SHOW BIZ

PRINCESS Andre and Christine McGuinness lead the arrivals at this year’s British LGBT Awards.

The glam stars both stunned on the red carpet as they dazzled in strapless frocks at the annual star-studded event.

Reality TV star Princess looked a vision as she wowed the photographers in a gorgeous strapless white gown.

Her flawless outfit featured cut-out detailing around her hips as she flashed a smile on the carpet – just hours after making her This Morning presenting debut.

Princess’ long blonde locks flowed down to her hips as she mingled with stars including Christine McGuinness at the event.

Christine opted for a similar white outfit which also showed off her shoulders thanks to its strapless design.

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The former wife of Paddy McGuinness has been open about her dating life in recent months and has affirmed her decision to concentrate on dating women following her 15-year marriage to the TV host.

Princess and Christine weren’t the only stars who flocked to Marriott Grosvenor Square for the event.

Coronation Street legend Helen Worth – who quit the soap as Gail Platt after 50 years in 2024 – made a very rare red carpet appearance at the event.

Helen – who often shuns showbiz events – looked immaculate in a long dress with floral detailing.

I’m A Celebrity star Tom Read Wilson also reunited with his jungle pal Ruby Wax at the event.

Ruby was in charge of keeping things in order as the host of the event which marks celebrations and achievements for LGBT individuals and organisations across music, business, celebrity other aspects of everyday life.

TV presenter Rylan also attended the bash alongside former BGT judge Bruno Tonioli and former WAG, Lizzie Cundy.

Beverley Callard has suffered a “down day” amid her cancer battle but the Coronation Street star and her husband have made the best of the situation by inviting friends over for drinks

Beverley Callard has suffered a “down day” amid her cancer battle. The actress, 69, announced in February that she had been diagnosed with the early stages of breast cancer and attended her first oncology appointment on Thursday.

Earlier this week, Beverley, who recently relocated to Ireland with her husband Jon McEwan so she could star in the RTE soap opera Fair City, had previously explained that there had been a bit of a delay with her treatment because it had “taken a while” for her medical records to arrive from England.

The Coronation Street legend, who played Rovers Return landlady Liz McDonald on the ITV soap for 30 years, told fans that she is hopefully set to begin her treatment within the coming days.

But, in a turn of events, it was Jon who provided the star’s latest update and spoke to the camera himself, as Beverley chatted with friends in the background.

He said: “We’ve been to the hospital, got some news, trying to start radio therapy as soon as they can. But we’ve come home, we’ve got some friends here. It’s been a down day, but I’ve made Sangria, we’re cooking a barbecue and Beverley is like…[pans camera around].”

It was then that the former I’m A Celebrity…South Africa star waved to the camera and yelled: “Cheers!” as her friends joined in.

When her husband asked how much Sangria they had had, Beverley exclaimed: “It’s the fifth jug, there could be more!” Jon concluded the message as he said: “Sometimes, you’ve just gotta let go.”

Beverley herself captioned the post: “Sometimes all you need is @jonmmac60, good friends and 5 jugs of sangria! It feels like it’s been a long week, but this was a pretty good ending to a day of mixed feelings! F*** cancer!”

In a quick Instagram Story, Beverley was dancing with her friends as she declared: “Me and my best friends say ‘F*** cancer! I’m drunk!”

As always, the former Two Pints star was inundated with support from fans in the comments section. One said: “Enjoy your night I’ve been with you through your journey you’ve been so inspiring hope radiotherapy goes well you’ll be amazing breathing in therapy xx” whilst another said: “Blessings to you Beverly We love you.”

A third said: “Keep smiling and keep fighting,” and a fourth added: “You all deserve a few sangria’! cheers to better times.”

Just hours beforehand, Beverley had told fans following her first oncology appointment: “They’re trying to get me my first appointment for radiotherapy tomorrow but it could be next week, so it’s imminent.

“Everything was really great, they treated me so well and I’ve had loads of other ladies, and ladies’ husbands, coming up, who are all going through the same thing and we were all chatting.”

Beverley first revealed news of her diagnosis in February during an appearance on RTE’s Late Late Show, and explained that she received the diagnosis just minutes before she was due on set for her new soap role.

She said: “I’ve had some tests just before I left the UK, and literally, 15, 20 minutes before I was in my dressing room at Fair City, getting ready to go on, and I was quite nervous and thinking, ‘I hope everybody thinks I’m all right’, whatever.

“And my consultant rang me and said, ‘you’ve got to come back to the UK’ I said, ‘Well, I can’t possibly, I’ve just taken a new job’. I said ‘I’m away for a month’, and I was diagnosed with breast cancer.

“But I’m fine, I’m absolutely fine. My head was a bit mashed for the first few days. It’s very early stages, and I’m along with thousands of other women as well.”

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

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WHO can blame Paul McCartney for glancing in the rear-view mirror on his latest record? 

At 83, the likely lad from Liverpool, who became a Beatle and Britain’s best-loved songwriter, is due a moment of reflection.  

He looks at it this way: “As a writer, you often write about things in the past, even if it’s just yesterday.” 

Or even, as Macca can’t resist saying, if that past “always seems so far away”.  

“That’s another nice idea. I think I might have done that one,” he adds in acknowledgment of his immortal Beatles ballad Yesterday. 

His 20th solo studio album, The Boys Of Dungeon Lane, finds him casting his mind back to innocent times before The Beatles changed his life for ever. 

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Five of the 14 tracks visit the simple pleasures of youth — As You Lie There, Days We Left Behind, Down South, Home To Us (a first ever duet with Ringo) and Salesman Saint — and, as you’ll discover, each comes with a captivating back story. 

Here, the master storyteller, whose previous character studies include Eleanor Rigby, The Fool On The Hill and She’s Leaving Home, turns the spotlight on himself for what might just be his most personal song cycle yet. 

On The Boys Of Dungeon Lane, Sir Paul makes you believe in HIS yesterdays. 

Asked why much of his latest work deals with memories, he replies: “I think writers, including me, ask themselves that. 

“When you think about, say, Charles Dickens, what’s he going to write about except stuff he knows and stuff he remembers? Then he can gussy them up.” 

And do recent Beatles and Wings reissue projects have an impact on the way he fashions a song these days? 

“No,” answers McCartney emphatically. “The thing that pulls it all together is me — it’s my brain making music.  

“I don’t think, ‘Wow, oh yeah, let’s do this. This is a Beatles idea, or this is a Wings idea’. I don’t think like that. It’s all current. It’s me. This is what I do.” 

Listen to The Boys Of Dungeon Lane and you’ll understand what he’s getting at.  

Despite first picking up a guitar nearly 70 years ago, he’s still making eclectic, freewheeling music, brimful of ideas, even if many lyrics are bathed in nostalgia. 

The album was recorded over the past five years, when time permitted between touring and other commitments, in the company of in-demand American producer Andrew Watt, known for his work with Ozzy Osbourne, Post Malone, Lady Gaga, Miley Cyrus and, ironically, The Beatles’ chief Sixties chart rivals, the Rolling Stones. 

“We just enjoyed it,” says Macca of his sessions with Watt. “We were like a couple of Boys Of Dungeon Lane — little boys in a sandpit — and we were having fun.” 

So, with the help of telling observations from the man himself, given to me by his team, let’s take a deep dive into the key tracks. 

As You Lie There begins proceedings in memorable style with an intimate spoken word passage delivered over minor key acoustic strums. 

McCartney intones: “I used to walk past your house. Every night I’d look up at your window. The light was on. I saw your silhouette on the blind. Do you think of me? Do I ever cross your mind?” 

The song, with its squalling rock refrain, recalls a teenage crush from the time Macca lived at 20 Forthlin Road in the Allerton area of south Liverpool, in the house where he and John Lennon first discovered their spark of creative chemistry. 

“Up in one of the ­windows, there was a girl I ­fancied called Jasmine,” he says of his tale of unrequited love. “But I didn’t know how to approach her. I never spoke to her. 

“The joke was, she did show up later that year and knocked on the door. I was indisposed — I was on the toilet — so I missed Jasmine.” 

Aside from the sweet story behind the lyrics, As You Lie There is important because it is the song that kickstarted the whole process, just as the world was emerging from the Covid pandemic. 

McCartney says: “The album really started when my manager said, ‘Would you like to meet Andrew Watt?’ 

“I knew he was an active young producer, and I liked some of his stuff. I said, ‘Yeah, great’. He said, ‘Well, it’s just a cup of tea. Go down to his studio’.” 

The pair hit it off and what began as that cuppa at Watt’s basement studio — located in his Beverly Hills residence once owned by Charlie Chaplin — soon turned into something much more significant. 

Macca described his songwriting process, how he would try “to find  

a really weird chord”, to give him “a little inspiration”. 

To his delight, he realised that Watt, a big guitar collector, “had figured that if I was coming down, it would be handy to have a left-handed guitar. 

“I struck this mad chord,” he continues. “I still have no idea what it is, then I changed one note, then another. Suddenly we  had a three-chord sequence and Andrew said, ‘We should record this’.” 

As the song took shape, they considered bringing in Chad Smith of Red Hot Chili Peppers on drums but Watt suggested that McCartney, a more than proficient drummer, should play them himself.  

He says: “I really enjoyed drumming to it, so I put down the drum track, then obviously the bass.  

“Then Andrew put the guitar lick down, because he’s a good guitar player. And over a few days, we made As You Lie There. That started the journey.” 

The “journey” included recordings in various LA studios as well as Macca’s own Hog Hill Mill in Sussex and his old Beatles stomping ground, Abbey Road. 

Of all the ensuing songs, first single Days We Left We Behind sets the tone — and is also significant for yielding the album title. 

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

Whenever he goes to Liverpool these days, to visit the city’s Institute for Performing Arts (LIPA) for instance, he notes that “the back entrance to the airport is in Dungeon Lane”. 

He remembers trips down that lane “as a little kid, because I used to wander off, just on my own, with my little bird book”. 

It was the keen ornithologist’s gateway to stunning Mersey Shore, an area teeming with wading birds just a short distance from suburban Speke where he lived between the ages of five and 13. 

“Speke is quite working class,” says McCartney. “We didn’t have much at all but it didn’t matter because all the people were great and you didn’t notice it. 

“It’s my wife Nancy’s favourite track on the album. When we play it to people, we say, ‘You don’t need to cry’, and then you look up and see that they are.” 

When asked how he settled on the album title, Macca says you could ask the same question about Sgt. Pepper’s Lonely Hearts Club Band. 

“It’s just some words I like. We were thinking Along The Mersey Shore could be good. But then I liked The Boys Of Dungeon Lane — it’s a bit more, ‘What’s that about?’ ” 

McCartney says Days We Left Behind “involves a bit in the middle about John and Forthlin Road”. (The McCartney family moved there in 1955). 

It suggests that he and his much-missed songwriting partner in The Beatles “wrote a secret code, to never be spoken”. 

This leads us to the folkie Down South which, says Macca, is “another one about reminiscing”.  

“I often think about John and George,” he continues. “We used to hitchhike in the days before The Beatles. It was in the days when you could — now I warn my grandkids, ‘Don’t do it’, because there are too many nutters out there.” 

He remembers: “I got a tip from someone who said, ‘You start off in Chester — because that’s where all the lorries are and they’re all going straight down south. That’s a good place to get your first lift’.” 

With Harrison, seven months his junior, coming along for the ride to places like Harlech in Wales, it was a perfect chance to do some “bonding” with his future bandmate. 

And speaking of bandmates, what about the rousing Home To Us, which, for good reason, is the only track McCartney doesn’t play the drums on. 

During one of his breaks from sessions with Watt, he “talked to Ringo about Andrew”. 

“Then Ringo went round to Andrew’s studio and drummed a bit. Next time I saw Ringo, he said, ‘Well, he didn’t do anything with it.’  

“I asked what he’d expected and he said, ‘Well, you know, a track’.” 

When Macca finally heard his old mucker’s efforts, he suggested to Watt: “We SHOULD make a track and send it to Ringo. So, we did.” 

On writing the Home To Us lyrics, he reveals: “This song is done totally with Ringo in mind. I’m talking about where we came from.  

“In common with a lot of people, you come from nothing and you build yourself up. Ringo was the one who came from the most ‘nothing’ in The Beatles. 

“He was from the Dingle and that was well hard. He used to get mugged coming home from work. 

“Even though it was crazy, it was ‘home to us’ and I made the song around that idea.” At first, Ringo only sang a few lines of chorus, but Macca rang him and said he’d “love to hear him sing the whole thing”. 

“Next, we took my first line, Ringo’s second line and we had a duet — something we’d never done before.  

“We also wanted backing vocals, and I had the idea it would be nice to hear girls. Chrissie Hynde and Sharleen Spiteri are mates — and they did it.” 

The last of McCartney’s memory songs is the most poignant, Salesman Saint, which pays tribute to his midwife mother Mary who died when he was only 14 (the “mother Mary” of Let It Be) and his salesman/amateur musician father Jim. 

He says: “This song is me remembering my mum and dad. I was born in World War II and I often think, ‘Bloody hell, it’s tough enough having a baby now but imagine if we were all conscious that bombs could be falling any minute’ — and Liverpool was getting heavily bombed.  

“I was thinking about them bringing up this kid in those circumstances. My dad happened to be a cotton salesman, and my mum was a nurse. They did it. They managed it and they brought up me and my brother [Mike]. 

“Got us to doctors, got us to school and did all these things under those circumstances. At the end of the song, there’s music I’m trying to make from their era.” 

So now you’ve heard about all the songs inspired by McCartney’s youth but there are NINE more tracks to digest. So here, in Macca’s own words, are his thoughts on those: 

Lost Horizon: “This one came about when our dearly beloved and now sadly deceased studio manager, Eddie Klein, was logging some old cassettes of mine.  

“He asked me if I remembered Lost Horizon and I said, ‘No’. He said, ‘It’s good, you should listen to it’. So, we remade it faithfully to the cassette version — just with a more modern sound.” 

Ripples On A Pond: “It’s a love song. Like a few of the songs, we started this in my studio in Sussex. I said to Andrew, ‘You’re supposed to be a pop producer and we’re making all these records that don’t sound like that to me so, come on, let’s pop this one up!’ ”  

Mountain Top: “My wife is a real live music fan and if there’s anything on she’s like, ‘Can we go?’ So, we go to Glastonbury every year and I started fantasising about some young girl tripping — she’s magic mushroomed out. The things you write songs about!” (Nancy delivers the closing spoken words.)  

We Two: “A lot of Beatles records were made on a four-track Studer machine, including A Day In The Life. It’s such a classic now. I’ve got one in the studio and we use it sometimes. Andrew loves all these recording legends of the past. I showed him the Studer and he said, ‘Can we use it now?’ Luckily, it’s in full working order so we did We Two on it. It’s a little love song.” 

Come Inside: “Going to side two now. We start it off with a rocker love song. It’s straightforward — but with verve.” 

Never Know: “When I was in LA, I always liked the idea of Laurel Canyon and that scene. The days of Joni Mitchell, the Eagles — all that hanging out, getting stoned and playing guitars. So that was the vibe that started off Never Know.” 

Life Can Be Hard: “I had a little instrumental chord sequence during Covid — and there was a little baby in the house, my wife’s niece’s new baby and it was a thrill. For a lot of people, Covid was terrible if you weren’t with family.  

“Anyway, this baby used to like these chords, and it became a song. Life can be hard, but that’s when we put it together again. It’s a positive message.”  

First Star Of The Night: “I was on tour and had a day off, which was precious. We were in Costa Rica and it rained hard — all day heavy, tropical rain. I was thinking about being out by the pool, but you really couldn’t go out.  

“I thought, ‘I know, I’ll write a song’. I had my guitar with me. So, this starts out, ‘Even when it’s raining’, but then I switched it to, ‘Even when it’s raining inside’, just to give myself somewhere to go with the song.” 

Momma Gets By: “The last track on the album and it’s totally imaginary. I was thinking of Porgy and Bess’s world. It’s basically about a woman who you can see is the strength in the family.” 

Finally, Macca is asked how he hopes listeners will respond to his new album. 

He replies: “Well, I hope they fall in love with the songs and the performances. I hope it takes them to a place of joy.” 

Whether it’s Penny Lane, Dungeon Lane or Memory Lane, Paul McCartney will transport you there. 

Roll up! Roll up! He is your magical not-so-mysterious tour guide. 

PAUL McCARTNEY

The Boys Of Dungeon Lane

★★★★★

Animator Jorge R. Gutierrez is facing online backlash following news that his latest series, “Punky Duck,” will use artificial intelligence for its production.

Amazon MGM Studios and Amazon Web Services announced on Wednesday the launch of the GenAI Creators’ Fund, a joint initiative that gives creators access to professional-grade AI tools and funding to produce cinematic entertainment.

Three animation projects have already been greenlighted, including Gutierrez’s “Punky Duck,” which follows a punk duck and his best friend, Smiley Cat, through a wildly exaggerated Los Angeles filled with alien invasions, giant monsters, robot criminal conspiracies, telenovela-style family drama and supernatural mayhem.

BuzzFeed Studios’ “Cupcake & Friends” and Albie Hecht’s “Love, Diana Music Hunters” are also part of the initiative.

Speaking at the AI on the Lot event at Culver Studios, Gutierrez spoke positively of using the controversial new technology, comparing it to “having sex and then they hand you the baby.”

Fans took to social media to critique the “Book of Life” creator, sharing their disappointment. Many pointed out how the tool is actively reshaping traditional Hollywood jobs, from storyboarding to production design, raising concerns over creative control.

As a response to the backlash, Gutierrez uploaded a screenshot to Instagram that same day featuring news articles by Variety and the Hollywood Reporter with a caption addressing the collaboration: “I understand a lot of you are happy for me and a lot of you are really angry at me for experimenting with AI at Amazon. I’m going to leave the comments open so you can get it all out and hopefully feel better.”

Gutierrez also warned that any death threats will be reported, as well as threats to his family. The post has since been deleted.

In a subsequent Instagram post, he shared a screenshot of a post on X, which showed edits to Gutierrez’s Wikipedia page, where he is described as a “sellout.” Gutierrez captioned his Instagram: “Whoever did this I thought it was really funny!”

The Mexican creator is behind Nickelodeon’s “El Tigre: The Adventures of Manny Rivera” and Netflix’s “Maya and the Three.” He is also currently developing the long-awaited Speedy Gonzales film with Warner Bros. Pictures Animation.

It took over a decade for Gutierrez to get approval for his 2014 film “The Book of Life,” a beloved storybook animation about the Day of the Dead. After multiple rejections from top animation studios, it was eventually produced by Mexican director Guillermo del Toro — a staunch critic of AI, who described its use as “sharting” at a party to The Times late last year.

By comparison, “Punky Duck,” was greenlighted in two months, according to Cartoon Brew.

In a statement to The Times, Gutierrez said he is “cautiously optimistic” about his collaboration with Amazon MGM Studios: “Artists driving tech, and not the other way around, is my goal.”

“It’s a big experiment for me, and like all experiments it might not work, and I will be as cautious and ethical as possible with AI,” he said.

Gutierrez has been critical of AI in the past, expressing distaste for the tool through a series of cheeky memes shared in 2023, 2024 and 2025. Last year, he referred to the nascent technology as a “mutant AI cockroach.”

Coronation Street actress Tracy Shaw, who played Maxine Peacock in the ITV soap, has been battling breast cancer and has now shared an update after completing her first day of chemotherapy

Coronation Street star Tracy Shaw, who portrayed Maxine Peacock in the ITV soap opera, has shared a health update after she revealed she has been fighting breast cancer.

Following the completion of her first chemotherapy session she explained to fans that she would be shaving her head and donating her hair to charity. Posting a video on Instagram, she disclosed to her followers that she had spent more than eight hours at her initial appointment.

The actress said: “First day of chemo done. I’m feeling alright but that has a great amount to do with the steroids which are helping my body fight the chemo that has gone in. So I went in today to start at 9am and I left at 5:30pm, very hot day and there was a bit of delay.”

She continued: “Basically with my chemo injection, one of which hadn’t arrived, it’s got nothing to do with robots or anything to do with the hospital team, it was the medics delivery, so yeah that was the delay. But I’m feeling really positive but everything I keep eating tastes horrible.

“Everything tastes of metal, just like you told me, and every now and again I feel like the Incredible Hulk, I want to start moving furniture around, the dogs keeping away from me because they sense that.”

This follows her recent decision to cut her hair to donate to The Little Princess Trust, and she has since ventured out to shop for a replacement wig. She posted footage online of herself modelling the various wigs and displaying them while being assisted by a Macmillan nurse who also offered guidance to individuals experiencing a similar situation, reports the Express.

Earlier this month Tracy revealed the emotional difficulties she’s been encountering, informing her followers: “Each morning I wake up and know that I have to go into hospital and receive more news, which has been going on for a long time, that unknown… I just think, ‘I can’t go through with this anymore,’ but I’ve not even started my journey.”

She’s received an outpouring of support online from her followers as she’s posted updates on every stage of her journey, with many of Tracy’s recent posts emphasising how waking up is a “gift” each day.

The prodigal “Daughter From Hell” returns: Gracie Abrams just announced her upcoming tour, and it includes four nights in her hometown of Los Angeles.

The 64-date Look at My Life tour hits arenas across North America and Europe starting Dec. 2 in Denver, before the singer lands in L.A. later that month. Abrams will take the stage at Inglewood’s Kia Forum for four nights: Dec. 14, 18, 19 and 20. The North American leg of the tour concludes in Brooklyn in March, and she kicks off the European leg in April.

The tour will follow the release of Abrams’ third studio album, “Daughter From Hell,” which drops July 17 via Interscope Records. Abrams took to Instagram to share her upcoming tour dates, teasing fans with the caption, “we’re baaaaaack.”

At the Kia Forum, Abrams will be supported by openers Rachel Chinouriri and Holly Humberstone, both popular British singer-songwriters. Fans can sign up on Abrams’ website for access to the June 2 pre-sale for all dates before tickets go on sale to the general public June 5.

Abrams most recently played in L.A. as part of a three-night residency at the Kia Forum in August 2025 for the Secret of Us Deluxe tour. There, she brought out surprise guest Audrey Hobert, Abrams’ longtime best friend and collaborator. Abrams’ other frequent collaborator, musician and producer Aaron Dessner, co-wrote and produced her latest single, “Hit the Wall,” which dropped in mid-May in advance of her new album.

“There’s nothing I wouldn’t tell either of them, so it makes it easy to be completely open when writing,” Abrams told The Times of Hobart and Dessner in 2024.

Her September 2024 shows at L.A.’s Greek Theater sold out so quickly that the singer-songwriter had to add two additional dates to meet demand. At the time, Abrams told The Times that she would keep performing if the fan support continued.

“As long as they’ll have me, I’ll do this,” she said.

EastEnders’ Danny Dyer has teamed up with Hollywood star Rob Lowe for a hilarious ad campaign ahead of the launch of the World Cup where the two actors have something of a culture clash

Danny Dyer faces off against movie star Rob Lowe for a hilarious World Cup ad campaign. The Rivals actor, 48, and Hollywood star, 62, battle over cultural differences to promote bookie Paddy Power.

Pitted as a clash of cultures, the ad explores everything from having a “pint and a slash” in a pub on the British side, to the glamour of halftime shows that tend to take place in the US. Eventually, Danny takes his shirt off whilst Rob keeps his on and rocks a cowboy hat amid their tense culture clash. At one point, Danny shouts out: “It can’t go on like this, can it?”

Then, former Wolves manager Mick McCarthy responds: “It can!” as a sad-looking Peter Crouch pops up amid the threat that the French could take the cup.

Rob admitted had not seen Danny in anything, but told the Daily Star: “I’d heard he was a bit of a legend over here in the UK and I have to agree, he is really funny, genuine, and a very good actor.

“When he walked on set, within about four minutes I’m thinking he’s got this energy and presence about him. Completely magnetic. As an American, you think you’re prepared for big personalities, but Danny’s got this very specific British edge to him and it was great working with him.”

Rob explained: “I’ve been to a Chelsea game at Stamford Bridge. It’s a great old stadium. I know they’re supposedly building another one, but Stamford Bridge is pretty sick.”

He then addressed the age-old issue of what the beautiful game shout be called, as it differs dramatically on each side of the Atlantic. He said: “If I’m in America, I call it soccer, but if I’m anywhere other than America, I call it football. Football becomes American Football when I’m abroad too.”

Hollywood film star Rob Lowe stars as the face of Paddy Power’s new World Cup ad campaign alongside UK national treasure Danny Dyer. The ad will air from Saturday 30th May across TV and online.

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It has been reported that a Strictly Come Dancing star is in advanced talks to star on the new series of I’m A Celebrity following her axe from the BBC dancing show

An axed Strictly Come Dancing star is reportedly in advanced talks for I’m A Celebrity.

The ITV jungle show will be back in a matter of months and it has been claimed that professional dancer Nadiya Bychkova – who was axed from the BBC show earlier this year – is a favourite for the new series.

Nadiya was one of five professionals to exit the show this year, including Karen Hauer, Gorka Marquez, Luba Mushtuk and Michelle Tsiakkas. However, it doesn’t look like it will be long until Nadiya’s back on our screens.

“Nadiya has always been on the radar but has been unable to take part because of her commitment to Strictly. Now she’s a free agent, the offers have been coming in thick and fast,” a source told The Sun, “She’s had a number of chats about doing the jungle. Bosses are so impressed with her it’s even been suggested she turns down other shows.”

Nadiya released a statement to announce her sad exit from Strictly after nine years. Four other professional dancers exited the show and five new stars will step in to replace them.

Speaking about the programme, she said: “After nine wonderful years, this part of my journey with Strictly Come Dancing is evolving. There is something truly special about being part of a programme that plays such a big part in so many people’s lives and I want to thank all those who have sent beautiful messages over the last few weeks and those who have voted, shouted, supported, celebrated and cheered during every series.

“I also want to take a moment to appreciate all those who have helped me along the way: my partners, my fellow professionals, the judges and brilliant people behind the scenes. I joined the show as an athlete and a double world champion.”

She added in a lengthy message: “Along the way I have learned so much about myself and other people. I have grown, not only professionally, but personally and creatively. Strictly has allowed me to discover new sides of myself, develop new skills, and evolve as an artist in ways I will always be grateful for.”

She went on to insist it isn’t the end. “I look forward to being part of the Strictly world for many years to come in ways I am beginning to explore,” she shared on social media.

“I’ve changed a lot since I first stepped onto that dance floor, not just as a performer, but as a person and I can honestly say I’ve never felt more like myself. I’m excited to have time to focus on new projects, and to spend more precious time with my beautiful daughter. Life feels full of possibilities.”

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The comedy, which originally aired on the BBC in 2019, stars Martin Clunes and Lisa Millett

Martin Clunes ‘breath of fresh air’ sitcom is available to stream for free.

The 6-part show Warren, which first aired on BBC back in 2019, is the perfect one-night binge if you have a few hours to spare.

The comedy features Martin portraying a discontented 50-something driving instructor, Warren Thompson, who is compelled to relocate up north after his partner’s father falls seriously ill.

Despite craving a peaceful existence, Warren finds himself in a place he detests, undertaking a job he’s unsuited for with a family he never anticipated caring for – and is repeatedly drawn into self-created problematic scenarios.

. The synopsis adds: “Warren has a way of knowing best and speaking his mind that inevitably leads to conflict, chaos and disaster for those around him – and especially for himself.

“Warren doesn’t embrace the concept of growing old gracefully. He’s quite happy to keep railing against the world and trying to right perceived wrongs against him. There are no happy endings for Warren as he grapples with the problems and misunderstandings of his own making.”

Starring alongside Martin is Lisa Millett (Robin Hood), who portrays his partner, Anne. The cast also features Tim Preston (One Day) as Charlie, Oscar Morgan (A Knight of the Seven Kingdoms) as Danny and Neil Edmond (Ghosts) as Ian.

While the programme got mixed critical responses, it’s still worth the watch if you’re a Martin Clunes fan and fancy seeing him embody a grumpy, discontented character not far from his legendary role as Doc Martin in the ITV medical drama.

The programme was scored comparatively unfavourably by critics, who collectively rated it at 17 per cent on Rotten Tomatoes.

In its one-star assessment, The Telegraph wrote: “Warren is at once underwritten and, worse, overwritten. There is a failure to follow through with the comic potential in a southerner trapped in the north.”

Meanwhile The Times added: “[Clunes’] nuanced comic turn deserved something rather better than Warren, with its overreliance on comedy staples – a shonky clairvoyant and a competitive next-door neighbour.”

Despite the negative critical response, the show proved more of a hit with viewers and currently holds a 69 per cent score on Rotten Tomatoes.

“This comedy is really well written and a breath of fresh air,” remarked one viewer. “I wasn’t expecting much but I was pleasantly surprised. I seldom laugh out loud, even when humorous, but this had me really laughing.”

Another commented: “Absolutely hysterical, so well written, I don’t understand why they are not making a series 2!”, while a third noted: “It takes an episode or two but it does grow on you. Interesting premise and quite funny. I’m sorry that there isn’t a second series.”

All six episodes of Warren are available to stream on Prime Video

KATIE Price’s sister has revealed how her mum Amy was left so “p***ed off” with the star after another debacle involving husband Lee Andrews.

Last week, following his ‘disappearance’, Katie posted a cover version of the song Get Here and said her desire to record the song had come after being left missing Lee.

But in a new episode of their sister’s podcast, The Katie Price Show, Sophie revealed how Katie had originally told their mum she had recorded it for her.

The track came about as Katie enjoyed a recording session for her upcoming single.

During a break, she revealed how she had asked to record a cover of Get Here as a treat for her mum with the song being a family favourite.

Katie then sent the track to her mum but shortly after posted it online and dedicated it to Lee.

KATIE’S FEAR

Watch emotional Katie Price admit ‘I thought Lee was DEAD’ after jail claims

FAME GAME

Princess Andre puts mum’s issues to one side as she makes This Morning debut

The move left Amy feeling “p***ed off” with Katie according to Sophie.

Katie originally said: “I did it for mum.

“I said to mum, ‘I know you love this song’.

“But… she’s so p***ed off.”

Sophie interjected to add: “She was so p***ed off right because you put that Reel up…

“Kate called mum and was like I’ve been in the studio and made this song for you.

“Then Kate put it up on Instagram and was like, ‘oh it’s for Lee and for the situation.”

Katie went on to say: “I thought, do you know what, these words actually resonate with what’s going on.

“So then I put it up for Lee.”

Katie proceeded to sing some of the lyrics which included the lines: “You can reach me by sail boat, you can reach me on an airplane.”

Children’s TV presenter Dave Benson Phillips – who hosted CBBC game show Get Your Own Back – was left unable to walk after suffering with his health

A beloved children’s TV presente has recalled how he was left unable to walk after a painful health battle. Dave Benson Phillips, now 61, presented CBBC game show Get Your Own Back and has recalled how when he was in pantomime, he noticed something about his legs that alarmed him and he immediately sought help.

“I began getting tingling in my legs and to lose mobility. It was very slow, but it was very painful. It was quite scary,” he explained, before it was later revealed that he had been diagnosed with type 2 diabetes.

Dave, who was already pre-diabetic, found out 10 years ago that he had diabetes. “I realised it was my own doing, my own fault. But it was still an incredible shock. It was a frightening thing,” he explained.

Dave is now using a Dexcom ONE+ glucose monitor to keep an eye on his blood sugar levels. “It has made having diabetes a lot easier, because it takes away all the guess work,” he explains.

Now, Dave is encouraging others to focus on their health after his own struggles. “I’ve had a real battle. I don’t like the fact that there’s things I’ve had to give up. But having diabetes made me aware of making good decisions about my lifestyle. I want to be around for as long as possible,” he told the Mail.

Dave had previously opened up about how he was one of the first victims of fake news being spread online. He shared: “Imagine my surprise when this lady said to me, ‘Look, you have a Facebook page that says some awful things about children with special needs.’

“I remember diving into Dixons. They had a computer connected to the internet. I said, ‘Do you mind if I take a look?’ The guy realised my distress and sat me down. We saw this page which looked like it was mine; pictures and posters of me, with all this information in between about what terrible people children with special needs are. It was a horrible thing to read.”

He recalls how he had to set up his own social media at the time, so that people could realise the other accounts were trolls. He explained: “The police got involved. One particular person had set up an algorithm that would bombard me; we found quarter of a million emails from one source, and we couldn’t prove who it was.

“Despite the fact that we can see who’s doing it nobody has to be accountable.”

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HSBC has praised our investigation into Katie Price’s husband Lee Andrews — and repaid the £1,000 our journalist spent to expose him as a fraudster.

Clemmie Moodie sent conman Andrews the money from her account with the bank via its app to see if he would make good on promises to treble it.

David Callington, head of economic crime prevention at HSBC UK, said: “It’s great that The Sun is educating readers on how to spot and avoid fraud and what warning signs to look out for.

“If any HSBC UK customers find themselves in the same position as Clemmie, we’d invite them to get in touch with us to see how we can help.”

The bank concluded Andrews had forged its own branding to fabricate a fake payment screenshot — a document showing £2,900 due to land in Clemmie’s account on May 15 that never arrived.

She had transferred the cash after he pitched a “zero risk” investment.

FAME GAME

Princess Andre makes This Morning debut as Katie Price finds ‘missing’ husband

LEE-VE ME ALONE

Watch the moment Katie Price’s sister BANS Lee Andrews from speaking to her

What followed was a string of excuses about stock market turns and Abu Dhabi banking hours, then the fake HSBC screenshot, then silence.

Nineteen days after handing the money over, Clemmie went public.

Andrews, a Dubai-based self-styled businessman who has called himself an “international mastermind criminal”, is now wanted by Interpol after Hertfordshire Police escalated their investigation into him.

Former glamour model Katie, 48, claims her missing husband is in prison on spying charges in Dubai.

Mr Callington warned: “Social media has become a leading hunting ground for investment scammers.

“They will share fake testimonials and forged documents with their victims to build trust quickly.

“The first major red flag with any investment scam is usually the assurance of guaranteed, unrealistically high returns.

“Take time to do your research, and speak to your bank if you are unsure about the legitimacy of an investment.”

HSBC experts have identified key red flags customers need to know.

5 SCAM RED FLAGS TO LOOK OUT FOR

1. “GUARANTEED” or unusually high returns are the first warning sign. If fixed, risk-free or above-market returns are promised — think “8% a month” or “double your money” — walk away. Legitimate investments carry risk.

2. PRESSURE and urgency tactics are the scammer’s best friend. They include phrases like “limited allocation”. If someone tells you not to seek independent advice or creates a false deadline, that is a major alarm bell.

3. UNREGULATED or hard-to-verify firms are a serious danger sign. If the product description is vague, treat it with extreme caution. No audited financials or clear documents where you would expect them? That is a red flag.

4. WATCH how they ask you to pay. Requests to send money to personal accounts, to use crypto or gift cards are classic scam tactics. And beware of anyone who tells you to pay fees or tax upfront in order to “release” profits.

5. A SLICK-looking app may show profits climbing, but when you try to withdraw, there are delays, blocked requests or a need to “top up” funds. If a platform makes it hard to get your money back, something is very wrong.

Joy Behar is trading her usual spot at “The View’s” roundtable for the spotlight in one of London’s West End theaters.

The comedian, who is one of the talk show’s longest-running hosts, is taking a temporary leave from the daytime program to take her play, “My First Ex-Husband,” overseas for the first time. The 83-year-old TV personality announced her break on Tuesday, on the podcast, “Behind the Table,” a companion program of “The View.”

“I fly to Paris this week, and then I go take the Chunnel to London after a week, and I’ll be in London a second week doing my play, ‘My First Ex-Husband,’ at the Boulevard Theatre in the West End,” Behar said on the podcast.

Behar confirmed she has already pre-taped several installments of “The Weekend View,” ahead of her absence. She will miss the next two weeks of tapings. Her last appearance on the weekday edition of the show is Thursday.

In Behar’s absence, several “View” regulars will step in. Brian Teta, the show’s producer, said on the podcast that Sheryl Underwood, Kara Swisher and Ana Navarro will make appearances in the coming weeks. Whoopi Goldberg, another one of the talk show’s staple personalities, will also be coming in on Fridays, which is her usual day off.

“I don’t think she knows yet, but I’ll let her know that she’s going to be here,” Teta joked of Goldberg’s new responsibility.

Behar’s play, “My First Ex-Husband,” first debuted off-Broadway in New York in 2025. The comedian wrote the show over the span of 12 years. The story follows a rotating cast who tell chaotic stories about past relationships. The play is set to debut in the coming weeks, according to Behar. She and Jackie Hoffman will be two American narrators for the show, while two British actresses perform the scenes.

“Dress shabbily and they remember the dress; dress impeccably and they remember the woman.” ― Coco Chanel

Apropos of Paris. Apropos of the French Open.

That’s all the context necessary to appreciate Naomi Osaka removing a ceremonial black skirt and sleeveless beaded bodice ahead of her opening match at the Roland-Garros Complex this week, revealing a sequined gold playing dress.

Osaka was playing all right. With sensibilities. With tradition. With her opponents, who she summarily dispatched with victories in the first and second rounds.

Naomi Osaka arrives on Court Suzanne-Lenglen to play her singles match against Laura Siegemund.

(THOMAS SAMSON/AFP via Getty Images)

And it was clear the four-time Grand Slam champion was playing with all of us when she said of her dress, “It’s very couture. You know the Eiffel Tower at night when it’s sparkly? I kind of think I look like that a little bit.”

Countless LinkedIn pages spout something about residing at the intersection of sport and fashion. Osaka locates that intersection at tennis tournaments worldwide, looks both ways and boldly steps into the street.

Last year at the U.S. Open she adorned her ponytail with red roses and attached a Labubu to her tennis bag that she named Billie Jean Bling.

At the Australian Open in January, she entered the court in a tie-dye turquoise and green palette with flowing tendrils. Her face was concealed by a veil, a wide-brim hat and a white parasol that she said was inspired by an image of a jellyfish that excited her 2-year-old daughter.

Naomi Osaka walking onto the court in a jellyfish-inspired ensemble ahead of her first-round match at the 2026 Australian Open in Melbourne.

(Quinn Rooney/Getty Images)

It’s all great fun. Yet continued fashion statements depend on her performance on the court. Osaka wins, she earns another grand entrance. She loses, nobody cares what she wears on the ride home.

At the U.S. Open, Osaka shined, reaching the women’s singles semifinals. Seeded as an also-ran at No. 23, she upset Coco Gauff and Karolina Muchova before falling in a tight three-set match to Amanda Anisimova.

Seeded No. 16 in Australia, she won two matches before withdrawing because of an abdominal injury suffered during her three-set victory against Sorana Cîrstea.

Fast forward to the French Open. Osaka advanced to the third round for the first time in seven years Thursday with a 7-6 (7/1), 6-4 win against Croatia’s Donna Vekic and will take on teenager Iva Jovic on Saturday.

What she will wear walking in is anybody’s guess. An effortless chic aesthetic courses through Paris. Advancing to the French Open round of 16 for the first time would require the opposite, Osaka toiling through another step in her return to form after giving birth to her daughter.

And creating another opportunity to have fun with fashion.

Ella Bruccoleri shot to fame on Call the Midwife in 2018 and has recently bowled over period drama fans on The Other Bennet Sister

Ella Bruccoleri has made a surprise confession about her rise to fame as a television actress.

The 36-year-old star recently appeared as the lead in the BBC One drama The Other Bennet Sister, inspired by Jane Austen’s timeless Pride and Prejudice.

Based on the popular novel of the same name by author Janice Hadlow, The Other Bennet Sister turns the spotlight onto Mary Bennet, the seemingly unremarkable middle sister in Pride and Prejudice.

Upon its March launch, the period drama became an instant hit with viewers, with some critics branding Ella’s performance “absolutely lovely” and the show a “must-watch”.

It’s no surprise that Ella captivated viewers with her portrayal of Mary Bennet, as she is no stranger to historical dramas. In 2018, the actress rose to fame when she joined Call the Midwife as Sister Frances, a role she held for 4 years.

The popular character’s final episode in 2022 saw her playing a game with the children at the Mother House to correctly guess the name she had before becoming a nun. On her way back from her day of work, she injured her shoulder after a bike crash.

While she hasn’t been seen since Sister Julienne (Jenny Agutter) sent her to Chichester to recuperate, viewers did get some closure when they learned her given name is Rosemary.

Following her exit from Call the Midwife, Ella has gone on to play Miss Barragan in the third season of Netflix’s Bridgerton and appeared in all three entries of the recent Strangers horror movie trilogy.

In 2021, she starred as Anabel Dinsdale in All Creatures Great and Small and played a nun in the series The Last Kingdom.

Enjoying great success in her career, Ella has now revealed that she struggled to watch herself on-screen during her earlier acting days, including on Call the Midwife.

She told the New York Times: “The first year of seeing myself on camera, I was just miserable because I was like, ‘I don’t think that looks like me'”. But on The Other Bennet Sister, Ella was happy to retreat from vanity and relished Mary’s characteristic of an unflattering haircut and geeky glasses.

The story of an overlooked and undervalued young woman finally realising her worth resonates with her. “I relate to her a lot, and I see a lot of her in me”, she added.

Earlier this year, Ella also opened up to the Radio Times about her feelings on her earlier work on Call the Midwife, including why she quit the role:

“When I look back at my early episodes, I’m thinking, ‘Oh, that’s not good’. I learnt screen acting on the job, and it was invaluable”, she said. “It felt crazy quitting a great job but I’d started getting different offers, and I realised I love the variety of different things.”

The Other Bennet Sister and Call the Midwife are both available to stream on BBC iPlayer

Downton Abbey may be over, but these Netflix period dramas are giving fans plenty to enjoy

Downton Abbey may have drawn the curtain on the beloved ITV saga, however, Netflix offers a wealth of period dramas.

For viewers eager to fill that void, the streaming giant is renowned for its vast collection of original and licensed content spanning numerous genres, and boasts an impressive selection of costume and historical productions perfectly suited to Downton Abbey devotees, reports the Express.

Much like the beloved ITV period drama that became a worldwide phenomenon after American audiences became utterly captivated by every twist and turn in Julian Fellowes’ fast-paced series, Netflix has three spectacular costume dramas that could arguably surpass Downton Abbey itself.

Here’s a closer look at each one and what viewers have had to say about them.

1. The Crown

Netflix’s magnificent House of Windsor epic The Crown is unrivalled in its excellence, according to devoted fans since its debut in 2016.

The series, crafted by The Queen screenwriter Peter Morgan, chronicles the British monarchy from the beginning of Queen Elizabeth II’s reign through to the 2005 wedding of Prince Charles and Camilla Parker Bowles.

The Crown underwent several cast changes to reflect the passage of time, with Claire Foy, Olivia Colman and Imelda Staunton each taking on the role of Queen Elizabeth II. The Crown amassed a remarkable collection of awards, including 24 Emmys and two Golden Globes for best series, while Netflix disclosed back in 2020 that 73 million households had tuned in since its launch in 2016, according to BBC News.

Given that the series concluded in December 2023, considerably more viewers would have caught the show since that point.

Furthermore, a notable spike in viewership followed the passing of Queen Elizabeth II in 2022, as 17.6 million hours of The Crown were streamed on Netflix, the platform confirmed to CNN.

Viewers on Reddit have drawn comparisons between Downton Abbey and The Crown, weighing in on which they favoured.

One wrote: “I watched them both. I personally liked The Crown better although both are exceptionally well-done shows.”

A second chimed in: “The Crown. I could never fully get into Downton Abbey.”

A third Redditor observed: “Depends what you like. I prefer downton as The Crown is too slow sometimes. Downton also shows the life of all the staff in the Abbey as well as the rich people. The Crown has a way bigger budget, better cinematography and is about real historical characters [sic].”

2. Bridgerton

Regency bodice-ripper Bridgerton, adapted from the much-loved historical romance novels by American author Julia Quinn, stands as another hugely popular period drama on Netflix.

Each series centres on a different lead couple and explores various romantic storylines, amongst them friends-to-lovers, enemies-to-lovers and fake courtship blossoming into genuine romance. Bridgerton proved a runaway success following its arrival around Christmas 2020, transforming into a massive pop cultural sensation much like Downton Abbey.

The opening season accumulated 113,300,000 views within the initial 91 days of release, while the third season attracted 106,000,000 viewers upon its debut.

The programme stands as Netflix’s ninth most watched English-language series ever, Variety reported earlier this year.

Since its original launch and following subsequent seasons, it’s been viewed by hundreds of millions of devotees – and the figure continues climbing.

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This lets members watch live and on-demand TV content without a satellite dish or aerial and includes hit shows like Bridgerton.

The programme is set to return for a fifth and sixth season, meaning these viewing statistics will climb even higher.

Opinion remains divided on whether Bridgerton surpasses Downton; nevertheless, one Redditor commented: “Hard to say. Bridgerton is an alternative history romantic fantasy as compared to a period drama. I watch it, but to me it’s not nearly as good as Downton Abbey.”

Another stated: “I love both Downton Abbey and Bridgerton, but they are very different shows.

“I loved “Bridgerton,” but an attempt to draw similarities and differences to “Downton Abbey” is a proverbial apples-to-oranges comparison. I enjoy both for the space they occupy in entertainment,” a third observed.

3. The Empress

Lastly, sweeping German period drama The Empress has captivated audiences and draws from the actual life of Empress Elisabeth of Austria (Devrim Lingnau). The programme first launched in 2022 and charts the struggles and triumphs of a ruler navigating her romance with her husband, his conniving family, and the treacherous world of court politics.

The series ranks amongst the most watched non-English language programmes on Netflix, having amassed over 76 million views, according to What’s on Netflix.

One viewer took to IMDb to share their thoughts: “If you like The Crown, you’ll like this.”

They went on to say: “Just a couple of scenes at the first half. Romantic would be something like Pride and Prejudice or Bridgerton. This was more like Downton Abbey or The Crown, where in the drama is the focus.”

A second viewer enthused: “The acting is superb. I simply cannot believe how amazing this series is, and it easily rivals ‘The Crown’, ‘Downton Abbey’, ‘Outlander’, ‘Poldark’ and ‘Vikings’, and surpasses many others. It’s more serious than contemporary feeling shows like ‘Bridgerton’. In my opinion it is a contender with all the top historical dramas.”

The Crown, Bridgerton and The Empress are all available to stream on Netflix now

In this week’s episode of The Envelope podcast, we kick off Emmy season with Carrie Preston, who plays an offbeat investigator in Robert and Michelle King’s “Columbo”-inspired comedy “Elsbeth.”

Kelvin Washington: Welcome back to The Envelope. I’m Kelvin Washington, alongside the usual suspects, Yvonne Villarreal, also Mark Olsen. It’s good to have you all here. Everybody doing well?

Mark Olsen: Yeah, I’m doing great.

Yvonne Villarreal: Good to see you.

Washington: Well, first of all, I didn’t get the green [wardrobe] memo. It’s OK. Leave me out.

Villarreal: I’m trying to blend in with the chair.

Olsen: That’s why you pop

Villarreal: You do pop.

Washington: Well, you took what I was going to say. You don’t blend in. You always stand out.

Villarreal: Thank you.

Washington: That’s true. All right, so we’re kicking off Emmy season in here. And there’s obviously a million different things to have seen. We’ll start it off with Yvonne — I’ll go to you. What have you seen? Give me a couple of things that stand out to you that you’re enjoying.

Villarreal: Look, I’m always gonna mention “The Pitt.” Season 2 really captivated me. Also, there’s “Pluribus.” Can never go wrong with Rhea Seehorn. Also, one that — surprisingly for me, just given the subject matter — I really enjoyed this season, is “The Testaments.” And I think it’s because of, you know, the young cast and feeling that sense of hope that these young teenage girls are gonna get us out of this. Those are my picks so far.

Washington: Did you say that we need that?

Villarreal: We do need that.

Washington: OK, I just wanted to make sure.

Villarreal: I won’t mention reality TV, because I know it makes Mark a little…

Washington: Let’s make him a little squirmy.

Olsen: Maybe one of these days, I’ll try!

Villarreal: “One of these days”?

Washington: Twenty-five years into it.

Villarreal: “Real Housewives of Rhode Island” is all I’m going to say. I’ll just leave it there.

Olsen: Rhode Island?

Villarreal: Rhode Island.

Washington: Mark, I’ll go to you next, but just to your point there, Yvonne, I haven’t seen much of it, but I did have some guests at the morning show that I anchor from “Love on the Spectrum.”

Villarreal: Oh yeah.

Washington: Folks love that show. I mean, when I tell you that we had a couple of the guests come in and they’re walking around, people were screaming, “Can I get their picture?” So you’re talking about reality TV, just that, that’s a big one there.

Villarreal: They’re stars. And hearing who’s broken up already. I won’t spoil it, because you should watch that one.

Olsen: Wait a minute, how do people on your morning show rate “The Morning Show”?

Washington: Oh, that’s a good question. Some of the [story] lines or the feel hits a little too real, too close to home at times, that’s for sure. But I think it’s run its course a little bit as far as the watercooler [chatter] around the job a little. You know, it’s had some seasons here. But there are some things that, you know, some us look at each other like, “Clearly someone in the business is on there writing that show because that was too close to home.”

Villarreal: Lots of conniving.

Washington: But that’s all sensationalized. We’re just an ordinary morning show. None of that going on.

Villarreal: There’s no Billy Crudups out there.

Washington: Watch how I turn over here to Mark and we switch subjects. What about you, Mark? What are you watching? What do you enjoy?

Olsen: You know, it’s funny, I find as we’re in sort of like post-peak TV, I definitely find that I’m liking my TV to just feel like TV. And so I definitely like the Bill Lawrence universe, [that] kind of comfort watch — the new show “Rooster” with Steve Carell and Danielle Deadwyler, who’s just like so charming, so good on that show. I have really grown to like that show. I really enjoy the week-to-week. Even as I’ve maybe fallen off with some of his other shows, it’s funny how he’s always giving you a new show, like, “Oh I like this one!” And again [with] the week-to-week, “Oh it’s my day to watch ‘Your Friends and Neighbors’! Let me see what my good friends Jon Hamm and Olivia Munn are all up to.”

Washington: Are your neighbors like that?

Olsen: I have not had any disputes over dogs with my neighbors, no.

Washington: By the way, have you been, you mentioned Steve Carell, like he’s in his ‘zaddy’ era. It’s amazing what a beard does for a lot of people. No one ever necessarily thought of him as a heartthrob and all of a sudden I’ve heard, I’ve seen some things on Threads or whatnot, and they’re like, “Oh girl, I didn’t know Steve Carell…”

Villarreal: Some of us have known all along, OK?

Washington: I digress.

You guys mentioned a couple for me. “The Pitt” is unexpected — I was going to say every episode, really every 10 minutes. So that’s always a wild ride. And in “Paradise,” the shift from the previous season for me, because, you know, it’s not that I’m spoiling it, but just the shift into the outside and prior to, that dynamic to me was interesting. Almost like two different shows between Season 1 and Season 2. That for me is interesting to see how folks do and Sterling K. Brown, where’s he in all of this? So those are the ones that I’m looking at there.

I swing to you, [Yvonne]. You had a chance to speak with Carrie Preston, of course, in “Elsbeth.” Kind of a “Columbo”-style of a show, if you will. Tell us a little bit more about that.

Villarreal: This is the thing. We should never discount what’s happening on broadcast TV.

Washington: Good point.

Villarreal: “Elsbeth” is one of those shows that is so compelling. It really expanded, Robert and Michelle King’s “Good Wife” universe. They’ve had the spin-off, “The Good Fight,” and “Elsbeth” is in that universe, but it feels totally different. It’s this comedy procedural that follows Elsbeth, who we were introduced to as this eccentric lawyer, and in “Elsbeth” she’s moved from Chicago to New York as this NYPD consultant and de facto detective. And she has these really unconventional, unorthodox, eccentric methods to solving cases. And it’s really fun to watch and it was really fun to have this conversation with her.

Washington: All right, well, let’s get into it. Here’s Yvonne and Carrie now.

Carrie Preston, star of CBS’ “Columbo”-esque hit “Elsbeth.”

(Christina House / Los Angeles Times)

Yvonne Villarreal: I’m always very eager to talk about this character that I’ve spent 15 years tracking. You made your debut as Elsbeth Tascioni in “The Good Wife,” and she leaves a memorable impression early on, with just three minutes [of screen time]. I did time it. What do you remember about the call about this character and what [creators Robert and Michelle King] told you about who she was?

Carrie Preston: They had offered me the role, and I was working on some other things and I had just dyed my hair red, but they didn’t know this yet. And so they all knew me as a blond and I thought, “Oh my gosh, I hope they’re going to be OK with this character being a redhead because in their minds I’m not that.”

But [Robert] called and he said, “We’re thinking about this character like a female Columbo.” I didn’t really watch a lot of “Columbo,” but I understood what he meant, which was, this is a person who is going to be coming at things in an unexpected and unorthodox way and people are going to underestimate her. I took that to heart. But nonetheless, I was going in as a guest. As a guest, you’re going into somebody else’s house, you wanna follow their rules, you don’t wanna jump in their pool and start swimming around without asking permission. So I was a little tentative with it, but I took myself to the set before we started shooting just to show them, “This is what I look like now, are we still good? Because I can’t change the hair right now ’cause I’m doing this other thing.” Luckily, they were like, “Oh I think that actually works really well for the character.” And little did I know, I was gonna then be the redheaded actor for a good 16 years now, or whatever it is. I look back at that time, I was just finding my way with this character and figuring out, “How can I make her something different but not too different that I don’t fit in with the world of the show and the landscape of that universe?” And so looking back, you can see how I was tiptoeing around and it took a little moment before they really let me just let what my instincts were telling me to do, fly.

Villarreal: Because you knew she would be coming back in some capacity.

Preston: I didn’t know. I did two episodes at the end of their first season. Did not get a call at all in Season 2. And I thought, “OK, well, I guess I was a little too weird or I wasn’t really what they were thinking.” You kind of start talking to yourself and then you go, “I can’t read their minds. I’m just gonna keep doing what I’m doing.” And that was a really fun time. Then they called in Season 3 and that was when they said, “OK, we’re gonna do a little arc; we want this to flesh this character out.”

Villarreal: She went on to appear in many episodes of “The Good Wife” and also [its spin-off] “The Good Fight.” Then they have the idea during the pandemic of, “We want to do a show centered around Elsbeth.” And I imagine that’s a thrilling call to get, just like that first call that you received. As an actor in this sort of fickle industry, where you’ve put in the time, when you get a call like that from these prolific TV producers that are really respected, and they say, “We see you as being able to lead a network series.” How do you wrap your brain around that?

Preston: It was kind of a slow buildup to that because even when I was doing “The Good Wife, “ at the end of that series they were talking about, “How can we spin off the show?” And some people like yourself and people who are in the industry, fans, et cetera, were saying, “Why don’t you spin it off with Elsbeth Tascioni?” And Robert King reached out and said, “Would you be interested in this?” And so I said, “Of course, I would do anything to be be doing that.” Then I heard they’re doing this spin-off and it’s starring Christine Baranski and Rose Leslie and Cush Jumbo — pretty much everybody but me. And I was like, “OK, well, I guess that’s what they’re gonna do.” But I did reach out again and said, “I’d love to be a part of this.” And they said, “Yes, we’re definitely gonna bring you on and have you continue as a guest.” I went and did other things. I did “Claws.” I had already been working on “True Blood.” So I was doing all these other shows and thinking, “OK, I guess this is their spin-off. I’ll just be a guest again, and that’ll be that.”

And again, people would keep calling and saying, “Hey, what if you did a spin-off of the spin-off?” And still I dared not dream. It really wasn’t until 2020 that it felt like it was more plausible, possible. They were coming to the end of “The Good Fight.” They had this idea. And it seemed like a good one, and it seemed like a good business model, frankly, to have Elsbeth Tascioni, maybe one or two other series regulars, and then bring in all these amazing guests. It still took another three years before we actually did a pilot that, then, got picked up. So it was just these many, many steps before we actually got to this. So each time, I tried not to hold on to that dream too much, but at the same time, treasure every moment, even treasuring just the thought that they pitched me as the center of a show to a network that hired them to write a script. Even that, I was like, “Wow, this is incredible.” When we finished the pilot, I looked at the crew and I said, “We need to really honor this moment because this might be it. This might be the last time [I’m] ever playing this character. And we came together, and we made something really special. Whether or not it’s going to go to series, we all know we did something really wonderful.” And I burst into tears. I was so grateful for that opportunity. So every moment is a moment of gratitude and humility, to be honest.

Villarreal: Was there any part of you that thought, “I don’t know if I can do this”? Or because you were reaching for it for that length of time, when it finally happened, you’re like, “I can do this.”

Preston: There is this sense of wanting to make sure that I am doing everything I can to make this situation collaborative, to lead in a way that is not overbearing, to be a part of an ensemble, not just with the cast but with the crew. All of these things that I’ve been meditating on for decades. And I direct as well, so I know what it’s like to lead, and I’ve learned from watching really great leads, and not-so-great ones that get caught up in certain things, that rob them of an opportunity of creating something in a collective way. So I was excited to take all of these things that I’ve learned along the way and funnel them and channel them into this opportunity. Every day is a blessing, every day is challenge, and every day I feel like I do something that I know I can do better the next day. I try to meditate on that, because I want this opportunity that I’m having to be as special for the 300 people that are around me who are doing this with me. That’s really my goal.

Villarreal: In the series, obviously, we’ve come to know Elsbeth as this Chicago lawyer; here she’s a New York City police consultant. I really want to know what Elsbeth would be like in Los Angeles. What do you think that looks like?

Preston: Elsbeth finds beauty wherever she goes. I think it would be tough for her because she so likes to be right in the middle of all of humanity and [in] L.A., you’re isolated a lot in your cars — having to kind of keep yourself sequestered from other people just because that’s how people get around. I bet she’d be on the subway, she’d be on transit, she’d be on buses, she‘d be out in the malls, she would be out on the beaches, meeting people, talking to people, learning about Venice Beach as compared to Sherman Oaks. She would be all about finding all the different vibes and how she fits in.

Villarreal: You’re known for being a scene-stealer supporting player. This role in particular sort of encapsulates that. Is playing a lead rather than a supporting player a particular kind of challenge? Do you have to learn how to have your character take up space differently?

Preston: I approach it the same way that I approach anything I do as a co-star, a supporting actor, a guest star, whatever. I’m there to serve the script and to work with the people who are around me to elevate a scene and make it work. And to make the the job of everyone around me easy. I really feel like when you come at it with that collaborative spirit, you don’t think about, “Oh, I’m the lead.” You don’t think about where you fall into that hierarchy. You’re just there to make the scene work. And I like that. Because then I don’t feel pressure to be something more than what that is. You’re building a house every day, and you’ve got to start with foundation and then move all the way up. You can’t just come in and the house is already built. That takes more than one person. And I like that, and I feel like Elsbeth is like that too. She’s very much about the other person. For me, if you’re ever stuck in an acting scene and you don’t know what you’re doing, you need to just focus on the other person, and then all of that other stuff starts taking care of itself. What does this person need? What am I giving this person? What am trying to get from this person? Just all the like the basic building blocks of acting and then you can get out of your own head and let the choices happen.

Villarreal: Something that’s so striking about the character is her physicality. She sort of darts into frame, or she’s crouching, even the movement of her hands as she’s reenacting what might have happened. What was that like, finding the movement of Elsbeth?

Preston: It started from the beginning. The scripts, at the beginning, would write in these pauses. They would just say “pause” in the middle of a sentence. And I was like, “Huh, what is that?” That became the most fascinating thing to me. “What’s happening there? What’s happening with this woman when she’s not speaking?” And, so, that’s where the physical stuff started coming. And in “The Good Wife” and “The Good Fight,” there was a little bit of an evolution of that. The tote bags were brought in very early on by Brooke Kennedy, who was the producing director and one of the main directors on “The Good Wife.” She said, “I want her to always have something going on.” And I was like, “Great, I love that.” That’s a gift for an actor. I’m someone who, if you give me a prop, I’m gonna do something with it. I just like that. It’s fun. I’ve trained for the theater. So I love that idea. There’s a term that sometimes we use — I don’t know if it’s OK to say it — but sometimes we call each other “props-titutes.” If you get a prop, you can’t help it; you’re gonna have to do a thing with a thing. And so the bags and all that stuff — I started thinking, “Oh, I guess [with] this woman, her mouth is saying one thing, her mind is thinking another and her body’s doing a third thing.” As soon as I came up with that little weird math equation, things started locking into place.

Robert King directed the pilot. He created the show with Michelle King. Robert loves any kind of physical comedy. Marx Brothers, Three Stooges, Lucille Ball, all of that stuff. He just loves it. He worships that stuff. We were doing a scene and he said, “I don’t want you to just walk up. Let’s have you like lean in like Charlie Chaplin or something.” And I was like, “Great!” So he had me lean into frame and wouldn’t you know, that just became then the signature thing for this new iteration of this character. And it became kind of a metaphor for the whole show. This woman is not ever gonna approach things straight. She’s always gonna approach things at an angle. That’s another fun, creative thing that you can run with. Then the writers and the directors and the other actors, we all just started playing with that. And I have to do these scenes where I sum up the entire crime. Sometimes it’s like a five-page monologue. Well, you don’t have that much time to memorize that stuff because you get the script and I’m learning 50 pages of dialogue every eight or 10 days. So the physicality helps me remember it. And I imagine it helps Elsbeth piece it together.

Villarreal: Are you like at home just [mimics exaggerated movements]?

Preston: Yes, I’m coming up with things.

Villarreal: Is Michael [Emerson, the actor], your husband, like, “What’s going on here?”

Preston: He lets me do my thing. What I’ll say to him is, “I’m gonna go close the door and talk to myself for a while.” And he’ll go, “OK.” I learn my lines by myself. I record my own cue lines. It all has to happen alone. Because I know I have to go back over and over and over again. And when somebody is running lines with me, I’m very concerned about how bored they must be. So I just have to do all that on my own. The funny thing is I learn my lines a lot when I’m on the train. I go back and forth between New York City and the Hudson Valley a lot. It’s like an hour and 20 minutes. So the people on those trains are seeing this crazy lady, because I’ve got my ear things in and I’m looking at my [script].

Villarreal: Do you have your own bags?

Preston: I’ve go my own bags, and I am sure if they don’t recognize me as Elsbeth, they just think I’m another insane person who lives in New York City and no one cares. The kooky redheaded lady on the train.

Villarreal: Let’s talk about that other element that’s so crucial to Elsbeth, which is the hair and the wardrobe. You talked earlier about how you dyed your hair for another role, and you didn’t know you’d be locked in for this long with it, but it’s such a feature of her. Obviously we’ve seen her wear wigs in the show.

Preston: Which was fun, to go back to my original blond look.

Villarreal: And you mentioned Lucy earlier, Elsbeth in the tutu this season was so, so good —

Preston: One of the best compliments that Jon Tolins, our showrunner, ever gave me was when he saw the dailies from that day of the tutu and dancing with the little 6-year-olds. Oh, my God, I was in heaven. He just wrote, “Lucy level.” And I was like [playfully belts a note], “This is a dream.” Because I decided this woman would really want to be trying to do her absolute best. She would really be wanting to try to dance the best way that she knew how, but her body doesn’t know how to do that. But her mind wants to. Plus, I like to entertain the crew. They often don’t laugh because the crew has seen everything and they’ve seen me do a million things. But if I can get them to laugh, that’s a win.

Villarreal: Her style is so intriguing — sometimes I’m like, this is what “And Just Like That” should have had, some of these wardrobe pieces.

Preston: Well, that’s Dan Lawson, our costume designer.

Villarreal: What does that do for you? And please tell me there is a bag closet. I’m obsessed with the bags.

Preston: Oh yes. If you were to walk into the costume shop and see my section, it’s like a circus had a party under a rainbow. There’s four or five racks of clothes, and they go on what seems like a mile. And then there’s [a] whole wall of the totes. And Dan finds special totes that he’ll shop for, but then he also has some of the totes made because he wants them — we decided early on it would be totes, of course, but like after the opera episode, she would then have an opera tote. We had to make very specific totes that would do callbacks to previous cases and things like that. Dan thinks about everything.

Villarreal: Do they put things in the totes?

Preston: They do, but early on there were a lot of things in the totes, and I was starting to have to go to physical therapy because people don’t understand when you’re working on a scene, it takes six hours to shoot a scene, and if I’m coming running in with totes on my shoulders a hundred times it’s gonna take a toll on my body.

Villarreal: But you also need things in them so they don’t fall down easily.

Preston: Carol [McLennan], who’s my on-set costumer, she’s constantly putting top sticks so that they’ll stay. She’s finding creative ways to safety-pin them on. The continuity of the bags, you have to make sure that they’re exactly the way they were for every take. It’s like I have a child — three children, my totes.

Villarreal: Such a feature of the show is obviously the sort of revolving door of guest stars. This season you’ve had Stephen Colbert, Griffin Dunne, Beanie Feldstein and Patti LuPone, who was in the finale. Are you ever just lost in the fact that you’re acting opposite these people? Is there a moment that stands out from that?

Preston: Dianne Wiest. I’m a huge, lifelong fan of Dianne Wiest, like top five. And when I found out she was gonna be in the episode where she plays a nun, a murderous nun, I just thought, “I’m not gonna be able to contain myself.” I usually reach out to everybody before to send them an email or a text or something and just tell them how thrilled I am that they’ve said yes. So I wrote her a thank-you for saying yes/stalker-level fan email. And she wrote back. And she’s like, “Oh, Carrie, I’m so happy to hear that.” It was just like, “Oh, my God, I could just hear her voice.” When she showed up — I mean, she’s Dianne Wiest. And she is wearing a nun’s habit, and I couldn’t stop staring at her face. She would catch me staring at her and then she would just smile, with that sweet gorgeous face of hers and I would say, “I’m sorry, I’m sorry. I know that it’s probably making you uncomfortable. I just am absolutely honored. I do not even understand how I got to be so lucky to have someone like you doing this.” And you could say that for every single person on the show. I fangirl on them in the way that the character fangirls on Diane Lockhart. You know what I mean? The same little spirit lives inside me that is Elsbeth. I have wonder and appreciation. And it’s become more infectious. She has become more infectious the more I play her.

Villarreal: There was the moment where, in the Griffin Dunne episode, where he’s threatening towards her. I’m trying to remember if there’s been a moment like that where I felt threatened for your character. What was that like filming with him?

Preston: It was wonderful. Robin Givens, who was our director, [and] who, as we know, is an actor as well, she was really directing us to reach a pretty scary place. I like it when our show gets scary like that because we have to remember that she’s hanging out one-on-one with murderers. She’s going into their space. And as unthreatening as she is, that in and of itself is threatening. And we need to remind the audience of that from time to time. She pushes buttons because she’s trying to get them to admit something, or she’s pinning the fly to the bulletin board and watching it squirm. And this one, I realized as I was playing it, I was like, “I’ve got to play up the flirtatious side because that’s what he gets really guarded about, the fact that he’s a womanizer. So if I play that up, it’s gonna infuriate him.” And so he backs me up, and then we realize there’s no way out. It’s great, but it’s scary. But she knows that he’s not gonna do anything to her because he still thinks he’s gonna get away with murder. But we added this one [look], and I wanted to make sure [it was kept]. I said, “Please, Robin, please don’t let them cut this.” I look back at him at the very end going, “Gotcha. I got you just where I wanted you. You fell into my trap.” And they kept that in the cut. I was very happy about that because we build these things together, and sometimes they just have to cut them for time. But they didn’t.

Villarreal: Because you’re also thinking with your director’s hat. And I know it must be hard to even think about whether you can direct an episode of “Elsbeth.” But is that something on your bucket list? Or would it just be too difficult to manage?

Preston: I love this job so much. This is the dream job, and I want to make sure that I am doing everything I can to do that in the best way that I can, every day. And I do feel like having directed myself before in the past, in things where I was just a part of the ensemble, the way I choose to direct, I found that I was shortchanging the acting a little bit. I don’t want to do that on this show. I do think it would cost the crew to have me do both things, and I care about them so much. I don’t have to prove that I can do both. The one thing I could do is direct the first episode of the season because I would be able to prep. Otherwise I wouldn’t be able to prepare. I feel like I trust our directors. I love our writers. I love our crew and I love how things are going.

Villarreal: We know Elsbeth as this person with a keen ability to read people, who can sniff out liars, murderers. What was so interesting this season was to see her vulnerable side in her personal life. And see that she has her blind spots too. Were you excited when you saw that they were going to explore this side of her? And what was that like to play?

Preston: I think it’s always a good thing to deepen the character as you go along because, you know, we’re a police procedural; we have to figure out how to put a crime each episode, just structurally. But we want texture to the character, and having that vulnerable side really gave us that. As an actor, if you can find the drama in the comedy, it makes the comedy stronger, and vice versa. It was a wonderful way to stretch myself as an actor. It’s important to always show the heart of a character that you’re playing. The more specific you are, the more universal it is. And I think people can relate to her in that way. Everybody has felt heartbreak or confusion or duped or confused or distrustful of their own intuition and all of that stuff. And so the complexity of that was, of course, great to play.

Villarreal: Are you, Carrie, as perceptive as Elsbeth?

Preston: I do have a little bit of an empath in me. I do feel like I can read a room really quickly and I can kind of tell what people are thinking or what people are feeling. A vibe. I don’t know what it is, but it’s an empathic kind of nature. I have way more boundaries than I think Elsbeth does, but I’m not nearly as brilliant as that woman. I don’t know how many people in the world are. That’s what makes her so special. But I key into that side of her and I can relate to it.

Villarreal: Final question for you. The show will return for a fourth season. What do you want to see from Elsbeth? Who’s your dream guest star? It must shift because you guys are getting everybody.

Preston: We’re getting wonderful people who are interested in the show and I’m so proud of that and I know Jon is too. Jon Tolins is our showrunner. We’ve really, both of us, made it our personal missions to create an environment — and he creates scripts — that people want to come and participate in, and a welcoming place where somebody gets to play a delicious character for eight or nine days and then go on with their busy careers. I never would have dreamed that, for example, Steve Buscemi would have wanted to be on a show like “Elsbeth,” but he did and he asked to be on it. That blew our minds and it still is blowing our minds. So I could not even dream of most of the people that have come on. That said, you know, I’ve said this before, I’m a huge Meryl Streep fan. I would love for her to come on. We think often about, maybe we should see a parent of Elsbeth, a mother maybe. So we play around with different ideas for that, and that would be nice to see because we’ve seen Elsbeth as a mother, but we haven’t seen her as a daughter. We’ve seen her as a friend but we haven’t seen deep into her her origin story. So I think that could be a fun thing to tap in Season 4. But I trust Jon and the writers.

Villarreal: I want Diane Lockhart to stop by.

Preston: I know, wouldn’t that be great? Or Alicia. But I don’t know. We got Sarah Steele who played Marissa [in “The Good Wife” and “The Good Fight.”] That was amazing. But like Michelle King was saying in an interview [for an L.A. Times’ Screen Gab event] yesterday, this show has kind of found its own place separate from that universe. It’s nice if we have people from that universe pop in, but it’s not required. And a lot of our fans never even watched those shows. So that speaks to what Jon and the writers are doing and what we’re, as a collective, bringing to the audience.

Villarreal: Thank you so much for being here. I, for one, can’t wait to see what the bag selection is like in Season 4.

Preston: Me too.