
12. something like this – Cil
13. San Francisco Blues (Remastered) – Peggy Lee
14. (I Left My Heart) In San Francisco – Tony Bennett
15. Cherish You – Mikky Ekko
16. Waking up Slow (Piano Version) – Gabrielle Aplin
17. And I See You Now – Matthew Szlachetka
18. Beige – Yoke Lore
19. Ride the Storm – GoldFord
20. Show Me Love (Radio Version) – Robyn
21. New Year’s Day (Taylor Swift)
22. Beautiful Things – Benson Boone
23. New Touch – Caveboy
24. I’m Waiting Now – New Constellations

Music supervisor Season Kent revealed to Tudum how the film’s most prominent track, Robyn’s Dancing On My Own, is not only an uplifting tune that will get viewers dancing, but it also perfectly serves the narrative as a tribute to Jill’s sister Isabelle.

“The song becomes completely through Izzy’s point of view — watching Jill ‘from across the room’,” she explained.

“It’s heartbreaking and beautiful. It has the full package of a timeless song that you can feel in your soul.”

The film also features an original score by Este Haim and Amanda Yamate, who used an incredible blend of piano, guitar, synth, and even their own voices to craft Voicemails for Isabelle’s unique sound.

These tracks are called:

1. If You’re A Bird I’m A Bird
2. Chef Bastien Groupies
3. Talk About Boundaries
4. Intercut Dates
5. Hair In The Tart
6. Wes Laughs At Voicemail
7. Midnight Scroll
8. This Party Sucks Without You
9. Good Thing I Wasn’t A Boyscout
10. Chicken Pot Pie
11. Wes’s Speech
12. Wes Caught
13. Phone Reset
14. Jill & Izzy’s
15. No Customers
16. Zella To The Rescue
17. Lonely Christmas Wes
18. Lightbulb Moment
19. Wes Trades His Holy Grail
20. Wes Runs
21. Last Voicemails
22. Credits 1
23. Credits 2
24. Lights (Donna Missal Cover)

Voicemails for Isabelle is available to stream on Netflix.

When the gates opened at St. John’s Episcopal Church in San Bernardino on Good Friday, the music coming from inside wasn’t that of angel-faced choristers or pipe organs; it was the collective scream of electric guitars.

As the sky darkened over the white stucco church framed in palm trees and the dry peaks of the San Bernardino Mountains, fringed teenagers made their way inside, shaking their limbs and chattering in excitement. Fluorescent lights shone overhead in a room that, by day, hosted Bible studies and food pantries — that night, it would be the site of Spinkick Dance Hall, a regular underground music series where noses are bound to bleed and limbs to flail along to ear-splitting riffs.

It’s just one of many shows taking place from Pomona to Palm Desert, heralding a Latino-led youth revival where the freewheeling movement of mosh pits meets the raw power of punk rock: Inland Empire hardcore.

Teenagers congregate in front of St. John’s Episcopal Church in San Bernardino before the start of the night’s hardcore shows on April 3, 2026.

(Katerina Portela / Los Angeles Times)

As the fast-paced and anti-establishment genre known as punk went mainstream in the ’80s, a harder and more unhinged variant emerged in the States; bands like Bad Brains, Minor Threat and Black Flag pushed the limits of vocalization and instrumentation into dissonant new sounds that would make up the subgenre known as hardcore punk.

“As a teenager pre-social media, the music scene was the release for teen angst,” said music photojournalist Zach Cordner. “It was a convergence of nationwide bands that would come to play at [the now shuttered Riverside venue] Showcase Theater, and through word of mouth people got inspired to make cassettes and zines.”

Cordner and his friend Ken Crawford grew up in Riverside in the ’80s and ’90s, photographing the initial wave of hardcore punk taking shape in the Inland Empire. They turned these photographs into a sprawling exhibition held at the Riverside Art Museum earlier this year, “60 Miles East.”

“The scene looks a lot different today than it did in the ’90s,” Crawford said. “It’s browner, it’s queer, and that’s a good thing, to see how it’s become way more diverse.”

Inside the church, the frontman of all-Latino hardcore band Barrio Slam emitted rough growls as the crowd broke into a bustling mosh pit. Teenagers did pinwheel kicks, wrapped Mexican flags over their shoulders and filled the air with chants of “F— ICE.”

Lead vocalist Victor Campos’ family moved from Guadalajara, Mexico, to Pomona, where he says he discovered hardcore through friends. Then, at age 14, Campos attended his first rock show.

“That was the first time that I saw hardcore and metal and the heavier side of music for what it was, and the violence and culture of the shows just sucked me in and I’ve been in it ever since,” Campos said. “It felt like freedom.”

Angela, 19, was in the mosh pit during Load Tha Nine’s performance when she was accidentally struck in the nose by another concertgoer on April 3, 2026, in St. John’s Episcopal Church in San Bernardino. Hardcore shows are characterized by intense music and rough dancing where bloody accidents are not an uncommon sight.

(Katerina Portela / Los Angeles Times)

Jose Ruelas and his Barrio Slam bandmates headbang as they perform on April 3, 2026, in St. John’s Episcopal Church in San Bernardino.

(Katerina Portela / Los Angeles Times)

Campos credits local Latino-led bands like Xibalba and Harsh Reality as inspirations to dive into making music and embrace his identity in the genre.

“In the I.E., it’s really the norm. We’re singing in Spanish, we’re proud. But when we tour, we see it’s not like that everywhere,” Campos said. “Some people still consider punk ‘not for us.’ My own family members will say, ‘You’re listening to white people music.’”

The show at St. John’s is just the tip of the Inland Empire’s DIY venue iceberg. Living rooms, restaurant dining rooms, tattoo shops and record stores have transformed into hardcore venues across the region as established locales closed down.

San Bernardino four-piece “beatdown” group Big Ass Truck is one band that found success beyond the I.E. scene. They signed to Nuclear Blast Records, and at the time of our interview, they had just returned from a tour of Europe.

“With the I.E. especially, we lose a venue like every week. If we have a venue, it’s not staying around for long. I’ve personally seen like three or four venues [in the last few years] just call it,” said Big Ass Truck vocalist Abel Abarca. “So we do get scrappy, and I think that’s what sets the I.E. apart from places like L.A. and O.C.”

San Bernardino hardcore band Big Ass Truck performs a surprise concert at Creator Fest on May 2, 2026, at Creator Tattoo in Pomona.

(Katerina Portela / Los Angeles Times)

Izzy Leyva, 17, describes being met with an immediate “sense of welcoming” at her first DIY hardcore show.

“It’s nice finding people my age to talk about life with. You can start conversations so easily,” Leyva said. “Especially after moshing with someone in the crowd. If you’re struggling to make friends in school, you’ll be able to find someone here.”

She enters the mosh pit fearlessly, dodging flailing arms to two-step — a synchronized dance move that requires punching and running in place — unleashing her energy in the punk sanctum.

“I never feel like an outsider here,” Leyva added.

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1. Mauricio Rivera performs with his band Barrio Slam on April 3, 2026, in St. John’s Episcopal Church in San Bernardino. (Katerina Portela / Los Angeles Times) 2. Toni Feliz shows her “IE” tattoo, a nod to her hometown, at Creator Fest on May 2, 2026, at Creator Tattoo in Pomona. (Katerina Portela / Los Angeles Times) 3. Izzy Levya, 17, two-steps during Marked for Death’s performance on April 3, 2026, in St. John’s Episcopal Church in San Bernardino. (Katerina Portela / Los Angeles Times) 4. Fans dance and “two-step” during Barrio Slam’s performance on April 3, 2026, in St. John’s Episcopal Church in San Bernardino. (Katerina Portela / Los Angeles Times) 5. Andres Rodriguez, 18, moshes during Marked for Death’s performance on April 3, 2026, in St. John’s Episcopal Church in San Bernardino. (Katerina Portela / Los Angeles Times)

As 25-year-old Guatemalan American vocalist Jorge Cruz entered the show, he embraced his friends and bandmates. Cruz, who fronts the voracious hardcore band KnuckleSandwich, says he sees TikTok as a major platform for hardcore fans to find one another.

“I saw shows online and was hooked … I used to be so nervous to be in the mosh pit, I’d throw up outside. But when I got in there for the first time, I feel like it changed me into someone who was more comfortable in myself,” Cruz said. “It was like a baptism.”

His music, ranging from songs like “Melting ICE” and corrido-hardcore fusion “El Corrido del Maton,” is inspired by his immigrant household upbringing and interest in Chicano studies.

“Especially with this growing anti-intellectualism going on, and conservatives in our government, writing about Chicano identity and the issues in America feels important,” Cruz said. “There’s no one out there to speak up for us than us.”

A day after attending the show, Garrett Boyer and Kenny Sylvia, longtime friends with nearly matching tattoo sleeves and baseball caps, stood talking in Creator Tattoo Parlor in Pomona.

The pair helps to run Division One, a local booking company that books anywhere from Corona storefront DBZ Books N’ Records to their very own tattoo parlor.

A few weeks prior, Boyer got a call from his sister: His niece was diagnosed with an aggressive childhood cancer called neuroblastoma that had spread through her body, causing his sister to tackle insurance and medical costs. Boyer said he reached out to the hardcore community for help and was “overwhelmed” by the response.

“The community really, really, really came together. A lot of people reached out and really quickly we threw this benefit show that raised thousands of dollars,” Boyer said. “That’s the core of what hardcore music should be and is. It’s community.”

A few months before that, they had united with local bands to throw a benefit show, raising money for immigrant coalition groups after increased ICE raids.

“We thought, ‘How could we not help?’ I’m second generation from El Paso. So many of my neighbors and even my partner’s family were directly affected,” Boyer said. “So many shows are not just about music but they can [impact] people’s lives.”

Brett Rock, bassist of San Bernardino hardcore band Big Ass Truck, performs during Creator Fest on May 2, 2026, at Creator Tattoo in Pomona.

(Katerina Portela / Los Angeles Times)

In Creator’s graffitied back lot area on May 2, bands Load Tha Nine, ’92 and Auditory Anguish opened up a DIY festival called Creator Fest, where 22-year-old Cynthia Garcia came out to “let off steam.”

Garcia, who fronts local band Exutoire, said discovering the local alternative scene “changed everything.”

“In high school, it was very much like nothing was happening. We’re all bored. We’re all depressed. We’re writing, and finally, we get to put the writing to use,” Garcia said. “We meet people that are like-minded and trying to get out of that boredom, and then [the music scene] just exploded.”

At Garcia’s shows, she says she constantly meets concertgoers from L.A., or even from San Diego, who drive hours into the I.E. to be part of its blossoming scene.

At Creator Fest, Abarca commanded the stage, building up the energy of the crowd until hair whipped in frenzies. Abarca says he sees I.E. hardcore continuing to evolve, fusing new genres and making the Inland Empire a place to watch as alternative music booms in the “scrappy” venues of San Bernardino, Corona, Pomona and Riverside.

“Latinos in the Inland Empire have always been hardcore,” Abarca said. “People just know it now because we make them hear us.”

There are few things a Los Angeles local is less likely to do than take a Hollywood sightseeing tour on a big, garish bus. Only rush-hour traffic and $20 tacos inspire the same level of dread.

Yet nearly everyone aboard the open-air bus for a Tuesday night production of “California Gothic: A Bus Tour” was an L.A. resident. The show, which is produced by the aggressively hip New Theater Hollywood, recently wrapped its third “season” after debuting in February and returning for an April encore. Set on a moving bus, the 1.5-hour-long experience is part esoteric Tinseltown history lesson, part immersive theater. The narrative conjures meaning from the Los Angeles cityscape by fusing a hodgepodge of textbook theories about the sprawling metropolis onto the gritty reality of daily life.

“We originally organized this thinking there would be more people coming who aren’t from here,” said Oliver Misraje, the show’s writer and primary tour guide, as the bus pulled away from the curb at Santa Monica and Wilcox. “But this just goes to show how much people love the city and are from here, contrary to popular belief.”

In lieu of celebrity-hungry tourists, “California Gothic” has been packing its bus twice a night with rowdy young scenesters and in-the-know locals eager to absorb its heady mix of California history, public intellectualism and performance artistry.

While the show wrapped its latest run in mid-June, it will reopen its automated doors during the last week of October for a special “ghost tour” edition co-written by Misraje and New York it girl Ruby McCollister.

The bus arrives for New Theater Hollywood’s “California Gothic: A Bus Tour.”

My tour was far less steeped in irony than I feared. As the bus wound its way through the streets of Hollywood, starting at the New Theater’s doorstep before eventually circling the Hollywood Walk of Fame, Misraje led the audience through his take on the death of the “California dream” and the rotting carcasses of empty buildings and broken promises left in its wake. Along the way, we encountered a haunted-eyed Marilyn Monroe impersonator (Brooks Ginnan), a masked Hollywood legend known as the Duchess of Argyle (Shauna Frente) and a singing, swaggering “Rat Czar” with a lot to say about real estate developers (Loren Kramar).

Yes, it’s whimsical, and yes, it references Mike Davis’ “City of Quartz” more than any of the TMZ-type excursions it gently parodies, but it’s still, at its heart, a bus tour.

In a nod to classic Hollywood tour advertisements, the show’s winkingly all-caps poster declares, “You Will See: The Hollywood Sign, Marilyn Monroe, the Schizo City State.” There is also a stash of BuzzBallz ready-to-drink cocktails for trivia winners, but Misraje and his cast do not deliver their performances with smirks or smarm. They commit full-throatedly to playing out Misraje’s vision of a Hollywood haunted by the dreamers it’s wronged and the secrets it’s plastered over.

“Ultimately, we are trying to pay homage to the bus tour format, which is intrinsically ‘carny,’” Misraje said, likening himself to a carnival barker espousing aesthetic philosophy aboard an ever-changing “Ship of Theseus.”

Before the performers infiltrate the ship, “I’m trying to intentionally set up audience expectations to think they’re going to get this run-of-the-mill Hollywood death tour,” he explained. “I consider myself a kind of impish person, but still fundamentally sincere.”

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1. Tour guide Oliver Misraje begins the show. 2. Rat Czar, portrayed by Loren Kramar, performs during the bus tour. 3. Guests board the bus.

Given the show’s monologue-heavy format and bevy of literary references, it’s no surprise that the concept began as an essay. Misraje, a 27-year-old writer and self-described “Hollywood hustler” raised primarily in the Inland Empire, was inspired after the 2025 Palisades and Eaton fires to stage a piece he had written bridging his love of Gothic literature with his “welfare class” upbringing in a family of seven raised by a single mother, which he considered gothic in its own right.

“We were in the Inland Empire and it was the 2008 financial crisis,” he said. “There was all this imagery of things famously California-coded, like the suburban house, the pool, the strip mall, and when we were there, it was just, like, destroyed. There were abandoned housing subdivisions rotting in the sun.”

The perfect setting, he explained, for the kind of “literature that emerges after the failure of a historical project.”

After reaching out to New Theater co-owner Calla Henkel and conceiving the project, Misraje and his producers elected to turn the funhouse mirror onto Hollywood, framing the neighborhood with historical context and Freudian theory but ultimately letting it speak for itself.

The bus passes the TCL Chinese Theatre.

The highly mutable nature of street life and the participatory character of the show means its tone can shift drastically from tour to tour, even within the same night. Sometimes, the streets appear glittering; other times, seedy and dangerous. Once, there was a showdown with another tour bus — one presumably not carrying theatergoers. At a different show, a drunk pedestrian tried to board the bus during faux-Monroe’s speech. One particularly harrowing night, someone circled the bus on an electric scooter, shouting homophobic slurs at the all-queer cast.

“It’s almost like surfing,” Misraje said. “There’s so much chaos you’re confronting, and you have to find a way to ride it and let it be a part of the show.”

The show’s high production costs make bringing in a profit difficult, but Misraje said he and the New Theater Hollywood team plan to revive it periodically, with an evolving story and cast of characters.

On my tour, no performer better represented the blurred line between theater and street life than the Duchess of Argyle, a.k.a. the Mysterious Masked Lady of Hollywoodland, a.k.a. Shauna Frente, a busty Blanche DuBois figure in an eyeless flapper mask and gartered stockings. Just three days before, she had been evicted from a home on Argyle Avenue that once allegedly belonged to Cecil B. DeMille. This happened after a lengthy legal battle, during which the show helped raise money for temporary housing.

As the Duchess spilled neighborhood secrets, our bus repeatedly passed an Extra Space Storage facility painted with images of old Hollywood behemoths: Lucille Ball, Groucho Marx and the like. The intermingling smells of sizzling hot dogs, urine and marijuana wafted through the open windows.

Hollywood may be ghostly, the Duchess told us, but it was hers to haunt.

Duchess of Argyle (Shauna Frente) tells Hollywood stories during the tour.

(Carlin Stiehl / For The Times)

For my 50th birthday, I bought a Toyota Corolla. Wait. Is my midlife crisis car really a Corolla, the best selling and most boring model of all time?

Well, yes. And no.

I have “modded” it, or in layman’s terms, modified the stock components and tuned the engine. This is not your aunt’s Corolla. When I hit the gas, the car pulls hard and the engine buzzes as if it’s powered by a hive of killer bees.

I get thumbs-ups from Mustang drivers and cool head nods from Challenger owners. My favorite is when kids at red lights ask me to rev the engine like I’m F1 driver Lewis Hamilton.

Probably a lot of my drive-by admirers are fans of the movie “The Fast and the Furious,” which was released 25 years ago this month. Fans of modified Japanese import cars, like me, have a love-hate relationship with the $7 billion “Fast and Furious” franchise. On one hand, the movies helped popularize modified Japanese cars. People all over the world fell in love with them and the import car culture they publicized.

On the other hand, the movies left out so, so much of the story.

In Southern California in the mid-1990s and early 2000s, people lived, for the most part, phone-free. The internet was nascent — a repository for flyers and ’zines — and most websites looked like Tetris.

The fashion was baggy everything for guys and short shorts, midriffs and little backpacks for girls. The hair was outrageous. And the cars, especially Japanese import cars, had reached the pinnacle of automotive engineering.

During this era, I was in college at UCLA. I saved up and bought a red 1989 Honda CRX Si. It also had a slick five-speed manual transmission, peppy engine and nimble steering. That car got me to work and through college, and from the mountains of California to the border of Oregon. It probably helped me get girlfriends. It consoled me through breakups. It helped me move to the San Francisco Bay Area for my first grown-up job.

And then, stupidly, I sold it, and all the precious memories it carried.

Now when I hit a loopy freeway interchange at night and my GR Corolla carves through the turns, it’s 1996 and I’m cruising in my CRX, getting pho in San Gabriel or rushing to a flyer party at Naga in Long Beach. That’s the magic of certain cars. A regular car takes you from place to place. A special car takes you back in time.

To be completely honest, I bought the CRX to fit in.

The ’90s import car scene was as diverse as Southern California. But there’s no doubt it started with Asian Americans (specifically Japanese Americans in the South Bay city of Gardena) who were influenced by modified car culture in Japan. Soon, Asian American kids all over the region were taking their inexpensive, underpowered four-cylinder, front-wheel-drive Honda Civics (our parents preferred Japanese reliability over American muscle) and turning them into street rockets.

Not only were they building race cars from scratch, they were also building one of my first experiences with a collective Asian American identity: one that wasn’t overtly about politics and activism, or immigration and assimilation. It was about Asian American joy. It was Chinese, Japanese, Korean, Filipino and Vietnamese Americans building cool-looking, fast cars. It was kids stereotyped as nerds going to parties where the awful stereotype of Long Duk Dong from “Sixteen Candles” was shredded into rubber and obliterated by exhaust blasts.

At the time, the Asian Americans we saw in the mainstream media were negligible or offensive, especially for Vietnamese Americans like me. But in import car culture, I saw, for maybe the first time, Asian guys and Asian girls in a centered and even glamorous light.

We made our own cars and our own car shows. We raced each other and then got fast (with turbos, superchargers and nitrous oxide) and raced others. And we won. We published our own magazines, built our own automotive businesses and, for good and bad, promoted our own outlaw street racer image and our own beauty standard. In those 1990s clubs and car shows, you could see and feel that Asian Americans weren’t assimilating culture. We were creating it.

“The Fast and the Furious” picked up on that. Based on a 1998 Vibe magazine article about street racing import cars in New York, the film was transplanted to Southern California. But it got so many details glaringly wrong. Its street races looked like street raves on major, four-wide roads packed with pedestrians. The races of our scene were clandestine, underground events in industrial, under-policed areas, where cars faced off two at a time.

But the most egregious and inexcusable Hollywood crime to me is that “The Fast and the Furious” whitewashed Asian Americans, the creators of this world, out of starring roles. The Korean American actor Rick Yune appears in the movie, sure — but he plays the villain, Johnny Tran, a guy who hates Vin Diesel’s Dominic Toretto for a crime deal gone bad (understandable) and for sleeping with his sister (ditto). Of course, in a tradition that goes back to “Madame Butterfly” and “Miss Saigon,” Tran dies at the end, shot dead by the blond-haired, blue-eyed hero, Paul Walker’s Brian O’Conner.

A few months ago, seeking a mechanic to mod my Corolla, I was referred to an auto shop in Garden Grove aka Little Saigon. The guy who sent me asked me, “Do you even know who’s working on your car?”

“No,” I replied.

He told me the name, and I Googled it.

Apparently, back in the ’90s, this Vietnamese American mechanic from Orange County had one of the fastest Honda Civics in the world. A true OG of the import car scene modified my car with his own hands. What an honor, and what a connection to the past.

This import car story ends in a full poetic justice circle. As a pioneer and legend of the real-life import car scene, my mechanic wasn’t the villain. He was the hero. He was the fastest, and his car was the most furious.

That’s the heart of my GR Corolla journey. Asian Americans created import car culture. We all deserve to be the hero of our own story.

Ky-Phong Tran is a Vietnamese American writer from Long Beach. He is a professional artist fellow with the Arts Council for Long Beach. This article was produced in partnership with Zócalo Public Square.

Fans have been gripped by the latest dramatic season of Clarkson’s Farm, but where is Diddly Squat actually located?

Fans should definitely pay a visit to The Farmer’s Dog.

Clarkson’s Farm fans want to know exactly where the iconic Diddly Squat Farm location actually is.

Former Top Gear presenter Jeremy Clarkson returned to Prime Video this year with another gripping instalment of the documentary series, which sees him taking on numerous farming challenges to highlight the insurmountable tasks facing modern British farmers.

However, Jeremy faced even more hardship in Season 5 as it kicked off with his emergency heart surgery in October 2024 and concluded with the announcement that he had been diagnosed with prostate cancer.

Thankfully, his cancer is now in remission and Diddly Squat is back in business for Season 6, which is expected to arrive on screens next summer.

Now filming is once again underway, let’s take a look at the precise location of Clarkson’s Farm.

Where is Clarkson’s Farm?

Jeremy’s Diddly Squat Farm is located in the Cotswolds Area of Outstanding Natural Beauty in West Oxfordshire, England.

It’s just a short drive from the market town of Chipping Norton to the north, while to the south is the village of Chadlington.

Diddly Squat’s nearest major city is Oxford, which is about a 50 minute drive away.

The farm is also drivable from London in around two hours.

For visitors who want to reach the farm by public transport, the easiest route from London is the Great Western Railway from Paddington station to Charlbury.

From there, it’s just a 20 minute bus ride on the X9, which runs past the Diddly Squat Farm Shop managed by Jeremy’s partner Lisa Hogan.

If you’re travelling from Birmingham, it’s the Cross Country train to Worcestershire Parkway you want before getting the GWR to Charlbury and taking the same X9 bus. This can take around two and a half hours.

In addition to the farm itself, Jeremy also owns the iconic pub The Farmer’s Dog, which serves Diddly Squat’s very own Hawkstone lager.

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The pub is just a half-hour’s drive away from the farm by the Asthall Barrow roundabout on the A40, a few miles from the town of Burford.

While it’s definitely possible to visit both the farm and The Farmer’s Dog in the same day, those using public transport will find the journey a little trickier.

From the shop, you can take the X9 bus back past Charlbury and down to the town of Witney. This takes about 40 minutes.

Visitors can then take the shorter 234 bus to Burford and it’s then just a few minutes’ walk to the pub. All in all the journey should take just over an hour.

Clarkson’s Farm is available to stream on Prime Video.

LOVE Island fans have been left terrified by “lying” Samraj’s behaviour as he continued to string along Priya.

The 25-year-old has been juggling both Mica and Priya over the last week but fans have noticed the Islander isn’t being honest about his feelings.

He told Mica, 21, a few episodes ago that business development manager Priya was “giving him the ick,” and she was his first choice.

But, he hasn’t let Priya privy to that information as he continued to act as if they’re relationship is flourishing.

During last night’s instalment of the famous ITV2 dating show, Samraj left fans taken aback by his “unfair” treatment of Priya, 25.

After returning from a chat on the terrace with Mica, Priya asked him if they were getting back together – which he denied.

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Priya hugged him saying: “I actually quite missed you, I wanted to speak to you…

“I feel like you hate me today.”

Samraj replied: “No, I don’t hate you. My mind is just in a really weird place, I swear.”

“You’re head,” Priya questioned.

He continued: “Not about us it’s just about like I think Sam going was just like the icing on the thing but I really do appreciate you being so concerned about me.”

Priya then tried to get Samraj to open up on his cheeky terrace rendezvous.

However he quickly shut it down, saying: “No we were just speaking because we were downstairs we got, not by you, but interrupted twice before and I was upstairs and Mica was like ‘Oh lets finish our conversation.’”

Poor Priya explained she was asking because things change so quickly in the villa and it was clear she didn’t want to waste her time if the feelings weren’t reciprocated.

Love Island fans were left fuming as Samraj lied to face her face repeatedly and strung her along.

One fan wrote: “Samraj is the reason why I don’t trust men #LoveIsland”

“Samraj, tell Priya you don’t like her This is not fair at all,” added a second fan.

Another viewer penned: “Samraj, why you lying?”

Meanwhile, a fourth fan said: “Why is Samraj lying like this HAAAAAA men can lie I’m so scared????”

Later on Samraj carried on his ruse, telling Priya he fancies her more and “wouldn’t be sharing a bed with her otherwise.”

But, during the previous episode fans watched on as Samraj told Mica he hasn’t said anything because Priya “will be mad.”

Speaking to the camera in the beach hut, Samraj confessed: “I can’t knock Priya because she’s given me everything I wanted and asked for. I feel like if I sit here and say ‘Everything is going swimmingly, it’s amazing… I’d be lying.’

“I don’t want to spend loads of time with her.”

Love Island continues tonight at 9:00pm on ITV2 and ITVX.

VICK Hope has shared a rare glimpse inside her and husband Calvin Harris’ £15M Ibiza home.

Calvin, 41, bought the stunning 138-acre farm, known as Terra Masia, back in 2022, and the couple spend their summers there – with the Scottish DJ remaining close to maintain his dual-residency at nearby superclub Ushuaïa Ibiza,

Last summer, Vick, 36, gave birth to their son Mica at the Spanish home, and has now shared a glimpse of the little one with dad Calvin at the home.

In a Father’s Day post for Calvin shared on Sunday, Vick shared a video of the musician serenading Mica in a sweet moment.

The clip sees Calvin sitting on the floor of their Ibiza home – which is neutrally decorated with a beige couch and textured nude rug – and playing a ukulele.

His son can be seen adorably dancing along to the tune, bobbing up and down in between his dad’s legs.

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In the clip, Calvin and Vick’s sprawling farm backdrop can be seen – with a large window showing the beautiful views and collection of trees.

Vick wrote alongside the video: “Happy first Father’s Day, love from the person you make dance the most”.

A number of celebrities took to the comment section on the post, with Davina McCall writing: “Awwwwwww xxxx my heart”.

“Awwwwwwww ❤️,” said Carol Vorderman.

The clip is a rare glimpse into Calvin and Vick’s life in Spain during the summers, with the couple – who married in 2023 – famously private about their personal lives.

The residence holds special memories for the couple, with Calvin reportedly popping the question to Vick underneath a grand tree there, as well as welcoming their son there.

Calvin bought the Ibiza property after selling his two multi-million pound mansions in Los Angeles.

The chart-topping DJ and producer’s sprawling 138-acre residence is known as Terra Masia, which is the largest organic farm in the White Isle.

It can produce veg, eggs, wine and farm-to-table meals, and also hosts special events such as weddings.

At the time, a source told The Sun: “Calvin employs an expert team including farmers and chefs.

“But that hasn’t stopped him getting involved and he regularly gets his hands dirty, helping to plant seeds and everything else involved in running a farm.

“He is really passionate about what he and the team are doing.”

When the couple aren’t spending their summers in Ibiza for Calvin’s residency, they reside in a countryside home in the Cotswolds.

MOLLY-Mae Hague has revealed the unexpected inspiration behind baby Midas’s name – and fans will be stunned to learn he’s not named after the Greek king.

The Love Island star, 27, who welcomed her second child with Tommy Fury at the start of the month, has now opened up about the real meaning behind the tot’s name.

Tommy sensationally revealed their new baby’ name when he took on British retired strongman competitor Eddie Hall, and wore garments of clothing emblazoned with Midas’s name.

At first, it was speculated that the newborn’s name was inspired by the Greek king whom turned things to gold by simply touching them – but this is not the meaning behind Midas’s name.

Speaking in a new vlog, Molly-Mae has revealed that their son’s name was actually inspired by robot boxing film, Real Steel. 

The 2011 film, which stars Hugh Jackman and Evangeline Lilly, is set in a near-future world.

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In the flick, high-tech robots replace human boxers in the ring, and one of the characters is called Midas, which is where Molly fell in love with the name.

Speaking about the inspiration behind Midas, Molly said: “We have named our son Midas. His middle name is Thomas and his surname is Fury.

“So he’s Midas Thomas Fury. We had this name for a boy for quite a few years.

“I saw a couple of comments when the name was being rumoured about how the name originates from Greek mythology because there was a king called King Midas, and he was the king.

“I believe the story is that everything he touches turns to gold, and I do absolutely just like love that saying,” she added.

Molly, who was speaking in the clip that was recorded before Midas’s name was revealed in the boxing ring, added: “When Tommy wears his kit tomorrow, inside the kit, when we were designing it, we put a little patch inside that says everything he touches turns into gold because I do just think it’s so special.

“But equally, he’s not necessarily named after the Greek King because I saw a few comments being like, ‘um, King Midas was a fool in Greek mythology. Like this is just so silly if she’s called her son this’.

“But the same way Bambi is not necessarily named after the Disney character Bambi, is the same way Midas is not named after the Greek King. This is the most random story.

“I actually found the name from watching a film called Real Steel, which is like the most random film. It’s basically like Transformers. 

“It’s the most not me film ever. And I showed my mum it the other week. 

“She was like, ‘This is so like random for you to like this film.’ And I was like, ‘I know, but it’s actually such a great film’.

“It’s got Hugh Jackman in it, and it’s a film about robots boxing.

“And one of the robots in the film that was boxing was called Midas.

“I heard the name, and I thought this was years ago. I was like, ‘Wow, that’s a really cool strong name’.

“Like Midas, I’ve never heard of that before. I just thought Midas Fury, I thought, ‘Wow, what a strong name’.

“Then I mentioned it to Tommy, and he just absolutely fell in love with I don’t even know what timeline we’re looking at here.

“This could have been like literally years ago, but that was always our boy name really that we stuck with.”

It was initially thought that Midas was picked for its Ancient Greek connotations.

Symbolising wealth and opulence, the term is often associated with the legendary figure King Midas, who possessed the mythical ability to turn everything he touched into gold.

Midas is a prominent character in Greek mythology, and according to legend, “King Midas ruled Phrygia in Anatolia and was granted the power to turn objects into gold by the god Dionysus”.

In more modern discussions, Midas is often used to describe individuals or entities that possess a special knack for generating wealth.

JESY Nelson has shared her twin daughters’ spinal braces with an emotional message ahead of the upcoming Parliament debate.

The mum-of-two made a candid post explaining her daughters now have to wear them every day.

Jesy shared a snap of her twin daughters Ocean and Story’s spinal braces as she urged fans to attend the Parliament debate on SMA screening.

She captioned the image: “Just a reminder that future SMA babies’ lives don’t need to look like this!

“These are Ocean and Story’s spinal braces that [they] now have to wear every day.”

Jesy also shared a snap of the Parliament debate poster and wrote: “I hope to see as many of you there tomorrow. It’s going to be a big day.”

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It comes after Jesy spoke out about the unjust and “nsane” SMA “postcode lottery” – which “decides if children will be disabled or not.”

The loving mum appeared on social media in a candid video expressing her deep frustrations over ‘unfair’ Spinal Muscular Atrophy (SMA) heel prick testing.

The X Factor star – who has racked up over 150k signatures – is calling for SMA to be tested for at birth regardless of where you live.

The debate is set to take place tomorrow, June 22, and, if granted, SMA screenings will be added for newborns.

The singer’s daughters Ocean Jade and Story Monroe were born prematurely in May last year and were diagnosed with Spinal Muscular Atrophy (SMA) Type 1.

In the emotional video, the singer said: “I just wanted to come on here to basically chat about a few things that are just so incredibly important to me and I know so many other people.

“Some of you may be aware of the fact that I’ve been trying to get SMA as part of the heel prick test here in England, and thank God for you guys, the signatures got over 150,000 and because of that, it is now going to get debated in parliament this Monday coming up, which is just crazy to me to know that we did that and I just need you guys to know that this has never been debated in parliament before.

“There has been a whole community of people that have been screaming and shouting about this for years and years and years, and it’s never been able to get this far, because it’s been ignored every single time.

“But you guys did it, because you made enough noise and you supported this and you got it there and I cannot thank you guys enough…

“So many thoughts have been going through my mind over this week, because every time I think about it, I’m like, how am I going to Parliament on Monday to debate whether children, future children, are going to be disabled or not?

“That’s how deep it is, because if your child gets this treatment from birth with a simple heel prick test and they get this treatment, you would not even know that they have SMA. 

“That’s how deep it is, right? That is how life-changing this treatment is. You would not even know that your child has SMA, but if they don’t get this treatment and they don’t get the heel prick test, they will go on to be disabled…

“And not only be disabled, but they will go on to have breathing machines, coughing machines, constant operations. It never ever ends.

“And I still can’t believe that in this day and age, when we’ve had three life-changing treatments now for nearly six years, it’s still a thing. It’s still not here in England.

“It is being rolled out in October, but only in certain parts of England.

“How does that make sense? How are we playing postcode lottery with children’s lives? How is that okay? I cannot stress you how important this is.

“This is our future, future children we are deciding on. Mums now that are currently pregnant and maybe about to have a baby that could potentially have this disease. We’re basically going to decide whether they’re going to be disabled or not, like it blows my mind.

“And I just seem to stress this so much, because that’s how deep it is. We are playing with children’s lives and it is not okay.

“It’s not okay to be like, if you live in this area, your child won’t be disabled, but if you live in this area, yeah, they’ll be disabled.

“We’re not doing this anymore. We’ve made too much noise now for this to be ignored.

“Anyway, sorry for getting irate about this, but it makes me so sad to think that my children’s lives could look so different and not only my children’s lives, but so many other families and children are dealing with this across the whole of England.”

Alongside the tear-jerking post, she added: “We have had some amazing news that screening is due to start in October this year, which is a huge step forward!

“But there’s still a big problem… it will only cover 72% of England. That means some babies won’t be screened simply because of where they live.

“A postcode lottery like that just isn’t fair. Every baby deserves the same chance, everybaby’ss life matters!

“On Monday 22nd June, the petition will be debated by MPs in Parliament. I’ll be there alongside @gileslomax from SMA UK and we’re hoping this debate will help push for screening to be available for every newborn across England.

“We’ll be arriving at 5pm on Monday, and it would mean so much to see as many of you there as possible. We’d love to get a photo together outside Parliament before we head inside.

“Please if you can, tag your MP in the comments and ask them to attend the debate and support universal newborn screening for SMA.

“The areas currently missing out on screening are: Bristol, Cambridge, Portsmouth, Leeds, Liverpool, Oxford.

“No baby should miss out because of their postcode. Let’s keep fighting until every newborn has the same opportunity. Thank you for standing with us every step of the way!”