SHOW BIZ

SHE was the blonde beauty that was catapulted into the spotlight after a starring role in this iconic 1989 movie.

The beloved Disney film was a box office success that would go on to span another two spin-offs, with fans lapping up the characters’ pint-sized adventures.

Now all grown up, aged 54, the star recently took to Instagram and wowed with with some fun swimsuit photos while celebrating the film decades later.

Amy O’Neill was just 19 when she played the role of Amy Szalinski in the hit film Honey, I Shrunk The Kids – but her new pics show she seemingly hasn’t aged at all.

Amy stepped out for the Disney+ ‘Dive in Theatre’ screening of the original movie in a blue and pink racer swimsuit, ready to soak up the attractions on offer.

The former child star looked incredibly youthful and svelte in her swimwear, which she complemented with a wide wicker hat and a patterned blue beach skirt.

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In her Instagram caption, shared alongside the pictures, Amy enthused that the experience “transported us back to a different time and size”.

In one photo Amy is seen posing with a giant spoon and some giant ‘cheerios’ in a swimming pool, in what was a cheeky nod to her shrunken sized character.

The star later lounged poolside with her fellow movie-goers to rewatch the beloved movie and was snapped standing next to an old-school film screening sign bearing “Honey I Shrunk the Kids 1989 Now Showing”.

Talking to ABC’s On the Red carpet, Amy said: “This whole thing, when I saw the concept and got the invite I thought it was super cool.

“It’s been 36 years since Honey, I Shrunk the Kids came out.

“It’s only in the last couple of years that I’ve done fan events and I’ve gotten the chance to reconnect with fans and see how vibrant the movie still is in their lives and how meaningful it is to so many people.

Amy was also joined by co-star Thomas Wilson Brown, 51, who played Little Russ in the film, the neighbour’s offspring.

On her Instagram post, fans flocked to the comments, with one asking, “How was it reuniting with Thomas?”

Replying to her follower, Amy explained, “Wonderful as always. He brought his grandson to the screening- so adorable!”

While another said, “Just amazing! A shame the other child actors are absent!”

Amy replied, “I wish they’d been there also- but I wish all of you had been there too!”

A third fan penned, “Wow, that Thomas guy grew up to be a hottie!!”

Another added, “Another of my favourite classic comedy of 80s, everything looks great.”

“Nice pictures Amy O’Neill and Thomas Wilson Brown and you’re looking well by being grown up,” said a fifth in the comments.

Someone concluded, “Very cool. Still one of the best movies of the 80s.”

The award-winning classic movie, starring Rick Moranis and Marcia Strassman, celebrated its 36th anniversary this year.

Amy played Moranis’ daughter in the movie, which produced two sequels, Honey, I Blew Up The Kid in 1992 and Honey, We Shrunk Ourselves in 1997.

The original followed the chaos that ensued when scientist Wayne Szalinksi (Moranis) accidentally minimised his children and the neighbour’s kids.

Ghostbusters star Moranis went on to star in Parenthood, The Flintstones and the two sequels to Honey, I Shrunk the Kids.

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As for O’Neill, she had TV roles in Murder, She Wrote and The Young and Restless before Honey, I Shrunk the Kids.

She also appeared in the 1989 Christian Slater film Desperate for Love.

To get it out of the way: Yes, Tobias Jesso Jr. has heard about gooning.

“Somebody put me up on it and said it was about masturbation?” says the 40-year-old singer and songwriter, which is about half-right: As detailed in an essay in Harper’s that went viral last month, to goon — a term heretofore associated with Jesso thanks to his cult-fave 2015 album “Goon” — means in Gen Z parlance to masturbate at such great lengths that the act leads to a kind of trance state.

“Well, I’ve never done that,” Jesso says. “‘Goon’ I got from ‘The Goonies’ — it’s just a brilliant movie.” He laughs. “But I don’t care. If it sells more records, sure.”

That Jesso has a record to sell at all might take some by surprise. Though “Goon” thoroughly charmed critics and fellow musicians with its early-’70s-balladeer vibe — many said he evoked the glory days of Randy Newman, Harry Nilsson and beard-and-shearling-coat-era Paul McCartney — Jesso didn’t cotton to the life of a sort-of-famous performer and almost immediately walked away from his solo career to write songs for other singers instead.

He’s thrived in that role, penning hits for the likes of Adele, Niall Horan, Harry Styles and Dua Lipa. In 2023, he was named songwriter of the year at the Grammy Awards; this month he was nominated for that prize for a second time, with the Recording Academy citing his work with Justin Bieber (“Daisies”), Haim (“Relationships”) and Olivia Dean (“Man I Need”), among others.

Yet now he’s back with an unexpected follow-up to his debut called “Shine,” which came out Friday. Stripped back for the most part to just voice and piano, it’s an earnest work of introspection from a guy who knows how to make tenderness feel like strength.

Jesso, who grew up in Vancouver and lives in Los Angeles, announced the album just last week with a music video for his song “I Love You” that features the actors Riley Keough and Dakota Johnson, with whom he’s been close since he first touched down here around 2008.

“I hit them up and was like, ‘You girls think it’s about time I use your fame to get some extra clicks?’” he says on a recent morning at his place in Silver Lake. “The video opens up on them, then it pans away and it goes to me and you never see them again.”

Says Keough, a former girlfriend: “It was a very Tobias ask.”

So why return to the spotlight? According to Jesso, he wouldn’t have had it not been for a breakup that left him “the most depressed I’ve ever been in my life, by far.” We’re sitting in a cozy den that looks out over a lush hillside garden; a bowl of persimmons sits on a coffee table while a copy of “McCartney II” peeks out from a stack of LPs.

Jesso, whose mop of curly hair has begun ever so slightly to gray, says that when he enters a songwriting session with another artist, “I leave my worries and woes outside the door. I’m there to serve you — to write the song you want to write.” It’s an approach that’s endeared him to his star collaborators and yielded songs as deep as Adele’s “To Be Loved,” a stunning meditation on the costs of divorce from her 2021 album “30.”

But earlier this year, for the first time in Jesso’s decade of behind-the-scenes work, he found himself struggling to deliver. “I was feeling so in the dumps that I’d be choking on a line that I didn’t even want to say because if I say it, I’ll start crying,” he recalls.

He cleared six weeks from his busy schedule to process his emotions; the result was a set of songs for himself about heartache — “I can see the love leaving from your eyes in the form of a tear,” he sings in “Rain” — but also about his mom’s experience with dementia and about the young son he shares with his ex-wife.

To record the music, Jesso’s instinct was to go big. “I’m a dreamer, so I was like, ‘Imagine all the people I could have help me now that I didn’t have 10 years ago,’” he says. “I went from so-and-so to so-and-so, trying out studios, making promises I couldn’t keep. But all that stuff over the weeks just kind of flaked away.”

What remained was the beautifully mellow sound of a vintage Steinway piano he’d had restored after buying it on Craiglist for $800. He keeps the piano in a small, uncluttered studio upstairs from the den at his house; that’s where he cut “Shine,” singing live as he accompanied himself in real time.

A small handful of other players appear on the album, most prominently in “I Love You,” which erupts near the end with a wild drum fill performed by Jesso’s old pal Kane Ritchotte. The idea for the percussive outburst came to Jesso after he’d consumed “a s— ton of mushrooms,” he says. “I turned to my assistant at the time — I wonder if I have it — and I said, ‘Record me right now.’ She started recording me, and what came out was that fill.”

He picks up his phone and scrolls for a moment. “Look at this,” he says, turning the screen my way: There’s Jesso in the same room we’re in right now, staring wide-eyed into the camera as he mouths the drum sounds Ritchotte would later replicate exactly.

“That song is about somebody’s inner child being in the middle of a labyrinth, and you’re trying to find them so you can convince them that you’re in love,” Jesso tells me. “You can’t get there and you’re wishing that the whole labyrinth would just be destroyed. So when it gets to that part — ‘Shatter the cracks wide open / And say, “I love you”’ — the drums are the walls coming down. That’s the shattering.”

Tobias Jesso Jr. at the 65th Grammy Awards in 2023.

(Jay L. Clendenin / Los Angeles Times)

Drum theatrics aside, Jesso’s singing is the album’s clear focal point; his pleading, slightly unsteady tone gives the music an emotional intimacy that makes you feel as though you’re sitting right next to him on the piano bench.

Jesso describes his voice as something of a liability, which Keough says has been true since he was ducking the frontman’s job in the various bands he played in when he was in his early 20s. “I always loved his voice, and he just didn’t feel that way for whatever reason,” she recalls. “I don’t know if he felt a sort of shyness, which is really interesting because as a person he’s not shy whatsoever.”

Asked whether Jesso’s decision to follow up “Goon” surprised her, she says, “I was surprised he released ‘Goon’ to begin with.”

The way Jesso sees it, “My voice isn’t good enough for the songs I write, which is why I’ve chosen to work with all these other people.” What he’s comes to realize, though, is that “my voice is perfect for my songs.”

Which doesn’t mean it’s easy for him to hear it. Once he’d finished recording, Jesso asked his friend Shawn Everett to mix “Shine”; what he got back — with every imperfection of his voice under a virtual magnifying glass — terrified him. “It felt way, way, way too vulnerable,” Jesso says.

He texted Everett and said he was sorry but that he couldn’t put out the record like this. “I told him, ‘You just brought out more of me than I’m willing to share,’” he says now. “Then I got home, I smoked a big fat joint and I sat on the couch. I was like, I’m gonna wait until I’m high enough that I can press play and pretend this isn’t me.” He laughs. “I put on the headphones, and I have never in my life had such a profound experience with music.”

Who’d you imagine was singing?
I don’t know — like a 50-year-old dude or maybe a 20-year-old girl who’s got a low voice? It didn’t matter — it wasn’t me, so I wasn’t listening with judgmental ears.

The paradox is that “Shine” feels like the you-est possible album.
There’s no tricks. I didn’t auto-tune, I didn’t cut anything together, I didn’t do any of that. It’s me singing a take, and it’s the best take I got. Whereas with “Goon,” there were a lot of elements that maybe weren’t possible for me to do.

“Goon” was a little more elaborate — more players and producers.
Which was tortuous because I’m like, “How do I recreate this thing that I didn’t even fully make myself?”

Given the unhappiness of your experience after “Goon” came out, I wondered whether this time you’d put certain restrictions on what you’re willing to do.
I’ll say right off the bat: I’m not touring — no way. I’ve met enough artists who say, “I feel totally myself onstage,” to know that there’s a natural state in which people feel comfortable up there. And I’ve tried every which way — by which I mean drinking and not drinking — and I just can’t. It’s not me.

Maybe this is something I still need to work on in therapy, but by being onstage and singing, I’m basically saying, “I’m a singer,” and I’m not comfortable saying that. I’m comfortable saying, “I’m a songwriter.” So there’s this weird shame that comes in where I’m presenting myself beyond what I know my ability to be.

One of the benchmarks I needed to hit on this record was to be comfortable that I’m not misrepresenting myself, which is why I’m OK if there’s an out-of-tune note here and there or if it’s a little bit fast or slow. But even knowing that I can perform it exactly like it is on the record, there’s nothing drawing me to the stage. I don’t really want to have a relationship with fans in that way. I feel very privileged that this is not my main job.

Between “Goon” and now, songwriting became your main job.
So I don’t have to take this as seriously. The parts I do take seriously — the art — I’m willing to put in the work for.

But not for success per se.
Exactly. This is weird to say, but there were moments where I was toiling over this record — listening to Take No. 73 and being like, “Wait, what was the other one?” — and the thought would occur to me: I could go to work today instead of do this and potentially create much more wealth for myself than this album could ever do.

I mean, that’s almost certainly the case.
In comparison, “Shine” is meaningless in terms of success and potential. And yet I was still drawn to doing it, which made me feel like I was making the right choice for myself. But when it comes to the stuff I don’t think is important, just try to get me to do it. It ain’t happening.

I went back and looked at something I wrote about a show you played at South by Southwest in 2015 where you had to start your song “True Love” five times.
Oh God.

But it’s not like anybody in the crowd was mad about it. People thought it was cute.
I feel like if I was onstage now — and everything’s pointing to I probably should play a show or two — I’d be able to see the value in vulnerability. It’s human, and I like that about it. But at the time I wasn’t able to cope with the people who wouldn’t see it that way. Because I wasn’t seeing it that way. I was seeing it as: I’m trying to pretend I’m OK with this, but I’m actually forgetting my song because I’m such a s— performer. Yeah, the crowd loves it, but I go offstage and I’m not looking for the comments saying, “It was so funny.” I’m looking for the ones that are like, “This guy’s a joke.” And I’m like, f—, I knew it.

Keough shares Jesso’s assessment of what’s put him in a different position today versus 10 years ago.

“With ‘Goon,’ he would have put pressure on himself” to jump through the hoops required of a performer, she says. “He was a barista straight out of the coffee shop. ‘Shine’ is straight off all his Grammys and his big songwriting career. He’s able to be more free as an artist now because the stakes are lower.”

Yet not so long ago Jesso reckoned he might be close to burning out in the pop realm. “I was kind of getting ready to dip,” he says, “because I don’t like going into a room and saying, ‘Oh, this song is blowing up — let’s do the same thing.’”

Tobias Jesso Jr. at home in Silver Lake.

(Ian Spanier / For The Times)

He clarifies that he’s not talking about working with an artist like Dua Lipa, who recruited him as a writer for her 2024 “Radical Optimism” LP. “Dua was great,” he says. “I’m talking about going into pitch sessions and sitting with a bunch of writers and figuring out how to get a song pitched. That’s never really worked for me, and the higher you get with producers, the more into that formula you’re putting yourself.”

What he found with Bieber earlier this year was nothing like that. “It was balls to the wall, ideas just flying around,” Jesso says of the roving sessions for the pop superstar’s experimental “Swag” and “Swag II” albums, which took Jesso and the rest of Bieber’s crew to France and the Bahamas and Iceland before Jesso began work on “Shine.”

“I nearly wept on more than one occasion because of how moved I felt about what Justin was doing,” Jesso says. “It was raw emotion without any tricks, without any wordplay, without any of the stuff that I’d been so jaded by in the industry.” The experience, he adds, “reinvigorated my belief in pop music.”

Which makes it an interesting time to move to Australia, as Jesso plans to do soon in order to be close to his son, Ellsworth, who’s there with Jesso’s ex-wife, the Australian singer and songwriter Emma Louise.

“D-I-V-O-R-C-E, you know — it’s always give and take to meet each other’s needs,” he says. “And one of the things was Australia. She really wants Ellsworth to go to school there, which makes sense in one sense — and professionally makes no sense at all. But I committed to it, and I want to at least give it a try and see it through.

“This album coming out and moving to Australia within the same couple months — it feels like a big moment of change,” Jesso continues. “Maybe I’m letting go of some old things, like music being scary, and embracing some new scary things. I don’t know what the hell I’m gonna do over there. Hopefully I get busy doing something. Otherwise I’ll be pitching the groundskeeper ideas for TV shows the whole time.”

Saturday Kitchen host Matt Tebbutt apologised after accidentally revealing personal details about his guest star on the BBC show

Matt Tebbutt dropped a huge blunder just minutes into today’s Saturday Kitchen (November 22), accidentally revealing where one of his celebrity guests lives.

The TV chef was joined by comedian and actor Tom Allen, famous for his roles on The Apprentice: You’re Fired, Cooking with the Stars and The Great British Bake Off’s Extra Slice.

He popped up on the ITV show to promote his gardening podcast, Pottering With Tom Allen, telling presenter Matt: “I just thought what the world needs is another podcast.”

He went on: “We keep the bird song in, we keep the church bells in, even aeroplanes going over we leave in.”

Matt then chimed in with a cheeky comment about the background noise, which accidentally gave away where the star calls home, reports the Express.

“Please Matt! Don’t tell people where I live,” Tom shot back, before quipping: “It’s true though it’s a very desirable area,” as giggles filled the studio.

The gaffe sparked a hasty “I’m sorry” from presenter Matt, who quickly added: “I didn’t give out the full address.”

Tom then revealed that his neighbourhood was quite compact, meaning even tiny hints were too much information.

“Well it’s not a very big place so if you are in Chislehurst you’ll see me there,” he revealed before throwing a tongue-in-cheek “So thanks for that” Matt’s way.

As the programme progressed, Matt turned to chef Ravinder Bhogal to ask what was next on the agenda. Yet, he couldn’t help but make another quip about his earlier gaffe.

“Right let’s see what else is on the menu today. Ravinder! Tell everyone where you live,” he jested, sparking more laughter from the cast and crew.

Saturday Kitchen is broadcast on BBC One and iPlayer

DUA Lipa looked sensational as she stripped to a bright orange bikini on holiday with her sister.

The Levitating hitmaker, 30, soaked up the sunshine in her matching two-piece as she joined look-a-like sister Rina, 24, on a day bed.

Rina, who is carving out her own career as a Gen Z influencer but has dreams of becoming a top actress, opted for red halterneck swimwear for their day in Brazil.

Both siblings shared their sun tan spot on a balcony above a busy beach.

Yet with the rays playing havoc with their Instagram snap, they shaded their eyes with their hands for their sexy snap.

Dua was seen keeping hydrated with a big bottle of water and sun tan lotion perched on a table alongside her.

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Dua posted a gallery of her holiday snaps to her Instagram grid with the caption: “Rio in my [heart].”

It came just a day after the New Rules hitmaker was seen in the crowds at a South American football clash.

The Brit songstress was spotted at the Fluminense vs Flamengo derby in a Brazil shirt – just days after taking in Argentina’s mammoth showpiece.

She is currently on her ‘Ridical Optimism Tour‘ and after playing two shows at the Estadio River Plate in Buenos Aires, she went to Chile for back-to-back performances.

Last week on November 15, she performed in Sao Paulo, Brazil and isn’t due back on stage until tonight in Rio de Janeiro, so has been letting her hair down and taking some well earned chilled time.

LOVED-UP

Meanwhile, Dua is no stranger to a sexy outfit, and recently posed in a sheer lace top as she told how she had “deeply fallen” for fiance Callum Turner.

She opened up about her actor fiance, who she got engaged to last year, after a whirlwind romance.

Discussing their relationship, Dua said: “I love love. It is a beautiful thing.

“It’s a really inspiring thing. You find yourself so intensely falling all the time in the best way possible. That vulnerability is so scary, but I feel so lucky to get to feel it.

“I’ve spent a lot of time being guarded or protecting my heart, and so I’m letting go of that feeling and just being like, ‘Okay, if I’m supposed to get hurt, then this is what’s going to happen.’ I have to just allow love.”

The singer added: “I’m happier than ever, so it feels like I’m doing a disservice by not talking about it.

“When you’re a public person, anything that’s very personal is very vulnerable. It’s not like I don’t want to share it.”

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The Sun were first to reveal Callum had popped the question last Christmas, after less than a year of dating.

Dua confirmed our story last month and told British Vogue: “Yeah we’re engaged. It’s very exciting.”

Directed by Japan’s monomonikered Hikari, “Rental Family” — a beautifully moving and affably humorous story of human connection — kicks off with one funeral and culminates with another, demonstrating the evolution that our protagonist, Philip (Brendan Fraser), goes through during his personal journey between these two events.

The first funeral is a shock. Philip is a struggling actor in Tokyo, with one massively successful commercial as a toothpaste superhero mascot under his belt. His agent has booked him a gig as “Sad American,” a role he can easily play with his looming height, doleful eyes and a heart he wears on his sleeve. Late as usual, he dashes to check in for work and is shocked to stumble into a somber funeral. He’s even more shocked when the formally dressed corpse starts emotionally reacting to the tearful eulogies.

The scene is a marvel of revelation and reaction from Fraser and, in fact, much of the genius of his performance in “Rental Family” comes from his reactions, especially as he discovers the weird and wonderful new job he’s landed.

In the screenplay by Hikari and Stephen Blahut, Philip finds himself working for Tada (Takehiro Hira), who runs a company called Rental Family that’s hired by clients to provide staff to role-play in various real-world scenarios — the fake funeral, for example, or as a mistress apologizing to a spurned wife or just for friendship. Philip’s first role is quite complex: He plays a Canadian man getting married to a young Japanese woman in a show wedding for her conservative parents. She’s queer and needs an out in order to be with her real partner. Philip, who is earnest and honest to a fault, chafes at the lie but soon realizes that he’s helping someone to live their authentic life, so he throws himself into it.

Rental Family’s service is all about maintaining Japanese values of propriety and politeness through performance, and the little (or big) white lies are manipulations to get what the clients want: an apology, companionship, love, admiration, closure. Philip’s most challenging high-wire act proves to be posing as the long-lost American father of a shrewd and emotionally intelligent young girl, Mia (Shannon Mahina Gorman), in order to secure her school admission. Both Philip and Mia’s mom (Shino Shinozaki), the client, soon realize that it’s much more complicated than just pretending to be a nuclear family for a school interview.

While playing daddy, Philip also juggles a role as a curious journalist profiling an aging, iconic (but largely forgotten) screen actor, Kikuo (Akira Emoto), from whom he learns surprising lessons about life, memory and legacy. He finds himself deeply connecting with these people, young and old, and learning from them, while becoming tangled in their lives.

Empathy pours off Fraser in waves, which is what made his Oscar-winning performance in “The Whale” work. Hikari channels that quality to good use in “Rental Family” but never oversteps. The film is sweet and affecting, never treacly or overly sentimental. She knows how to balance humor and poignancy, to allow Philip to be a grown man with his own needs and peccadilloes and mistakes, though we never question his motivations because of the inherent goodness that radiates off Fraser.

Hikari’s naturalistic style perfectly suits this story. The Tokyo that she showcases is one of quotidian everyday life, not the futuristic neon city that an outsider might capture. Hers is one of small, cramped apartments, karaoke bars, public transit, hotels, temples and schools. It’s a world occupied by normal people who sometimes need a little help, a little push to get the things they want in life. Philip is there to provide that service even though he’s also in need of his own connection to others.

But it’s the mishaps along the way that actually help Philip to grow. By the time we get to the second funeral, we see how much he has bloomed. Fraser has an openness to his expression that’s like a flower unfolding, beaming in the sunlight of recognition and personal fulfillment. As an actor, Fraser’s second act has been a sight to behold. He’s the emotional anchor of this life-affirming and quietly resonant film about the importance of being together — a movie that announces Hikari as a major talent.

Walsh is a Tribune News Service film critic.

BBC Breakfast host Naga Munchetty shared a rare family memory on Saturday morning as she warned weatherman Simon King about a popular Christmas gift.

Viewers watching BBC Breakfast on Saturday morning (November 22) got an unusual peek into Naga Munchetty’s childhood as she revealed a cautionary tale live on air.

Charlie Stayt was alongside Naga for presenting duties today, with the conversation quickly shifting to must-have Christmas presents from their younger days.

Charlie revealed that the BBC breakfast crew had been discussing “iconic” festive gifts, including items the team had desperately wanted but never received during their childhood.

“There are lots of people who will never forgive their parents for not giving them something that they really wanted,” he began, as Naga pushed him for his response.

“No, not me actually,” he clarified, before adding: “Though I did want an action man and it wasn’t allowed – but that was a very long time ago,” as giggles could be heard from the production team, reports the Express.

The presenting pair then turned to weatherman Simon King who revealed he had always longed for a slushie maker during his youth. However, Naga was swift to jump in with a cautionary message.

“My cousins had one,” she began. “And I was really envious of it.”

Carrying on with her story, she explained: “I’ll make you feel better. That product then, a long time ago, when you used to scrunch it because it was a slush-making machine, bits of plastic used to come out as well.

“So it was never very good, so you didn’t miss out,” she added, comforting her colleague.

A relieved-looking Simon responded: “Good, I’m glad for that thank you,” before returning his focus to the weather forecast.

BBC Breakfast is broadcast every day on BBC One and iPlayer starting at 6am.

IT’S been an incredibly choppy lead up to his big day – and this week Adam Peaty and his wife-to-be Holly Ramsay felt they had no choice but to speak out, saying they felt “targeted” and “hurt” by the drama.

But there was one part of the couple’s statement that struck me the most – Adam’s repeated mentions of his sister Bethany, seemingly the one family member he is still talking to – who he mentioned even before his future wife. Now, I can reveal the truth behind their close bond, the real reason they are sticking together and how Bethany is also now estranged from their mum.

The statement was the latest twist in the ongoing drama surrounding the Olympian, 30, and his family – making it very clear just how divided camp Peaty really is. 

Interestingly, it was Bethany, 32, that Adam mentioned first when discussing the pain his family were suffering.

Behavioural psychologist Jo Hemmings tells us: “The mention of his sister Bethany in a positive light is a small lighthouse of loyalty in a storm of familial conflict.”

His sister has had her head turned by all the glitz and glamour.

family friend

At this point, Bethany is the only family member who is still going to Adam and Holly’s upcoming nuptials next month – after they disinvited his mother and others in the group took a stand. 

In fact, she’s so close to Adam and Holly that she has been asked to be a bridesmaid and was front and centre at the hen do – rubbing shoulders with Victoria Beckham.

A friend close to the family told us: “Bethany has always been very close to Adam and she is really taken with the celebrity lifestyle.

“She’s had her head turned by all the glitz and glamour. She was over the moon to be at the hen party, hanging out with Victoria Beckham and couldn’t wait to tell all her friends about it.

“She really fits in with the glam world – she’s blonde and very pretty.

“She got on with Holly straight away and has been asked to be a bridesmaid.”

The siblings grew up in Uttoxeter, Staffordshire, but Adam now spends much of his time travelling or in London. Bethany, who now lives in Derby, is thought to spend time with both him and Holly whenever they are back in the UK.

It’s no secret just how much Adam’s life has changed since he became such an acclaimed swimmer – and is now set to marry a woman whose dad is worth £200million.

In contrast, Adam’s working-class family are living the same lives they always have – while he is said to have become “seduced by the fame and glamour of the Ramsays”, which those close to the star tell me Bethany has also now fallen for. 

In his 2021 autobiography The Gladiator Mindset, he openly addressed how it’s all impacted his relationships.

He wrote: “Some of the closest people to me take it personally and despite my reassurances that I really do care, they think that I’ve changed through success and as a result I am ashamed of them and that I should spend more time with them.”

But as well as enjoying the flashiness of Adam and Holly’s life, Bethany and Adam have something else in common – being young parents.

Our insider said: “She’s also a young mum so has really bonded with Adam since he became a dad. It’s made them closer than ever.”

News of the Peaty family rift has sent shockwaves through the showbiz world, but we can reveal it’s not the first time they have all fallen out.

We are told that like in all families they have had ups and downs over the years, but there was one huge row years ago that started it all. 

ADAM’S TOUGH LOVE

They continued: “Adam was always close to his two brothers as well, particularly James, 34, but something happened a number of years ago, which sparked the first fallout.

“Their mum Caroline sides with James, because he has his struggles – his ADHD and mental health problems – and she felt he needed support.

“Caroline feels James is the weaker one and is looking after him right now.

“She felt that Adam was being too tough on his older brother, he can be a real sportsman at times and gives tough love.”

Adam himself admitted in the past that he can lack ’empathy’ and branded himself a ‘selfish athlete’.

The family friend said: “There have been a number of fallouts over the years, and they often fall in and out with each other, but this time feels different.”

And things are now so bad that mum-of-two Bethany is in the same boat as Adam and has been ostracised from the rest of the family – which explains why he has taken her under his wing so much. 

They added: “Caroline is now not talking to Bethany. It’s very sad because it means she’s not seeing the children either. 

“They all feel it’s gone too far now, and they won’t be able to make things up any time soon – let alone within time for the wedding.”

In Adam’s statement he accused his family of “encouraging” false claims about him and his fiancée.

It reads: “Over the past few days, a lot has been reported and comments posted about the private life of Holly and myself.

“My sister Bethany, has also been targeted. This has been almost entirely one-sided and, in many cases, excessive and intrusive. It has been deeply hurtful and upsetting to read, especially given the false basis upon which we have been targeted.

“What makes it worse is that it has been encouraged by members of my family.”

The swimming champion assured fans there were two sides to the story and insisted he only has good intentions.

He continued: “Bethany, Holly and myself cannot go into detail given an ongoing police investigation into serious matters that arose long before recent events.

“For those who know me personally, you know that I work so hard on trying to improve myself as a person who wants to contribute to making the world a better place. I am continuing to learn about myself and how I can be the man I want to be; a worthy partner, father, businessman, friend and athlete; even through these challenging times.

“Bethany, Holly and I will get through this – we do not ask for sympathy. We just need people to be aware that there are always two sides to every story. To those of you who have reached out and shown kindness and understanding – thank you. It is deeply appreciated.”

‘STABILISING THE NARRATIVE’

Behavioural/media psychologist Jo has analysed the statement and believes he is making a clear point with his choice of words.

She explained: “By calling out Bethany positively, Adam is signalling that she occupies a safe harbour in a turbulent sea. He’s saying: ‘Here is someone I still trust, someone on my side, someone whose presence matters to me.’

“In the turmoil of exclusion, perceived betrayal and hurt feelings, naming one person as being on his side helps to stabilise the narrative for him – and for us as observers.

“The fact that only Bethany appears singled out for praise suggests a selective boundary-setting. It appears he is differentiating between ‘us’ and ‘them’ in his family sphere – Bethany is part of his chosen ‘us’ whereas others are very much in the ‘them’ category, including his outspoken mother and aunt.

“In publicly acknowledging Bethany, Adam may also be signalling a hope (or at least an intention) for reconciliation, but on his terms. He may be saying: ‘We will – at least – stay connected at this sibling level, even if other layers of the family relationship are fractured’. It shows that despite the rift, there is at least one relationship bridge he is keeping intact.”

She went on to discuss the impacts of weddings on family dynamics, saying: “Weddings, especially high-profile ones, often precipitate identity shifts: you take on your partner’s family, you step into new social circles, you leave things behind. 

“By praising his sister and by positioning her as part of his inner circle, Adam is implicitly affirming: ‘I’m still anchored in my roots.’ In doing so, he signals to himself and to others that even as his life changes (new partner, new family-in-law, maybe new social position), he hasn’t entirely left behind who he is or where he comes from.

“The mention of Bethany is a soft way of acknowledging that there is hurt, that there is estrangement, that there is a dividing line being drawn. By choosing to publicly show gratitude to one family member, he implicitly reveals that others are excluded or wounded – without naming them or going into all the gritty detail. It’s a controlled way of saying ‘this family situation is fractured’ but with focus on who remains.”

Adam’s aunt Louise previously branded his fiancée Holly “divisive and hurtful” in a bitter online rant after her sister Caroline wasn’t invited to her hen do at Soho Farmhouse, which of course Bethany attended.

Caroline was later banned from the couple’s wedding at Bath Abbey next month.

NO WAY BACK

In a heartbreaking interview, Caroline said she has reached rock bottom over the family feud, which has seen Adam pull closer to the Ramsays.

Worried Holly called the police last weekend while Adam was on his stag do in Budapest over concerns he could be assaulted by his brother James when he got back to the UK.

Adam was escorted by five police officers through passport control upon touching down in the UK. His brother was later arrested at his Staffordshire home.

His father Mark previously told The Sun that the feud had spiralled out of control.

He said: “They’re brothers.

“They’ve always been close but like any normal family, brothers fight, argue, fall out, make-up and start all over again. But it’s got out of hand.

“There’s been very little empathy towards Jamie’s genuine mental health difficulties.”

Over the years Adam, who is heavily religious, has written extensively about his alcoholism and mental health problems, so knows more than anyone what it’s like to go through a hard time.

He has certainly changed a lot from the boy who first hit headlines all those years ago – and as his statement suggests – his sister, his partner and their future are his priority. And at the moment there is no room for anyone else. 

“Forever chemicals” don’t die — they just regroup. Only instead of regrouping in hell, as that old Marines saying goes, it’s in the oceans, where such compounds were dumped for decades.

For years, Times environmental reporter and Pulitzer finalist Rosanna Xia has been covering the legacy of forever chemical DDT, a pesticide once applied to humans as innocuously as hairspray and yardhose water. In 2020 she broke the story that barrels of DDT’s toxic waste, last sent to the ocean floor decades ago by its biggest manufacturer, Montrose, were closer to Southern California’s shores than previously thought. Her ongoing investigative work is now the subject of a documentary, “Out of Plain Sight,” which Xia co-directed with Daniel Straub. (Full disclosure: It was produced by L.A. Times Studios, an affiliate company.)

The film is a fleet, urgent-sounding dispatch, centering on Xia herself as an intrepid factfinder roving the affected coastline, dropping in on scientists, oceanographers, biologists and wildlife experts as she tries to piece together the effects of half a million barrels of forgotten DDT, banned in 1972 but still having an impact on an already fragile ecosystem and the descendants of those exposed to it. Her inspiration, quoted up top and glimpsed in archival footage, is Rachel Carson, whose seminal 1962 book, “Silent Spring,” spurred enough public outcry against chemical pesticides to lead to the creation of the Environmental Protection Agency.

Carson’s galvanizing alarm was, paradoxically, an absence, seen in declining bird populations (hence the “silent” of her title). Xia’s clarion call, meanwhile, starts with robot-captured images of leaking barrels on the ocean floor. That’s the beginning of the sea-to-land food chain that starts with DDT-ridden marine life. Microplastics are the current bete noire and rightly so, but we’re still in the dark about the causal calamity of a past era’s chemical polluting. It’s one thing if a company like Montrose, now defunct, once believed no one would notice their massive DDT-waste-dumping operation. It’s another, the movie argues, if we choose not to wrestle with the environmental ramifications being felt today.

“Out of Plain Sight” strives to be more cinematically alive than the standard talking-head-laden documentary. A brief history of DDT, from the corporate excitement over its invention to protesting, is given a snazzy split-screen archival montage treatment, sourced from educational films, newsreels and interviews but scored to the Zombies’ “I Don’t Want to Know” as a cheeky touch. And all of Xia’s interviews are filmed in the field in a vérité style, a nod to journalism in action, from UC San Diego labs and mammal rescue operations treating cancer-riven sea lions to microbiologist David Valentine’s attempts to collect samples from those time-bomb-like barrels of sludge.

Though we need movies that demystify journalism (and Xia is an appealing on-camera correspondent), that aspect is less interesting than the propulsive portrait of a dedicated, multi-pronged effort to expose, understand and hopefully clean up a still-viable threat. “Out of Plain Sight” doesn’t need to be earthshaking filmmaking to relay a valuable ongoing story about a hidden nightmare for all of us. It brings to mind another famous saying, just as applicable to DDT’s longevity as the one about the Marines, from William Faulkner: “The past is never dead — it’s not even past.”

Emmerdale spoilers have teased violent scenes next week as Bear challenges Ray over Anya’s death, and Lewis is reeling over some news about Kev when the police come knocking

There’s some big moments on Emmerdale next week, with new spoiler clips teasing violence and an exit.

Bear Wolf lashes out at villain Ray Walters next week on the ITV soap in the wake of poor Anya’s death. Grieving, a discovery sends him into a rage, and he confronts Ray in dramatic fashion.

It comes following Anya sadly passing away, amid the soap’s horrifying modern slavery storyline. With Ray and Celia Daniels refusing to get Anya the medical help she needed after an injury, she got sick and passed away.

Bear had grown close to her and vowed to look after her, so her death hits him hard. But it seems as far as he’s concerned, Anya’s body has been taken away from the farm.

He soon finds out the truth though and goes looking, where he finds Anya’s body up against a wall in the feed shed. Disgusted with the way she has been discarded like she’s nothing, Bear lashes out.

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Holding a bracelet Anya’s daughter had made for her, Bear tells Ray he’s seen the body and knows he’s been lied to. He accuses Ray of not caring about what’s happened, and treating her like an animal.

Ray gets annoyed and tells Bear to calm down, trying to get control over the situation. But as he starts shoving Bear and telling him to back off, Bear loses it and shouts in his face.

Grabbing him by the collar, he shoves him up against a wall leaving Ray gasping. But is this the moment that he sees he’s being manipulated, and that Ray is not on his side?

Also in the village next week, scenes could seal an exit. Lewis Barton is left stunned when the police arrive at the café, declaring they need to speak with Kev Townsend.

Kev is in the café at the time amid his growing friendship with Lewis, his secret son. When the police arrive and ask to speak with him, Lewis asks if Kev is being arrested, when they reveal it’s about an armed robbery.

Kev tries to downplay the situation, telling the police they have got it wrong and they will soon realise he’s had nothing to do with it. But with them claiming they’ve found evidence, and viewers knowing he did carry out the crime, could this lead him being sent back to prison for his crime in a rather abrupt exit for the newcomer? Viewers will have to tune in to find out!

Emmerdale airs weeknights at 7:30pm on ITV1 and ITVX, with an hour-long episode on Thursdays. * Follow Mirror Celebs and TV on TikTok , Snapchat , Instagram , Twitter , Facebook , YouTube and Threads .

GOGGLEBOX star Amy Tapper has revealed she needs surgery to remove her loose skin after a stunning 8st weight loss.

Amy, who overhauled her lifestyle with clean eating and regular exercising before turning to weight loss jab Mounjaro, looks incredible after the transformation – but can’t do anything about the excess skin that comes with it.

She told the Mail: “Unfortunately and inevitably, when you’ve lost as much weight as eight stone, and there’s gonna be more, there’s a lot of skin that is just not gonna disappear with exercise.

“It’s not possible, you know? It’s stones and stones of fat and it’s now just skin.

“My arms and my tummy are definitely gonna need surgery at some point, but my legs are actually OK.”

Amy, 26, has been using her personal trainer for five years and has continued to exercise alongside using jabs. She currently takes a 15mg weekly dose, having increased gradually from a starting dose of 2.5mg a week.

weigh to go

Gogglebox’s Amy Tapper shows off incredible 7 stone weight loss in fitted dress

Weight to Go

Gogglebox’s Amy Tapper shows off 7 stone weight loss as she strips to swimwear

Speaking on Good Morning Britain in September, Amy warned viewers the jabs aren’t a permanent solution to weight issues.

She said: “I think a lot of the way that people look at the injections is that it’s a quick fix, everything like that. And it is. It’s very quick.

“But it’s not fixing you forever. Because the minute you come off of it, my body’s just going to start doing exactly what it was doing before. Which means that, yeah.”

The Channel 4 star then revealed her plans for long term use of fat jabs.

“I will be on it for life. I mean, obviously, we will look through it and we’ll see as we go along,” she said.

“We don’t know what can happen. But the plan is, I’m on the highest dose at the moment.”

Amy exclusively told The Sun that she began taking jabs as a last resort and called the results “life-changing”.

She said: “I’ve gone to doctors all my life and they can never tell me the problem – because there’s actually nothing wrong with me. 

“My bloods are always amazing, I haven’t got polycystic ovaries, I haven’t got a thyroid problem and I haven’t got anything that usually makes you put on weight. It is just genetics.”

Continuing, she added: “I felt there was nothing else I could do.”

Life has a way of taking things from us that we think we can’t do without. Often that means the death of a loved one, but sometimes it can be home — and with it, our grounding in the world. When we meet Dusty, the laconic protagonist of “Rebuilding,” he has already lost so much. His marriage is over. His parents have been dead and buried for quite a while. But as this modest drama begins, Dusty is grappling with the most crushing of blows: His cherished 200-acre family ranch in Colorado has burned down in a devastating wildfire. He survived but he might as well be a ghost.

Dusty is played by Josh O’Connor, who lately has cornered the market on sensitive, passive outsiders. With his wiry frame and shy eyes, the British actor has demonstrated in films such as “La Chimera” and “The Mastermind” an appetite for soft-spoken characters who exude a gentle masculinity. We don’t know if Dusty’s voice is noticeably hushed because of his recent tragedy, but as he tries to pick up the pieces, this lonesome cowboy drifts through his days, doing his best to pretend he’s holding up OK.

Writer-director Max Walker-Silverman’s second feature shares with his first a sympathy for strong, silent types. His flinty 2022 debut “A Love Song” was drenched in melancholy, casting Dale Dickey and Wes Studi as aging childhood friends reunited, a tentative romance faintly sparking. Similarly, “Rebuilding” is a tale of grief and what-ifs populated by everyday folks who speak in terse tones. The movie radiates the spare, rugged poetry of a short story or a John Prine song. (Fittingly, the musician appears on the soundtrack.)

O’Connor keeps Dusty’s inner life a mystery as he reluctantly moves into a beat-up trailer at a temporary FEMA camp, struggling to make it hospitable for his grade-school daughter Callie-Rose (Lily LaTorre), who primarily lives with Dusty’s ex-wife Ruby (Meghann Fahy) and Ruby’s boyfriend, Robbie (Sam Engbring). Dusty is not a bad father or a snide former spouse — everybody in his orbit likes him, including Ruby’s ailing mother Bess (Amy Madigan). But when Callie-Rose informs Dusty that Ruby said he underachieved in school, we believe her. “Rebuilding” doesn’t reveal much about Dusty before the ranch was incinerated, but what eventually becomes clear is that he’s always been something of a disappointment.

It’s a performance that requires O’Connor to hint at an ineffable void. The character operates at a remove from even those closest to him — he has a kindly spirit, but he can’t quite connect. Dusty and Ruby were adolescent sweethearts, but the audience doesn’t need to know the whole backstory to guess why they broke up. He’s the kind of guy weighed down by an internal inertia, asleep while standing up, stuck in a rut. At least he had his ranch. But after the wildfire, Dusty’s omnipresent cowboy hat is all that remains from the only life he’s ever known.

In keeping with Walker-Silverman’s naturalistic approach, “Rebuilding” eschews a conventional plot, instead observing Dusty’s negotiation of an outside world he’s tried to avoid. He gingerly makes friends at the FEMA camp, most memorably with Mila, depicted with gruff authenticity by Kali Reis. This de facto support group has no big inspirational speeches to offer Dusty, just a weary resilience to keep going because, really, what else can they do? Some of the film’s finest moments involve O’Connor ceding the spotlight to his co-stars, each of them so offhandedly genuine one might assume Walker-Silverman gathered actual wildfire survivors.

The movie’s verisimilitude may trigger some Los Angeles viewers who know all too well the pain of recovering from a natural disaster. When “Rebuilding” premiered at Sundance in January, Southern California festivalgoers couldn’t help but feel a queasy déjà vu: The Eaton and Palisades fires were still raging, destroying communities and displacing so many. That horror and sorrow loomed heavy over those initial screenings, and no doubt for many in our city, 10 months will hardly be enough time to enter the proper headspace to appreciate Dusty’s processing of his disorienting new normal.

But while Walker-Silverman couldn’t have imagined his movie’s jarring real-world parallels, “Rebuilding” is as much a character study as it is a warning about our increasingly fragile planet and the beloved places we call home. The story’s studied minor-key tone can occasionally come across as mannered, yet “Rebuilding” possesses its own delicate grace, especially once Dusty endures other losses — some personal, others more existential. Walker-Silverman introduces a minor twist near the end that comes across as a little too narratively convenient, but one can hardly begrudge him seeking a sliver of hope for those whose sense of place has been obliterated. As Dusty learns, when you’ve lost nearly everything, all you’ve got is whatever’s left behind.

Coronation Street spoilers have teased more concern for Todd Grimshaw next week as Theo Silverton fumes, while a character’s disappearance leaves one resident confused

There’s worrying scenes on Coronation Street next week, as Todd Grimshaw once again faces the wrath of Theo Silverton.

Todd is struggling with the constant running Theo is forcing him to do, and so James Bailey pops round and offers to help Todd after dropping off some equipment. While Theo and Todd are preparing lunch, Todd appears to reveal he’s suffering from aches and strains in his legs.

In the preview clip, Todd is on the floor in his dressing gown while James is trying to ease the pains in his legs. The pair are joking around, as Todd suggests he’s torturing him in exchange for an invite to lunch.

While this is all going on, Theo is staring darkly towards them both, his infuriation building. Todd notices this and looks alarmed, and swiftly makes a point of saying James can’t stay.

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James realises he has somewhere he needs to be, and jokes about Todd making sure he’s dressed next time and putting some pants on. As Todd laughs, Theo is not amused and just stares, while saying goodbye to an oblivious James.

When Todd gets up, he laughs and comments that his legs are feeling a lot better. But as he stares at Theo, his face drops as he quickly realises Theo is unimpressed.

Fearing the consequences after Theo’s recent outbursts, as well as his controlling and manipulative behaviour, Todd watches on as Theo’s face continues to darken. But is Todd in danger?

Also next week, Kit Green grows concerned about his boss DI Costello who appears to go missing. At the station, he’s noted that Costello hasn’t shown up for work and it’s not like him.

As time passes and he’s still a no-show, Kit asks a colleague about him, and wonders where he is. While the colleague doesn’t seem to be alarmed, it’s clear Kit is a bit concerned by Costello being AWOL and not declaring his whereabouts.

Of course Kit has every reason to be worried, as spoilers have revealed that Costello is attacked next week. When Kit finds out, he’s quick to inform his colleague Lisa Swain about their boss’ state.

That’s not all though, as he soon shares his concerns with Lisa that her ex Becky Swain may be responsible after recent drama between the pair. But how will Lisa react to this claim, and might Kit be on to something? If he is, he may want to watch out before taking Becky on.

Coronation Street airs Mondays, Wednesdays and Fridays at 8pm on ITV1 and ITV X. * Follow Mirror Celebs and TV on TikTok , Snapchat , Instagram , Twitter , Facebook , YouTube and Threads .

JESS Glynne has hinted she’s already bought an engagement ring to propose for girlfriend Alex Scott.

Her I’m A Celebrity star partner said on the ITV show she was “waiting” for the pop star to pop the question.

Since then, Jess has suggested she’s already got a plan in place to make Alex’s dream come true.

Speaking to Hits Radio presenter Tom Green, Jess admitted that the “pressures on” after hearing Alex mention “the ring” in I’m A Celebrity, Get Me Out of Here.

However once she heard it, Jess admits: “I went to the shop straight after….”

She was performing at Hits Radio Live in Birmingham’s bpPulse Live Arena tonight alongside Alex Warren, Jade, Myles Smith and Calvin Harris.

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The Hold My Hand singer, 36, watched as the Football Focus presenter, 41, opened up about their romance on Tuesday.

Alex told camp co-star Ruby Wax: “I think before her, I never knew happiness.

“She approached me in Chiltern Firehouse…I was in there with my friends and she just walked up to me… [it was] really ballsy.

“I was like, I like your ballsiness, and then the spark was just instant and then yeah…we fell madly in love.”

Asked if marriage was on the cards, Alex said, “I will get married to her, just waiting for her to ask, Rubes.”

Jess drove fans wild as she went on Instagram, saying, “I better go get a ring.”

The pair are thought to have started dating in the summer of 2023, all before going public with their romance that October.

Former Lioness Alex previously told The Sun what she’ll miss about Jess while she spends time in the Australian jungle.

“Her cooking pasta for me is absolutely everything.

“Those quiet moments when your life’s 100mph, just coming home… she loves to cook, and we love to sit and have a glass of wine.

“I’ll most probably be watching football in the background. I’m definitely going to miss that, especially when I’m so hungry.”

Alex added, “It’s a test for both of us. I know she’s at home and she’s going to be my biggest cheerleader supporting me.

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MUM PAIN

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“She really wanted me to do this because she knew that I wanted to test myself.

“It is going to be a challenge for us both being separated. But I suppose that’s what makes the heart grow fonder, right?”

Y la chona se mueve, al ritmo que los Fortniteros toquen.

Starting Friday, “Fortnite Festival” players across the globe can rock out to the story of la chona as Los Tucanes de Tijuana’s mega hit “La Chona” is the latest track to hit the “Fortnite” universe.

The 1995 song — which has long been a staple on party dance floors — has crossed over into international fame thanks to its prevalence on social media and the overall increased visibility of Latinos. People from within and outside of the culture have embraced the track’s playful nature and undeniably catchy melody—Metallica even got in on the fun with a 2024 live cover of the single at a show in Mexico City.

Like “Guitar Hero” and “Rock Band,” “Fortnite Festival” — a spinoff of the popular survival/ battle royale-style online game “Fortnite” — is a rhythm game that requires players to hit notes in-time to properly perform songs as members of a virtual band.

Los Tucanes de Tijuana have long been a staple of the música Mexicana scene on both sides of the border. In 2019, the group became the first norteño band to perform at the Coachella Valley Music and Arts Festival, and have played massive gigs at Dodger Stadium, New York’s Central Park and Mexico City’s Zócalo Plaza.

The band made headlines in 2010 when it was banned playing in its hometown of Tijuana as a result of a 2008 concert in which the group’s lead singer, Mario Quintero Lara, sent his regards from the stage to the city’s most notorious and wanted men, “El Teo and his compadre, El Muletas.”

“El Teo” refers to Tijuana drug cartel leader Teodoro Garcia Simental, who was captured by authorities in 2012. “El Muletas” — which Spanish for “crutches” — was the nickname of Tijuana cartel leader Raydel Lopez Uriarte, who was captured in Mexico in 2010. The moniker stands for the trail of disabled people Lopez Uriarte left behind as part of his brutal attacks.

The shout-out enraged the city’s then-police chief Julian Leyzaola. He said the band’s polka-driven narcocorrido songs glorified drug lords and their exploits and were, therefore, inappropriate to play in a border city that had long suffered from drug-related violence.

“La Chona” is only the most recent playable song available as part of “Fortnite Festival’s” 11th season, which unlike previous iterations, is made up of songs from several performers rather than having only one featured artist. Other artists featured in the latest season include Jennie from Blackpink, Doja Cat, Simple Plan, Elton John, Fall Out Boy, Tyler the Creator, Slipknot and Olivia Rodrigo. Previous seasons of the game revolved around the music of Billie Eilish, Karol G, Bruno Mars, the Weeknd and Lady Gaga.

The “Fortnite” franchise first dabbled in the world of music in 2019 when DJ Marshmello performed a virtual concert on “Fortnite Battle Royale.” It was estimated that over 10.7 million people tuned in for the concert.

With the onset of the COVID-19 pandemic, the Fortnite metaverse became a refuge for artists looking to connect with audiences. Travis Scott performed for over 12.3 million players in April 2020, and Ariana Grande played inside the game in August 2021. Other artists who have rocked the “Fornite” stage are Eminem, Snoop Dogg, Juice Wrld, Metallica and Ice Spice.

Gogglebox returned once again on Friday night on Channel 4

Gogglebox stars Dave and Shirley Griffiths shared some huge news just minutes into Friday’s episode.

As the episode started, Dave was seen surprising Shirley by letting off a loud confetti cannon, leaving his wife shocked.

Shirley said: “What have you got there?” before adding after the confetti cannon went off: “You stupid cow! You d**k!”

This prompted a beaming Dave to declare: “Happy anniversary!” before kissing his wife. He continued: “We’ve got to celebrate, haven’t we, 50 years!”

To which a giggling Shirley pointed out: “I was going to say, you’ve covered the b****y dogs!” as their pet dogs were seen covered in the confetti.

It comes as the duo also celebrated the milestone on Instagram as they shared a throwback snap on their joint account, writing: “50years on November 15th I wed the lovely Shirley, Happy anniversary darling here’s to making more happy memories.”

Gogglebox also celebrated the anniversary as they posted on their own Instagram: “How it started… how it’s going” with yellow heart emojis.

They added: “Happy 50th Wedding Anniversary @dave_shirl_gogglebox #50years #Golden #Wedding #Anniversary #Gogglebox #FreshEveryFriday 9pm @channel4.”

The couple’s fans and Gogglebox viewers were quick to react to the lovely news and incredible milestone.

“Happy golden wedding anniversary you lovely pair,” commented Ellie Warner, whilst her sister Izzi contributed: “Congratulations both! Wishing you many more years of wedded bliss.”

Simon Minty wrote: “Hid your names and asked Jane to guess. Took a couple of clues and then she cried, ‘Jeepers!’ She guessed you first Shirl and I guessed you first Dave. A very happy anniversary to you both.”

Ex-Gogglebox star Mica Ven added: “Happy anniversary you beauties,” whilst Jenny Newby and Lee Riley joked: “Awhhhhhh Happy Anniversary to you lovely pair but who gets the medal.”

Meanwhile, one fan commented: “Happy anniversary to you both, may you share many more in the years to come,” whilst another viewer added: “Gorgeous!! Happy Anniversary to a beautiful couple.”

The Welsh couple, who first appeared on the Channel 4 programme back in 2015, have quickly secured themselves as fan favourites.

Gogglebox airs on Friday nights at 9pm on Channel 4.