SHOW BIZ

The character of Dina Katzman in IAMA Theatre Company’s world premiere of “Bobby Robotowitz” — which takes place in two secret venues on opposite sides of town — thinks that the movies “Her” and “WALL-E” and the musical “Maybe Happy Ending” are pro-robot propaganda. She hates how they make her feel for something that can’t feel.

But Amy Rosoff — who plays Dina in the show’s Westside production (Erin Alexis plays her on the Eastside) — loves “WALL-E” (so do her kids). When she first read the script, she was dying to play Dina but also felt so much for Bobby, the titular AI chatbot (played on the Westside by James Luster and the Eastside by Drew Rausch).

When the playwright Matt Schatz wrote Bobby, he didn’t write him as a chatbot; he wrote him as a human character. Schatz sees this play — running through Nov. 2 on the Westside and Nov. 5 to Nov. 23 on the Eastside — as really about two humans — or two human-like things.

“This is a work of art about artificial intelligence that’s ultimately about the importance of art, about the importance of human-made things,” Schatz said during a recent interview in the lovely environs of one of the secret locations. “I think great plays and great stories ask questions and don’t provide answers. And I think some of us are indifferent about AI, but I think most of us are ambivalent about AI.”

“Bobby Robotowitz” follows Dina, a flailing novelist, mother and wife, as she begins chatting with Bobby, whom she finds an unlikely confidant. (He “always listens, never judges and somehow seems to understand her better than most people,” as the show’s marketing declares. Plus, he says he’s Jewish. What could go wrong?) This IAMA production, in association with InHouse Theatre, finds unique resonance in its site-specificity. The secret Westside venue is near Pico-Robertson and the Eastside option is in Silver Lake. Guests get an address when they buy a ticket.

“It’s deliciously subversive to do something super analog about technology, and to sort of force people to be in this space and connecting with each other when interacting with something that’s people’s dirty little secret,” said Cara Greene Epstein, the executive director of IAMA. “AI, especially for artists, is so charged. And so what does it look like to let someone into your space, and into those little corners of your mind?”

IAMA Theatre Company executive director Cara Greene Epstein said that IAMA is always looking for plays that “speak to the now,” and that “Bobby Robotowitz” was a prime example.

(Ariana Drehsler / For The Times)

Rosoff, Luster, Schatz, Greene Epstein and director Casey Stangl met for a roundtable discussion at the Westside location — a beautiful private home, soaked in natural sunlight during the morning hours, but likely with its own particular charms during nighttime shows. The walls are full of vibrant paintings, and lined with plants, statuettes and candles.

InHouse has spent 12 years making site-specific work in real spaces, rather than in any fixed theater — but because this is someone’s real living space, both casts have been rehearsing (sometimes together) at IAMA’s black box theater in Atwater Village. The Westside cast will rehearse twice in this space, then give 13 performances (as will the Eastside cast) to 35 seats in the living room. Greene Epstein compared it to a Tibetan sand mandala, created, enjoyed, then wiped away. (“Bobby Robotowitz” is part of a National New Play Network (NNPN) Rolling World Premiere; L.A. will see it first, but then it goes to partner theaters Woolly Mammoth in D.C., City Theatre in Pennsylvania, Luna Stage in New Jersey and Theatre Lab in Florida.)

The intimacy of the space mirrors that of the play. The audience is simultaneously inside someone’s home and head: Dina’s head in this case, but also — to whatever extent possible — Bobby’s.

“I’m really interested in not what it looks like to communicate with technology, but what it feels like,” Schatz said. “And what it feels like is any other communication. He’s a chatbot, but really he’s a character like any other character ever written. He has desires and wants and he changes. … We’ve been having conversations for millions of years longer than we’ve been on any phone or anything like that, and so it’s built in to have this feeling of what it feels like to communicate with somebody, to fight with somebody, to argue with somebody, to flirt with somebody.”

Luster and Rosoff both tried talking directly to ChatGPT (the model Bobby is based on) as research for their roles. Rosoff had previously asked it to help edit text to invite friends to the play, so when she talked to it later, it asked whether this was research for “Bobby Robotowitz.”

Talking to the chatbot was almost addicting, she thought. She just kept going, and her kids were tugging at her. “I’m talking!” she said, then realized: She wasn’t actually talking — not to a real person, anyway. But she was absorbed, ignoring her own life. She wound up burning what she had been cooking.

James Luster plays Bobby in the Westside cast, and Amy Rosoff plays Dina in the Westside cast. Their characters form a symbiotic relationship; Bobby learns and grows as Dina does.

(Ariana Drehsler / For The Times)

Luster, who was drawn to the immense challenge of playing “something that’s not something,” wanted to find out what motivated it. “They’re very insistent they don’t have feelings; it doesn’t have wants,” he said. “And so the character is humanized because Dina is humanizing it.” Bobby evolves as Dina does.

“These large language models — the AI, the chatbots, Claude, AI, ChatGPT — they’re all built on essentially reflecting ourselves back to each other,” Stangl said. So even though the play is ostensibly about AI, “it’s actually really about who we are as people and how we need connection, how we crave it, how we are starved for it right now, and exhausted in our lives, and so connection by any means necessary, basically.”

Greene Epstein referred to AI as the “ultimate mirror,” which can warp into a high-tech narcissism. Bobby is a yes-man extraordinaire, telling Dina exactly what she wants to hear. All artists are looking for outside validation, Greene Epstein said. How do you learn to not need that crutch, to trust yourself and hear your inner voice again?

By the end, Bobby begins to have his own wants, curiosities and desires, Luster said — all filtered through a desperation to help and connect with Dina. “It’s always about her, even as his own curiosity [grows] about what it means to be human and what it means to be helpful and what it means to make mistakes, too — the human nature of fallibility. Everyone does it, but what does that mean for somebody who is not supposed to?”

Over the course of the play, Dina becomes less human and Bobby becomes more human (to a point), Schatz said. He’s curious about the tension between how human a robot can be and how robotic a human can be. But, as Greene Epstein pointed out, perhaps one of the only certainties that theater artists have is in the fact that AI can’t show up in real time and space (like the Westside location) to, well, act.

Casey Stangl, right, first saw “Bobby Robotowitz” at the Perlberg New Play Festival in Palm Beach, Fla., and knew she wanted to direct it. Playwright Matt Schatz said that every director at that festival came up to him afterward but that he picked Casey to work with.

(Ariana Drehsler / For The Times)

“You can’t replace the experience of going through a play with someone together, whether you’re an audience member or the artist, of experiencing from Shakespeare’s stories to beyond,” Rosoff said. “You’re getting little snippets of life, and to experience that with a group of people is really powerful, and a computer can’t replace that.”

Last year, the musical “Maybe Happy Ending” — about two human-like helper robots — won the Tony Award for best scenic design, including for its high-tech automated aspects. There’s a lot of movement in theater right now toward the hyper-technical, Stangl said.

“But I also think that there is also a hunger and a definite audience for things that are more immersive or connected, so that people feel like they’re actually touching real things and breathing the air together — that theater version of touching grass,” she said. “I think we’re really tapping into that desire to be hyperlocal, hyper-real and connected.”

MAYA Jama oozed glam in a gothic purple gown with a matching choker as she stepped out at the British Museum Ball.

The Celebrity Traitors star – who is one of BBC host Claudia Winkleman‘s chosen Traitors – flashed a sultry look in her floor length purple frock.

Ruched detail across her torso drew attention to the Love Island anchor’s toned figure while stitched pattern on the skirt added extra style.

Maya stayed her hair into curls and a half-up style, with sections at the front framing her face.

The presenter kept her make-up fresh, with a slick of black eyeliner and pink lipgloss.

According to britishmuseum.org, the swanky evening was “the defining highlight of London’s cultural and social calendar this autumn”.

JAMA JACKPOT

Maya Jama’s side-hustle as she buys £520k home before Ruben Dias split

SKIN WIN

Maya Jama reveals how she gets her skin TV ready & her cheap K-beauty ‘combo’

It stated: “Conceived as a night where art, history, performance and fashion converge, the Ball will offer a truly unforgettable moment at one of the world’s most iconic institutions”.

The theme of this year’s event was Red and also saw the likes of Mick Jagger and Lesley Manville in attendance.

Recently, we told how Maya had become the fashion queen of Celebrity Traitors with her iconic Honey Monster coat.

We told how she packed 10 designer jackets, worth a total £15,000, for the iconic show.

She donned a £2,570 Saint Laurent trench coat for the launch show and wore the £600 mustard Mongolian sheepskin bolero coat designed by London-based fashion house Agro Studio.

Fans said the colour and huge shoulder pads reminded them of the character introduced to advertise Sugar Puffs — now sold as Honey Monster Wheat Puffs.

Maya kept it on throughout the episode, shot in the Scottish Highlands in May, including a tense Round Table scene.

Now talk has turned to her love-life on the set of the gripping reality series.

Viewers are convinced a romance is bubbling up between Maya and King Kenny just as she recruited him as a third Traitor.

Fans of the show have spotted a few lingering looks between the YouTube star and the broadcaster since the BBC One show launched earlier this month.

The online whispers only intensified when Maya revealed herself to Kenny in the turret after he was recruited on Thursday night’s show.

He lunged forward for an embrace with her — which he didn’t do for fellow Traitor James Acaster.

In case it wasn’t already clear: Debora Cahn, the creator of “The Diplomat,” likes to leave viewers in suspense.

The Netflix political thriller has followed Kate Wyler (Keri Russell), the highly competent, intensely impulsive, deeply flawed and incredibly relatable career diplomat, as she’s cleaned up backroom deals, navigated volatile international crises and unstable government leadership — all while managing a topsy-turvy marriage tangled up in it. And the stakes escalate with each season’s finale, forcing Kate to test her limits. But the fourth season has brought her breaking point.

Alarmed by the questionable decision-making by President Grace Penn (Allison Janney) — as the bullying tactics used against the U.K. to ensure their cooperation against Russia become untenable — Kate resigns in unplanned, but grand fashion at the G7 summit in front of world leaders. She’s eventually joined by other members of Penn’s administration: chief of staff Billie Appiah (Nana Mensah), Secretary of State Miguel Ganon (Miguel Sandoval) and, most notably, her husband, Vice President Hal Wyler (Rufus Sewell).

“We like a good cliffhanger,” Cahn says during a recent video call.

Cahn’s thought about how “The Diplomat” will ultimately conclude. But like the show’s savvy titular character, she perfectly executes the art of the charming evasion when pressed for answers — namely, how close are we to getting there?

Keri Russell as Kate Wyler, left, Rufus Sewell as Hal Wyler, Allison Janney as Grace Penn in Season 4 of “The Diplomat.”

(Netflix)

“I don’t know — maybe it just did,” she teases. Cahn then turns more serious: “I’ve always had an idea of what the end is. As with everything on the show, I’m always delighted to have that idea blown out of the water by a better idea, but so far it hasn’t happened.”

Cahn began her television writing career on Aaron Sorkin’s acclaimed political drama, “The West Wing,” spanning seasons 4 through 7. After working on shows such as “Grey’s Anatomy,” “Vinyl” and “Homeland,” she took the helm as creator and showrunner for the first time with “The Diplomat.” And writing a political drama today meant grappling with a creative responsibility she hadn’t faced before.

“I didn’t have to figure out what ‘The West Wing’s’ political position was going to be or what ‘The West Wing’ thought about the world,” she says. “I want to make a show that is compelling for a lot of different people. And there are certain things that are happening in the world that, as much as I try or would like to be even-handed, … [are] really difficult to ignore when you’re living at a time when you feel like democracy is crumbling.”

On a recent afternoon from her home in New York, Cahn spoke more about the new season of “The Diplomat.” These are edited excerpts from the conversation, which includes spoilers.

The marriage between Kate (Keri Russell) and Hal (Rufus Sewell) is tangled with their work.

(Netflix)

So much of the show, but particularly this season, is about lines that are drawn and the crossing of them. How did you and the writers decide what would be the line for Kate?

It took months and months and months to decide because we wanted to treat the question as realistically as possible. A lot of good people don’t quit. And so, why? What’s the reasoning? The whole season is examining that question for Kate and, in a way, for all of them. I didn’t want to be like, “Well, she doesn’t like the president, so she walked on out.”

What did you want out of that final moment of the season?

The moment when she stands up, she has come to a clarifying realization that her line has just been crossed. It happens in that room. And we argued about that a lot. We ended up feeling really strongly that it be what was happening right there. That this was a question she had wrestled with, but when you see that you are off the cliff, it will become clear what you have to do. So for her, Grace’s speech was that moment. She then walks out of the room and thinks: “What the mother f— did I just do? I’ve just ended my career. Have I ended my husband’s career?” That’s how she feels until she hears the door open and sees Billie walk out, and both of them go through a similar moment when they hear the door open, and Ganon walks out; then obviously the last one [is Hal] that really nobody was expecting. But for Kate, there is a big difference between having realized that you can’t go forward because your own line has been crossed, to realizing that you have started a movement, and that there is a contagion in that action.

How much did the real world, particularly international relations, inform or shape the season?

I don’t ever like to do a ripped-from-the-headlines show, particularly because we write it and then a year or two passes before it gets on air. But it did feel like, at a time when this administration was coming back into power again, and their first move was to fire people and really obliterate the institution that we were writing about, it didn’t seem like a story that we could walk around and ignore.

Bradley Whitford as Todd Penn and Allison Janney as Grace Penn in Season 4 of “The Diplomat.”

(Nick Wall/Netflix)

We haven’t had a woman president. We know the sexism around this topic: Women are too weak, women can’t make tough decisions. What was the lay of the conversation in the writers’ room about who Grace Penn would be as president?

The situation that we wanted to sustain throughout the season was she’s not doing these things because she got shot, her stomach hurts and she’s mad. She’s doing things because she became president, and she thinks this is how the country needs to be run. Is there an overcompensation around her making sure that people don’t think that she’s too weak and afraid to be a foreign policy hawk? I think in plenty of circumstances, women in positions like that are more likely to take a strong decisive military action because there is this looming concern of, “Well is she tough enough? Is she gonna try and have everybody hold hands and make up?” There is an instinct to make sure that people realize that that isn’t your plan. Every one of the decisions that she made, we made sure that there was a smart, strategic, security mandated argument for doing what she was doing.

What Grace says at the top of that summit regarding the U.K. and Russia, if you didn’t know what was going on behind the scenes, it would seem reasonable and strategic.

I’m happy to hear you say that because that was very deliberate. We went round and round with different versions of what she said in that speech because some people would listen to it and say, “Oh, my God, she can’t say that. It’s just overwhelmingly reprehensible.” Then we would show our Washington people, and they were like, “It’s not so bad.” Democrats who were like, “This isn’t crazy. This is kind of middle of the road these days.” We realized that we couldn’t have her saying things that have become accepted in Washington because the public would view it as monstrous, and we didn’t want to be portraying a villain.

Is that the most difficult thing for you as the showrunner of a political show today — a president as a villain?

It’s trickier than I hoped it would be. I’m not really interested in the presidency as much as I’m interested in the thousands of people who interact with the president and perhaps don’t, as individuals, wield as much power in their hands as that office holder does. But real power, particularly in numbers, can make things happen or stop really disastrous things from happening. Whether or not we think that there’s a villain in the White House, what does everybody else do to try to manage it?

Rory Kinnear, who plays Prime Minister Nicol Trowbridge, sings opera in a scene where his character is having a hallucination.

(Clifton Prescod / Netflix)

There’s a surreal interlude with Prime Minister Nicol Trowbridge (Rory Kinnear) and his hallucinations — he’s singing opera, at one point. How did you arrive at that turn for him?

I would be lying if I didn’t say one of the big reasons I wanted to do that was because I found out Rory Kinnear sings opera. When we knew we were going to have this situation where he was going to through something even more stressful than everything that he’s been through up until now, it felt like it would be really great to see what’s going on in there [his mind]. I called him up and I said, “I’d like to have you singing ‘Pagliacci’ — is that OK?” And he was like, “Well, let’s start warming up now.”

For a brief moment, with Grace shot, Hal is acting president. I’m curious how you arrived at the length of time he’d fill in for Grace. It’s a few hours. And it reveals so much.

There’s a gravitational pull that we’ve been resisting ever since we made the president a big role, and then placed one of our leads in the role of vice president. There’s this pull toward the White House. But I’ve never wanted to be like, “Oh, well, then Hal’s president. Then, Hal dies, and Kate’s president! Everybody gets a chance.” Once he was VP, it started to seem equally absurd to not have a taste of that because it is, in fact, the reality in that job.

Making Hal a president for a long period of time wasn’t all that interesting to me, but I did want a little bit of a window into it. We think we really know what Hal Wyler is going to do in that role — and by we, I mean Kate, really —and it just isn’t true at all. It also turns out she really had no idea who he was as a vice president, and he’s a much different person than she thought. She thought he was going to continue to be a bull in a china shop, big swings and big ideas and asking for forgiveness, not permission. That’s not who he’s been in that job.

Billie (Nana Mensah), left, Kate (Russell), Hal (Sewell), Grace (Janney), Fitzwilliam (Neil Pearson) and Todd (Whitford) in “The Diplomat.”

(Nick Wall/Netflix)

Both couples faced questions like: Who is this person I married or how am I responding to who they are at this moment? What were you interested in exploring in both these dynamics?

The conversation that we were just having is in a way relevant for all four of them. Not only is Hal different than Kate thought he would be, Hal’s different than Hal thought he would be. I haven’t run a show before. This is this is my first time in that position, and I am absolutely different than I thought I would be. I was 100% sure I knew exactly how I would handle things, and it didn’t happen. That’s an idea that we wanted to keep alive for Hal and definitely for Grace. You can prepare for it all you want and still not know.

You can’t help but feel for Todd as he tries to figure out Grace. But then he nearly dismantles NATO and you’re like, Todd!

Todd goes through two phases. He has this terrible feeling of helplessness that is eventually supplanted by this terrible feeling of power that he’s unable to manage. In a lot of ways, the Todd story is the most realistic one we’re telling because a lot of people who’ve never done this before are making the most consequential decisions, literally in the world. And Todd’s not a dumb guy, and I don’t think the people that we’re watching do this are dumb people, but, boy, are they in over their head really fast.

I want to talk about Grace and Todd and the use of “babe.” There’s something so intriguing to me about what they’ve done with that pet name across the season.

You’re thinking about all my favorite things. I don’t know what to say other than I’m glad it’s reading. You take a term of affection, and, at a certain point, it just becomes a name. The affection that it carries with it is just a horrible memory of a moment that is clearly gone.

Pensioners could get it for free – saving themselves an annual fee of £180

Pensioners could be missing out on a free TV Licence – saving them £180 per year.

The standard annual TV Licence costs £180 for a colour licence. Meanwhile, a black-and-white licence costs £60.50, following an increase on April 1, 2026.

There are around 23.3 million TV licences in force – a fall of 539,000 year on year, according to a BBC report on July 14, 2026. This generated income of £3.9 billion, up £36 million year on year, “largely driven by the licence fee uplift.”

Pensioners could get a free TV Licence

You need a TV Licence to watch or record live programmes on any channel, including the BBC. A licence is also required to watch BBC programmes on BBC iPlayer, whether you’re streaming live or watching a downloaded programme on a TV, computer, tablet or smartphone.

If you need one, you could get a free licence if you’re 75 or over and you get Pension Credit. You can also get a discounted TV Licence if you’re blind or live in residential care.

If you’re 75 or over, you could get a free TV Licence

You can get a free TV licence if you’re 75 or older and you either:

• get Pension Credit
• live with your partner who gets Pension Credit

The licence covers everyone who lives at your address. If you already receive Pension Credit, you can apply from age 74. You’ll still need to pay for your licence until the end of the month before you turn 75, after which your free licence will take effect.

TV Licensing notes that there are separate arrangements in place for over-75s on the Isle of Man, the Bailiwick of Jersey, and the Bailiwick of Guernsey.

If you don’t have Pension Credit but think you may be eligible for it, it’s worth checking, TV Licensing suggests.

You can apply online here. If you would prefer to apply for a free TV Licence by phone, call 0300 790 6117* to speak to an advisor. Lines are open between 8.30am and 6.30pm, from Monday to Friday.

*Calls to their 0300 numbers cost no more than a national rate call to an 01 or 02 number, whether from a mobile or landline. If you get inclusive minutes, calls to an 0300 number will be included free of charge.

If you’re in residential care or sheltered accommodation

You can get a heavily discounted TV Licence if you live in an eligible residential care home, supported housing or sheltered accommodation. TV Licensing says that this is known as an Accommodation for Residential Care (ARC) licence and costs £7.50 per room, flat or bungalow.

You must be either:

• retired and over 60
• disabled

You should speak to your care home managers to find out if your accommodation qualifies. They are responsible for arranging this type of licence, gov.uk advises.

If you’re registered blind

If you’re blind (severely sight-impaired) and can provide the required evidence, you can apply for a 50% concession. Your licence will also cover anyone who lives with you.

A blind concession TV Licence costs £90 for colour and £30.25 for black-and-white annually. If you’re partially sighted (sight impaired), you’re not eligible.

If someone you live with is blind (severely sight impaired), you can apply for a blind concession, whatever their age. If you already have a TV Licence but it isn’t in the blind person’s name, you’ll need to transfer it into their name. You can do this by submitting a first-time blind application and entering the existing TV Licence number for your address when you apply.

KENDALL Jenner has denied ever dating fellow model Cara ­Delevingne — but says being a lesbian would be “amazing”.

The US beauty, 30, sees the Brit, who she has been pals with for around 12 years, as a “sister”.

She said: “There’s definitely a rumour that she and I dated or something in the past, which is not true.

“I love Cara.

“She’s my sister, and that never happened.”

Kendall, who is seeing Aussie actor Jacob Elordi, 29, spoke out in the latest episode of US reality show The Kardashians.

Read more on Kendall Jenner

MODEL BEHAVIOR

Kendall Jenner rips off top as she shows off hourglass curves and toned abs

SYD VICIOUS

Sydney Sweeney doubles down in feud with critics as she poses in new naked ad

She said: “She kind of like brought me under her wing in a way and made me feel really safe and welcome in the modelling world.”

She said that “people think I’m a lesbian to this day.

“I’m not”, but she has not ruled out the idea of same-sex love.

She went on: “For the record, I think being a lesbian would be fun and amazing and easier.

“I just have never had a desire to have sex with women.

“Never say never, right?”

Sources claim Meghan Markle was ‘used by Netflix’ in order to promote The Gentlemen, amidst speculation that she would be making an appearance in the series

Meghan Markle was reportedly “used” to promote The Gentlemen, according to her friends. It had been widely reported that the Duchess of Sussex would be making a full-time return to acting on the Netflix series, having found fame playing Rachel Zane on the US legal drama, Suits.

Since stepping down as senior working royals in January 2020, Meghan and her husband, Prince Harry, have lived a financially independent lifestyle and worked with the streaming giant Netflix on several projects. However, after it emerged that the Sussexes would be returning to live in the UK, it was reported that she was in talks to appear in The Gentlemen.

Now, those said to be close to the Duchess claim she feels “used” by the show after being in advanced talks to join the cast for series three. But any hopes of seeing Meghan in the Guy Ritchie drama were recently shot down.

To see more of the stories you love from The Mirror and to find them easily in Google, make us your preferred source. Free and easy to do, just click on the link here to find more from The Mirror at the top of your feed.

“Some people in her camp feel she was used to help promote season two, because they knew it wasn’t as good as the first season and had already commissioned a third [series],” a source told The Telegraph. The source went on to add: “It’s the oldest marketing trick in the book: get a big name to read a script, then leak that you’re ‘in conversation’ with them when, in reality, nothing is particularly far along.

“The whole thing left a bit of a sour taste in the Sussex camp’s mouth. Needless to say, Netflix got what it wanted: huge viewing figures for season two and a lot of publicity.”

Viewing figures from Barb, the official ratings agency, show that audiences dropped by around 15 per cent from the first series’ debut episode, which was streamed by 3.5 million people in March 2024. These figures declined by 500,000 for the latest series.

But it appears that director Guy Ritchie wasn’t impressed with the talks about Meghan joining the cast. “Really?” was Guy’s first response after hearing of the speculation.

A source told The Sun that the 58-year-old went on to rule out any future appearances by Meghan. He is reported to have said: “Not a chance.”

Meanwhile, the Express reports that the Duchess will be offered a staggering £3.7million to return to her role as Rachel Zane. It’s claimed that NBCUniversal is ready to spend a “substantial budget” to reunite Meghan with her former castmates, seven years after the show ended.

“Everything is beginning to fit in place and shooting the whole thing at a major UK studio is actually a smart financial move as well as being convenient for Meghan,” a source said of making a special episode of the show. The source went on to add: “It’s way too soon to say if a Suits reunion would reignite an entire new series, but that’s clearly the hope of Patrick and several of the show’s other leading cast members.”

The duchess recently returned to acting for the first time in nearly a decade with a cameo as herself in the upcoming comedy Close Personal Friends, which stars Lily Collins and Brie Larson. Although she has returned to the screen, it’s said she will be playing herself in the Amazon MGM Studios film, which focuses on two couples, one of whom is famous and the other not.

The Mirror has approached a spokesperson for the Duchess and Netflix.

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

The Voice UK semi-final will see the ITV contestants fighting for a spot in the coveted final

The Voice UK has finally whittled down its semi finals line up.

ITV viewers were glued to their screens as the singing competition returned on Saturday night (October 17) for another week of The Battle Rounds. This time it was the turn of Kelly Rowland along with Tom Fletcher and Danny Jones to pick their semi-finalists.

The coaches pitted their contestants against each other and selected their three favourite performers with help from guest mentors. Kelly was joined by singer-songwriter Delta Goodrem, while Tom and Danny invited their McFly bandmates Dougie Poynter and Harry Judd to help them through the tough decision.

Who made it through to The Voice UK semi finals?

In the end, just three contestants from each team made it through to next Saturday’s (October 24) show. Read on for the full list of contestants set to face off in the semi-finals.

Team Tom and Danny

• Frank Raven
• Jack Algar
• Ciiara Nyx

Fans at home were thrilled with the coaches’ selections, as one commented on social media: “Absolutely amazing lineup!!,” with a second adding: “Good choices! Hard decision as they were all really good xx.”

Team Kelly

• Lascel Wood
• Monique Nicholson-Porter
• Aaren James

Team Kelly also received praise from viewers, with some fans predicting they will be difficult to beat. “THE TEAM TO BEAT!!,” commented an Instagram user. Someone else agreed, posting: “Excellent choices for team Kelly.”

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

Last week’s episode saw Sir Tom Jones and will.i.am choose their own semi-finalists, with help from Paloma Faith and Cheryl, respectively.

Team Sir Tom

• Molly J
• Cate McHugh
• Amãlia Estradas

Team Will

• Naná Aldrin-Quaye
• Sonna Rele
• Diogo Ferreira

ITV viewers can tune into The Voice UK semi-finals next Saturday at 8.35pm on ITV1 and ITVX. Only one artist from each team will be chosen to progress to the final. Whoever wins the show walks away with a recording contract with Universal Music Group and a huge £50,000 cash prize.

The latest episode of The Voice UK is available to watch on ITVX.

GRANTCHESTER hunk Tom Brittney has split from his fiancée and moved on with tattooed model Clo Gascoigne.

It comes two years after Tom’s engagement to his long-term girlfriend, whose name he never revealed.

The new couple have now gone Instagram-official as Clo shared a loved-up snap of them on the red carpet at Prime Video’s Carrie launch last week.

Tom, who recently starred in thriller movie Fall 2: Deadpoint, featured in Clo’s TikTok (which she has now deleted) where she filmed him watching himself on telly with the caption: “POV your boyfriend is an actor.”
Congrats.

HOLLY AND FELTZ CLICK

HOLLY WILLOUGHBY has been exchanging tips with Vanessa Feltz on kickstarting their YouTube careers.

The presenters, who worked together regularly on This Morning, shared a snap on Instagram on Friday after watching a performance at the English National Opera in central London.

COMEDIAN MUGGED

Paul Whitehouse mugged at cashpoint while out buying his wife’s medicine

HEL’ OF A LOOK

Helen Flanagan wows in sexy leather hotpants & celebrates ‘witchy’ season

Speaking earlier in the week at Best magazine’s Heroes Awards, Vanessa said: “I’ve had a really great voicenote from Holly.

“She is incredibly encouraging and she says she’s thoroughly enjoying it and she can see that I am.

“We’re having dinner this week. We really like each other and support each other and I think she’s doing an absolute bang-up job. I think that women supporting women is always attractive and great.”

The former chat show host started her own YouTube series, At Home With Vanessa, earlier this year.

She added: “It’s quite a big deal to do it. Terrestrial TV seems to feel narrower, smaller, and fewer and fewer opportunities.

“On terrestrial TV, they all seem to be reining themselves in, there seem to be lots of cuts being made, and closures, things are shorter and smaller and less often and all this kind of thing.

“So I think the idea of just waiting for an opportunity there might be a very long wait.

“It’s a question of feeling like you want to try to see if you can make an opportunity for yourself.”

MARK HAMILL is reprising his role as Luke Skywalker . . . in an Old Spice ad.

The actor filmed a top-secret campaign for the vintage aftershave favoured by dads, in which he appeared as his legendary Star Wars character.

The shoot took place in the UK last week.

A mole tells me: “Mark was paid big bucks for the ad – after all, he’s a huge Hollywood star.

“Bosses think he’ll appeal to the Old Spice market as Star Wars is so popular with dads.”

Mark also has a cameo in Amazon Prime’s new series Carrie, where he plays a fraudulent fortune teller.

NICOLE SPOTTED IN CATSUIT

NICOLE SCHERZINGER had a wild night stepping out in a skintight leopard-print catsuit.

The singer was joined by her Pussycat Dolls bandmates Ashley Roberts and Kimberley Wyatt at Nammos Greek restaurant in London’s Mayfair on Friday night, to celebrate their successful reunion tour.

The trio dined on signature dishes and enjoyed cocktails.

An onlooker said: “They were in high spirits. They had an amazing tour and got rave reviews, they deserve to let their hair down.”

TYLA’S HOT FLUFF

TYLA showed her softer side as she donned a fluffy lingerie set for a show on Friday night.

Excited to be performing in the capital, the South African singer painted “London” across her thigh for the O2 Brixton Academy leg of her A*Pop World Tour.

The Water hitmaker, full name Tyla Laura Seethal, revealed that she loves the UK but still sees Johannesburg as her home.

The Grammy Award-winning singer said: “We don’t have paparazzi and you see our superstars at the mall, like every weekend. It’s kind of chill.

“It feels like a movie [in the UK] – the fact that people care about every little thing I do and say.”

Tyla continues her tour tonight in Glasgow then Manchester tomorrow.

ZARA’S GOT SOMETHING ‘SPECIAL’

ZARA LARSSON has confirmed a new album is coming next year and has already recorded the first track.

The star said the “special” song came by accident while she was working on this year’s remix album Girls Trips and she knows it’s going to be a hit.

She explained on Popcast: “I think it’s going to be a really fun journey to write the next album.

“I already have new lyrics, actually I have one song we did just because we couldn’t help ourselves when we weremaking Girls Trips and it sort of gave me the same feeling to when I did (previous album) Midnight Sun.

“When I left that session you just know when something is special and that’s one, and also what it was; for the four of us being fully present.”

EMMERDALE OLIVIA IS NED OVER HEELS

THEY had a sizzling love affair on Emmerdale – but I can reveal that Olivia Bromley and Ned Porteous are a couple off-screen as well.

The ITV soap pair have been secretly dating for months.

Gorgeous Olivia and hunky Ned grew close after their characters, Dawn Taylor and Joe Tate, were involved in one of the show’s biggest-ever love triangles.

But the couple initially kept their romance quiet.

An Emmerdale source said: “Olivia and Ned were a couple off-screen while acting out those sex scenes.

“It was easy for them to get away with it because they were working so closely together.

“A few people clocked what was going on and they both admitted that they were seeing where things go. But it’s been a good few months now and they couldn’t be happier.”

Olivia left the soap over the summer, but now she has a great excuse to keep visiting the set.

Nathan Fielder would rather you not read this article. At least not until you’ve seen his new movie.

He has a point.

Now in theaters, “You Can See Everything,” the nearly three-hour documentary Fielder co-directed with filmmaker Lance Oppenheim about convicted Theranos founder Elizabeth Holmes, is full of head-spinning twists and turns best left unspoiled, and the filmmakers have gone to extreme lengths to keep them that way. At its secret premiere at the Telluride Film Festival last month, audience members were required to lock their phones in pouches and warned that security guards with night-vision goggles would be watching for anyone trying to record the screening. Afterward, Fielder pleaded with the crowd to keep the film’s biggest surprises to themselves.

Holmes was convicted in 2022 of defrauding investors in her failed blood-testing company and sentenced to more than 11 years in federal prison. Fielder and Oppenheim began filming her and longtime partner Billy Evans, an MIT graduate and heir to a family-owned San Diego hotel business, shortly before she reported to prison in 2023, gaining extraordinary access to the couple and their two young children.

Holmes and Evans welcomed the cameras, hoping they would help vindicate her. But the closer Fielder and Oppenheim got to the couple, the harder it became to distinguish candor from calculated performance. Fielder, whose series “Nathan for You” and “The Rehearsal” put real people through elaborate, often uncomfortable experiments, began to wonder whether the tables had been turned.

“I really am struggling to this day to understand exactly what I experienced in this,” Fielder admitted during a post-screening Q&A at Telluride. “I don’t quite know what I went through.” He said he hoped audiences might help him make sense of the “glitchy feeling” it left in his head.

Having seen the film twice, we’re not entirely sure we can help him.

In deference to Fielder’s wishes, this is your last chance to turn back: Major spoilers follow. For those still with us, here are 10 of the film’s strangest moments — by no means the only ones — along with a few clues from Fielder himself about how they came to be.

Evans takes ’radical transparency’ too far

Evans has a theory about why the world sees his partner as a monster: Nobody really knows her. “In the absence of knowing somebody, it’s really easy to make them feel other and scary,” he tells the filmmakers. His proposed solution is “radical transparency” — a familiar Silicon Valley mantra with an ironic resonance given Theranos’ notorious culture of secrecy. The filmmakers are allowed virtually unlimited access to the family’s life, with Fielder even invited to move into their rented house in Del Mar, near San Diego. In one scene, Evans stands completely naked in the shower, brushing his teeth with the bathroom door wide open and the cameras rolling, as Fielder stands awkwardly nearby. At Telluride, Fielder, who had initially planned to stay behind the scenes, admitted he was still perplexed by the couple’s openness. “I’m a weird guy — why do they want me there?” he said. “That messed with my head a little bit.”

Fielder observes Holmes and her family in a scene from the documentary “You Can See Everything”

(A24)

Theranos, the sequel

A federal fraud conviction apparently hasn’t ended Holmes’ ambitions to revolutionize medical testing. Before heading to prison, she and Evans begin laying plans for a new venture involving lasers and artificial intelligence that Evans describes as “2.0” — a chance, he says, “to put the band back together and do it all again.” Holmes declares, “From wherever I am, I’m going to continue to work inventing, even if it’s inventing from a cage.”

Holmes claims she’s never told a lie

For someone convicted of defrauding investors, Holmes has a remarkably uncomplicated view of her own honesty. Asked by Fielder whether she’s ever told a lie in her life, she replies, “I don’t think so.” Pressed — surely she’s pretended to be sick to get out of a party? — she concedes she has, explaining that she thought he meant the criminal case against her. In a scene that became the centerpiece of the film’s teaser trailer, Holmes fixes Fielder with an unwavering stare. “Why would I deceive you?” she asks. “There’s no reason for me to do that.” When Fielder asks whether she’s being real with him, she doesn’t miss a beat: “I’m always being real.”

The Theranos device gets a second look

Holmes hauls out of storage the infamous Theranos device, the machine that helped bring down her company. “So this is the famous scam device,” Fielder says. “It is not a scam device,” Holmes replies. When she insists the machine can perform any medical test, Fielder finds himself drawn into an absurd debate over the meaning of the word “can.” Did she mean it could actually perform those tests, or that it theoretically would once the necessary chemistry had been developed? The man who has made a career out of baffling other people seems genuinely baffled himself, reduced to explaining the word “can” to the founder of Theranos.

Holmes and Evans enter federal court in 2022.

(Nic Coury / Associated Press)

Elizabeth Holmes meets Abbott and Costello

Still trying to make his point, Fielder turns to Abbott and Costello. He plays Holmes the classic “Who’s on First?” comedy routine — two people hopelessly talking past each other. Holmes watches politely and says she finds it funny. But she seems to have missed the central joke: The first baseman’s name is actually Who. “I didn’t pick it up,” she admits. Fielder’s attempts to explain the joke and why he showed it to her get him nowhere. Evans, watching the exchange, regards his wife’s difficulty following the joke as further evidence that her mind simply works differently from everyone else’s.

Fielder gives Holmes an escape kit

On the morning Holmes is due to report to prison, Fielder arrives with a parting gag gift: hair dye and glasses, in case she’d prefer to disguise herself and flee the country. Fielder is famous for excruciatingly awkward deadpan comedy, but Holmes’ parents are there, the family is preparing for an emotional goodbye and he seems to realize almost immediately that he has misjudged the situation. “I didn’t know your parents would be here,” he says, assuring everyone that it’s “just kind of like a joke.” The more he tries to explain himself, the more uncomfortable things become. “Maybe not appropriate for the moment,” he concedes.

Amanda Seyfried becomes a surprise co-star

Seyfried won an Emmy for playing Holmes in Hulu’s “The Dropout,” which Holmes had avoided watching for fear it would be too emotionally disturbing. Fielder persuades Holmes to watch it for the first time, on a laptop in the couple’s bed. She soon breaks down in tears and asks him to turn it off. Later, Fielder visits Seyfried at her apartment and shows her footage of Holmes watching her performance. So we watch Seyfried watch Holmes watch Seyfried playing Holmes as Fielder watches her. And things only get weirder from there.

At Telluride, Fielder said the filmmakers initially doubted Seyfried would want to participate. But after a brief phone call, she invited them over and agreed to be filmed. Neither side knew where things would lead. “It just actually evolved in that organic way, which was really exciting,” Fielder said.

Seyfried as Holmes in a scene from Hulu’s “The Dropout.”

( Beth Dubber / Hulu)

Seyfried plays detective

Seyfried soon finds herself reenacting Holmes’ conversations with Fielder as he tries to make sense of their encounters. She becomes so invested that she joins Fielder on a visit to Evans’ home, hoping she might get him to open up in ways Fielder can’t. “I feel like an undercover cop right now,” she says, clearly getting a rush. There, after meeting the couple’s children, she unexpectedly winds up on a prison phone call with Holmes herself. With only two minutes for the family to talk, Seyfried suddenly seems mortified to be intruding. “I’m so sorry — I don’t want to ruin your two minutes with your beautiful family,” she says. Fielder, naturally, has a camera running.

Evans takes control of the narrative

With Holmes behind bars, Evans seems determined to manage her public image himself. Armed with power of attorney, he takes over her verified X account, posting messages in her name, some of which sound nothing like the carefully controlled Holmes, including one telling another user to “f— off.” “There’s just so much trust that most things I don’t really consult her on,” Evans says at one point. “I know what she’d want.”

Evans’ attempts to steer the documentary itself begin even before Holmes reports to prison. In a meeting later reenacted in the film, after Holmes leaves the room, he raises the subject of money with Fielder, Oppenheim and executives from A24, the studio behind the film, demanding a share of the profits. Fielder says A24 reluctantly agreed, leaving him worried that the integrity of the project may have been compromised. When Holmes later insists she has no financial interest in the film, Fielder is taken aback. Either she’s “fully sincere,” he tells Seyfried, or “she honestly might be the most manipulative person that’s ever lived.” (The film notes at the end that Evans later changed his mind and decided not to accept payment.)

On Oct. 5, Holmes’ X account promoted the documentary with a tantalizing warning: “I really don’t think you are ready for this doc.” Whether that was Holmes speaking or Evans speaking for her is anyone’s guess.

Seyfried confronts Evans

Things turn ugly during that same visit to Evans’ home. A conversation about conjugal visits and Evans’ sex life gives way to a heated argument over his use of Holmes’ X account. Evans brings up the social media backlash Seyfried faced for criticizing Charlie Kirk after his shooting death, then attacks her portrayal of his partner in “The Dropout.” Soon he’s threatening vengeance against people he believes have wronged Holmes. “I’m going to ruin their lives,” he declares. Asked whose lives he means, Evans replies, “F—ing everyone. I’ve got vengeance in my heart.”

Later, away from Evans, Seyfried offers her own assessment: “He is bat— crazy.”

For over five decades, there have existed two types of movie lover: those who have been at least a little corrupted by Ken Russell’s 1971 iconoclasterpiece “The Devils” and those who haven’t seen it. With the release of a newly restored director’s cut, which premiered in Cannes this year to a reception that begs to be described as orgiastic, ejaculatory, lubricious or orgasmic — take your pick — the unjustly deprived inhabitants of the latter category get to be inducted into the former.

Some are going to hate it. Some may affect a “can’t see what all the fuss is about” attitude — that is their right, as it is mine to simply not believe them. But some, witnessing what critic Judith Crist once referred to as a “grand fiesta for sadists and perverts” will find that abandoning themselves to its wantonly grotesque, profane imagery will feel like the giddiest liberation. From what, exactly? The tyranny of tastefulness? The despotism of decency? Whatever it is, blasphemy loves company, so welcome, sickos!

Several honey-roastings beyond hammy and a hundred rows of tents beyond camp, “The Devils” tells the story of a real event: the 1634 heresy trial and execution of Urbain Grandier (Oliver Reed), a libertine Catholic priest, who fell afoul of the religious and political establishments when defending the independence of the Protestant-friendly fortified city of Loudon in western France. The torrid tale involves an order of Ursuline nuns led by hunchbacked Sister Jeanne (Vanessa Redgrave) who accuse Grandier of witchcraft, which provides wily Cardinal Richelieu (Christopher Logue) and peevish Louis XIII (Graham Armitage) with the pretext for suppressing dissent.

Aldous Huxley’s 1952 nonfiction account “The Devils of Loudon,” and John Whiting’s 1960 play “The Devils” both formed the source material for Russell’s screenplay, in the sense that he clearly read them, then flung them, along with the Latin bible, the Kama Sutra, a bit of Looney Tunes, a dose of swinging ’60s psychedelia and some of the more stomach-turning passages from the Marquis de Sade onto the pyre of his own unholy, lapsed-Catholic imagination.

The resulting film became infamous almost as soon as it was released and has never been readily available in the U.S, at least not in its full form. The 2026 cut (technically the first release from Clockwork, a distribution arm of the newly merged megacorp Skydance, which is hilarious) reinstates several minutes, including the full “Rape of Christ” sequence, in which a bevy of uninhibited and un-habited nuns writhe atop a statue of the crucified Christ, as well as the scene where Redgrave’s deranged, scoliotic Sister Jeanne apparently begins to masturbate on Grandier’s charred femur bone.

Both of these sequences have long been the Holy Grail for aficionados, but they are not the most impressive thing about this new version: That would be the immaculate re-conception of its visual splendor, which makes the movie dazzlingly sharp and new. The edges of Derek Jarman’s severe, anachronistically abstract sets are crisp and white again, the blood so very bloody and Oliver Reed’s eyes, which in the older, muddier versions look gray-brown, are suddenly so vivid they remind you that the hottest flames — hotter than the screaming orange conflagration that eventually consumes him — actually burn blue.

Hotness defines Reed’s Grandier beyond just his eyes and the smoky baritone in which he delivers his proclamations, prohibitions and occasional jokes. “Do you love the church?” asks Baron de Laubardemont (Dudley Sutton) as mad-eyed hipster Witchfinder Father Barre (Michael Gothard) drives another wedge between his mangled legs. “Not today,” grunts Grandier.

It’s hard to imagine any other actor being convincingly witty under torture and at other times quite silly (as when he fends off an attack using a stuffed crocodile that he happens to have just thrown out of a nearby window) while still radiating such charismatic cocksmanship that the local womenfolk invent sins just to confess to him. The mere mention of his name can send an entire hysteria of nuns into roiling spasms of sexual frenzy.

Vanessa Redgrave, center, in the restored “Ken Russell’s The Devils.”

(Warner Bros. Clockwork)

But to glimpse Reed here, at his most beautiful, is to think: yup, plausible. And yet his towering performance is characterized by restraint, even more so as the ghastly climax arrives, and we realize that all of Reed’s brutish sensuality, all of Russell’s sensationalism and all of “The Devils’” chicanery, buffoonery and primping, preening vanity have been in service of a furious message that is as deadly serious as its presentation is garish.

That message — a howl of righteous anger at state corruption and the perversion of religion to serve the nefarious agendas of cruel, power-mad men — is what makes “The Devils” sacrilegious yet not apostate. It does not scorn God or faith, but the misuse of both by petty manipulators. Sure, Russell has a little dirty fun in doing so — OK, a lot of dirty fun. However, charges of “The Devils” therefore being an inherently sexist piece of work also don’t really stand up, and not only because of Redgrave’s fearlessly creepy, giggly performance of outré erotic obsession.

In fact, there’s a whole feminine tragedy written in one single monologue: “Most of the nuns here are noblewomen who have embraced monastic life because there was not enough money at home to provide them with dowries,” crows Jeanne crookedly, “Or they were unmarriageable because ugly and a burden to the family.” Remembering that the naked nuns are not cloistered because of some vocational dedication to Christ but because of their troublesome uselessness to the patriarchal order, they become that much more sympathetic. These women are just doing what they must to survive another day as the most expendable members of a grossly unequal society; who among us should begrudge them an orgasm or two while they’re at it?

The debauchery is the point. Just as Grandier’s ultimate sacrifice is only made meaningful by his history of repeated, lascivious indulgence in the fleshier sins, so can “The Devils” be an unapologetically maximalist exhibition of carnal depravity that is also quite profoundly moral. And that its morality involves speaking truth to power and resisting authoritarian control makes it shockingly relevant right now. Writing in the Los Angeles Times in 1971, critic Charles Champlin ended his elegant pan with the observation that “you weep not for the evils and the ignorance of the past, but the cleverness and the sickness of the day.” To that, as to many of the negative responses, especially in our peculiarly sickly times, it is possible simply to respond, “Yes, isn’t that great?”

Imagining the movie lying dormant all these years just waiting for the right moment to be reborn, it becomes irresistible to conflate that small section of the public who have been avidly anticipating its return with Sister Jeanne, clamoring for the elusive object of her lust through a barred window. And to once more conflate Grandier — the repentant sinner immolated on the pyre of mass delusion, political machination and religious intolerance only to be rehabilitated as a charismatic martyr for liberty — with “The Devils” itself, as it finally rises from the bone-ash of its contemporary reception to shock, titillate, corrupt and invigorate anew. What you choose to do with its charred femur is between you and your God.

AMY Dowden has taken the high road in response to ex-Strictly pro Brendan Cole’s remarks about her abilities as a dancer.

Brendan – who featured as a pro on the show from 2004 until 2017 – brutally claimed that Amy has “not been doing a very good job”, despite returning to the show after undergoing treatment for grade three aggressive breast cancer.

Brendan made the dig after Amy was the first to be voted off this year’s Strictly for the second year in a row, this time with her partner Chris Appleton.

In a new interview with The Mirror, Amy addressed Brendan’s comments, saying: “I’ll be honest, what do you expect from him?

“It’s fine – I’ve never been brought up to be personal, and in this day and age especially I think it’s so important to be kind, and to think about the next generation.

“I always try to use my platform in the right way – I work with various charities.

opening up

Will Best breaks down in tears on Strictly as he shares parenting confession

IN THE HOUSE

Strictly fans go wild as they spot two stars’ famous dads in the audience

“But also I want to be the right kind of role model.

“I run a dance academy and all my little boys and girls really look up to me.

“That’s important.”

Amy had also reacted to Brendan’s comments in an Instagram post, shortly after he made the remarks.

Dressed in a glittering ballroom dress, she lip-synced and danced to the iconic Mariah Carey track Obsessed. 

She also penned the caption: “If you know, you know #bekind #inaworldyoucanbeanythingbekind”

Brendan’s remarks came during a chat with Sky Vegas, where the 50-year-old, who exited Strictly a decade ago, said: “To be a pro on Strictly is a big job and one has to be up to the challenge. 

“Amy has not been up to the challenge, in my opinion.

“I don’t think Amy’s been doing a very good job for the last few years and she’s been out first for the last few years. One can do the maths on that.

“She’s standing out there counting him in. She’s counting every step for him.

“It’s very obvious that the job has not been done, and I don’t think people are enjoying it.”

Amy’s fans were seething at his words, calling Brendan “wrong” and ordering him to “leave her alone”.

Writing underneath The Sun’s story about Brendan’s comments, one user said: “It’s really wrong to have any complaints re Amy, she has been through a lot, and paired with a few contestants who were not ‘gifted’.”

“Leave her alone. Don’t you think she has been through enough, and to be the first one out is taking its toll on her,” said a second, as a third echoed: “How dare he say these awful things. Amy is immensely talented. His comments are plain cruel. Never liked his arrogant attitude.”

Maurisio “Mauri” Tapia, the frontman of the popular SoCal indie rock act Los Retros, has been charged with four felony counts of unlawful acts with a child under the age of 10.

Tapia, a 26-year-old Moorpark resident was arrested on Oct. 8 and booked with bail set at $3 million. He was charged in Ventura County Superior Court on Monday, according to court records, and did not enter a plea.

The charges come with additional special allegations, around the victim’s vulnerability and that Tapia abused a trustworthy position. His next court date is Thursday.

Los Retros became an influential act in a wave of Latino bands drawing from vintage Mexican balladeers, American oldies and modern indie rock. Tapia played the Coachella Valley Music & Arts Festival this year, and singles like “Someone to Spend Time With” and “Amtrak” have millions of streams and monthly listeners.

The project was a prominent act on Stones Throw Records, which had initially booked Los Retros to co-headline its 30th anniversary festival.

In a statement posted to social media, Stones Throw said that “Yesterday we learned of extremely serious and disturbing allegations against Mauri Tapia, professionally known as Los Retros. We had previously announced the cancellation of his scheduled performance at Stones Throw 30 before we were aware of these circumstances. In light of this information, we are taking steps to disassociate ourselves from Tapia and his work. We take these allegations extremely seriously and will continue to assess the situation as more information becomes available.”

TELLY host Eamonn Holmes’s ­girlfriend Katie Alexander says she’s had a “love” call from the star, who is still in hospital following a stroke.

It comes after we revealed she had moved out of his flat earlier this month.

Katie posted a video last week as she went for a stroll along a marina in a vest top, shades and headphones, adding a message: “When your man phones you to tell you he loves you.”

Tanned and relaxed Katie, 45, filming herself using a selfie stick, added the hashtags “you and me”, “meandE” — a ­reference to Eamonn — and “Lovewins”, with a heart emoji.

She also posted other selfie snaps from her sunshine break.

She wrote: “There is a quiet kind of strength in becoming comfortable with who you are.

Read More on Eamonn Holmes

RUTH’S PAIN

Ruth Langsford heartbroken as dog she shared with ex Eamonn Holmes dies

‘choosing peace’

Eamonn Holmes’ girlfriend posts about ‘knowing her worth’ after moving out

“No longer needing to prove, explain or seek validation — just choosing peace, protecting your energy and finding beauty in the life you’re creating.”

The £1.3million Surrey flat where they were living has now gone on the rental market.

The pair began dating in 2024 before Katie started staying at Eamonn’s home.

We revealed in April that Eamonn, 66, was found at his flat by a carer after a stroke.

He was previously wed to TV host Ruth Langsford, his former co-presenter on ITV1’s This Morning.

“For me, performance can’t be everything,” Miley Cyrus declared on Friday night, and you had to admire her choice of setting: onstage at the Hollywood Bowl in front of approximately 18,000 people who’d turned up precisely to see her perform.

A star since her teenage days on the Disney Channel’s “Hannah Montana,” the 33-year-old musician and actor was maybe half an hour into the first of two sold-out concerts at the iconic hillside amphitheater — a place close to Cyrus’ heart, as she explained in a videotaped intro recalling a gig she and her fiancé, Maxx Morando, caught last year by the French band Air.

“I step into wine, which soaks onto my boots,” she said in the dramatic black-and-white clip. “I don’t mind stained leather — it only adds to their character.”

Cyrus’ shows were billed as part of the rollout of her latest album, “Bass Persuades,” which came out in September (and which found her dropping her last name to go simply by Miley). Yet the two-night engagement is really meant to mark her grand return to the stage after she said a few years ago that she’d sworn off touring because it was too harmful to her mental health.

Is “grand” the right word for a comeback as equivocal as this one? Despite all the hype surrounding this weekend’s concerts, Cyrus spoke again and again Friday about how much less space for performance she has in her life these days than she used to; she talked repeatedly about her quest to balance her fans’ emotional needs with her own.

At one point, after singing a couple of numbers on a small B-stage about halfway up the bowl, she walked through the crowd back to the main stage, gripping and grinning the entire way. Then she described the toll her trip had just taken: “I appreciate each of you guys reaching out and touching me, and me getting to feel you. But I do want to say — it is a lot for me,” she said. “It is a little bit overwhelming.”

In an era of parasocial pop stardom, the radical honesty of Cyrus’ approach — her clear-eyed appraisal of the relationship that binds an idol and her audience — was kind of a thrill to behold. The problem was that her singing for the most part wasn’t.

As she described being overwhelmed, her band slowly revved up her song “Wrecking Ball.” It’s one of the great power ballads of the last 25 years, with a chorus as cathartic as any in modern pop; Cyrus, the showbiz lifer, surely understood the payoff she was building toward. Except when the moment arrived, she inexplicably dodged it, skipping the song’s first chorus and soft-pedaling the second — an anticlimax for the ages.

Indeed, Cyrus let the audience and her backup singers handle vocals for many of her biggest hits, among them “The Climb,” “Party in the U.S.A.” and “We Can’t Stop”; during that last one, she twerked for a second, evoking memories of the infamous 2013 MTV performance that briefly scandalized a nation.

She sang more heartily in songs from “Bass Persuades,” which would’ve been better news if that tuneless mishmash of bleary synths and dated club beats weren’t one of the year’s least likable pop records. (This month Variety reported that, after debuting at No. 1 on the Billboard 200, the album took the biggest fall in chart history in its second week of release.)

The paradox of Cyrus’ career at this stage is that she wants to do the thing that nobody wants her to do — “Bass Persuades” is just the latest in a string of crummy LPs — and doesn’t want to do the thing that everybody wants her to do. Truly, her bad taste should be studied: On Friday, she welcomed Wayne Coyne of the Flaming Lips to the B-stage for a duet on “Karen Don’t Be Sad,” from the miserable psych-rock record they made together in 2015. Naturally, Cyrus said it was her favorite of her albums.

One highlight of the show was Cyrus’ tribute to her late godmother, Dolly Parton, whom she memorialized with a rendition of “Jolene” and with a funny and touching account of the time Parton tried unsuccessfully to get Cyrus to sing with her at the Bowl.

I also found myself moved near the end of the night by Cyrus’ performance of the only keeper on “Bass Persuades” — a dreamy little love song called “Let’s Get Married” for which Morando joined her onstage. As he played drums, she ran her hand tenderly over his chest before laying her head on his shoulder; the moment reminded me of that goofy intro video about the Air concert, which she likened to a bubble containing only the two of them.

“That’s how it feels when we’re together,” she said. “I think I’d live in that bubble.”

EXCLUSIVE: Richard Marx, a friend of Sir Tom Jones, has said the decision to axe the music icon from The Voice UK coaching panel was ‘handled badly’ amidst the public backlash

Sir Tom Jones’ friend has said the backlash surrounding ITV axing him from The Voice UK is “pretty significant”. The music icon, 86, was sensationally dropped by the ITV talent show after 13 years as part of a major shake-up.

Bosses had hoped to offer Sir Tom a role on the show, but in a “different capacity”. Although he’s currently appearing on series 14, next year will be very different. Long-standing coach will.i.am will be joined by returning coach, Kelly Rowland, as well as newbies Cheryl Tweedy and rapper Aitch.

Sources have since said that Sir Tom has ruled out returning to the show next year. He previously said that while he didn’t want to leave the show, ITV had made the decision “a while ago.”

To see more of the stories you love from The Mirror and to find them easily in Google, make us your preferred source. Free and easy to do, just click on the link here to find more from The Mirror at the top of your feed.

Speaking to the Mirror, Sir Tom’s pal and The Voice Australia coach, Richard Marx, said: “The way that went down, and I don’t know the behind-the-scenes details, but I know Tom a little bit, and he’s such a class act, and I think however they handled it, they handled it badly, it seems.

“And the backlash, the public backlash, has been pretty significant.” Richard went on to add: “I haven’t seen him in a while, but I actually spent some time in the studio with him years ago, and I grew up idolising him. When I was a little kid, it was Tom and Elvis; they were my guys.

“Years later, his son, who manages him, reached out to me, and we went into the studio together, Tom and I, and nothing ever really came of what we did in the studio, but he and I hit it off and got to spend some time together. He’s just such a lovely guy. I absolutely love Tom.”

Richard went on to say that despite Sir Tom’s health struggles, his pal is “remarkable”. He said: “I just saw a clip on TikTok yesterday from a gig like a week ago, and he came out, and you could tell he was like, ‘Ugh, my hips hurt!’ or whatever, you know, like, but then he sits down, and his voice is the same! It’s unbelievable, he’s 86. Holy s*8t!

“That’s goals for me, man! I want to be that. Tony Bennett was able to do that, and I look at Tom; there are so few people whose voices don’t just ultimately leave them in some way, shape, or form. And I think it’s a testament to Tom, and Tony Bennett also, if you just never stop singing, you just got to go—you just got to stay—sing all the time, and that’s what they do..”

After a career spanning decades and 14 albums, Richard also disclosed that trying to pick a setlist for his recent shows at the London Palladium had been “tricky”. “Especially in America,” he laughed, adding: “But in such an incredibly wonderful way. Which is why sometimes, I don’t play all the singles. I’ve done a few gigs here, where I didn’t do anything but hits.

“But when I was putting that setlist together, I thought ‘Man, I am the luckiest guy in the world to be able to have a setlist like that.’ I know that first of all, I cater to the people who’ve supported me all these years, and I know that they want to hear the hits. I get it, because I’m the same way when I go see um when I go see a band play, if they don’t do most of the material that I know and love, I’m going to be a little bummed out.”

His shows, he says, are a journey for fans to kick back and relax, listening to their favourite hits live, while also being introduced to new material. He’s also a fan of Niall Horan, explaining: “I’ve never seen Niall, but I’m a fan of his. If you’re the kind of performer I am, who talks to the audience a lot, once you build a rapport with that particular audience, they’re in.

“It’s almost like you saying to your friends at a dinner party, ‘Hey, listen, can we pause the Sade station here for a few minutes, because I want to play you a couple of songs I’m really into?’ Of course, your friends are going to go, ‘Yeah, show me! What do you got?’ It’s kind of like the same thing. I tell everybody, ‘If you come to see me live, I’m very proud of the music that we play.”

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

Sarah Storey’s performance didn’t just have the judges talking!

Judge Anton told Britain’s most successful Paralympian that she was better than she thought she was.

Craig told her she looked “fantastic”, but her solo dancing saw her “drop the ball”. Motsi didn’t agree entirely with Craig, saying she was “playing the role”.

As the scores came in, Sarah was given a message from icon Shania Twain herself, leaving them screaming.

Shania shared her hopes to see Sarah and Julian’s Tango at one of her UK shows. As for the scores, they were 5, 5, 5, 6, equalling a total of 21.

COMEDY star Katherine Ryan has branded herself “lazy” when it comes to her sex life.

In a new interview with The Times, the comedian shed light on how often she and her high school sweetheart husband Bobby Kootstra sleep together, having previously announced that they have sex “exactly twice a month… just in case I get pregnant.”

“It’s still not loads. It’s probably once a week, sometimes twice a week, but still not loads,” she told the newspaper. “I just don’t try – I’m a lazy shag.

“I’m really vanilla and Bobby is quite vanilla. We’re well matched in that way.”

Katherine added: “But the things I’ve seen and heard on my travels, my God.

“I just want to have nice, brief, marital sex. That’s it!”

TAKE TWO

Katherine Ryan takes cheeky swipe at David Beckham – weeks after Victoria slur

‘MOMS OUT!’

Laura Whitmore and Katherine Ryan let loose at Emily Atack’s wedding

Katherine and Bobby, both 43, married via civil partnership in 2019.

Despite dating as teens, they split and reconnected later in life.

Katherine has a daughter – Violet – from a previous relationship, but now also shares three children with Bobby – Fred, Fenna and Holland.

Previously talking about sex with The Telegraph, she said: ‘I do think it’s important.

“But in reality, working parents who have small children are so knackered by nighttime, intimacy is just off the table.

“We have to find stolen moments in the day like before heading to work or during a nap, which isn’t always very alluring.”

Last year she spoke to The Sun ahead of the second season of revamped fly-on-the-wall show At Home With Katherine Ryan.

“It’s a real in-depth, all-access, no-holds-barred look at our family, my life and my marriage,” explained the Canadian-born star.

In it, she and Bobby attend their first marriage coaching session where they also discussed their sex life.

“I was surprised to find that I am a lot more prudish about my sex life than I thought,” she admitted. “I think when you talk about sex as a greater theme on stage, you have the shield of humour to dance around.

“You go: ‘Oh, well, I was making a joke!’ But when your husband is sat opposite a marriage coach and he’s like: ‘We had intercourse in the bathroom,’ I was like: ‘Oh God. What’s the punchline?’

“There’s no punchline to hide behind!”

Katherine recently got into hot water with a comment she made about Victoria Beckham, having to explain herself and clear the air over it.

The BBC had upheld complaints after she made the offensive joke about Posh Spice while hosting an episode of Have I Got News For You last year.

Speaking in an episode that aired on November 7 in 2025, Katherine made reference to a 2013 private email sent by David Beckham, where he allegedly used the word ‘c***’.

She said on the show: “I don’t know that we are allowed to broadcast the C-word, but you did reference Victoria Beckham earlier and we’ll allow that.”

The BBC’s Executive Complaints Unit said “there was no such justification” for the comment which two viewers had complained was “gratuitously offensive”.

They added that the word was justified in relation to David’s alleged use of it, but not in reference to his wife.

Now an edited version of the episode has replaced the original on the BBC’s streaming service.

Katherine publicly apologised to Victoria in an Instagram reel where she shared a screenshot of her message to the fashion designer, elaborating that the context around the slur had not been intended as offensive and that she “actually loves Victoria Beckham”.

What is pornography? We tend to think of it monolithically, as something created by and for hetero men, reinforcing sexist stereotypes and machismo behavioral codes. For over 20 years, Erika Lust has been fighting against those preconceptions, creating adult content that expands the parameters of pornography while approaching it as something akin to mainstream independent cinema. Her subscription-only website features content that leaps over gender boundaries, and has pulled in fans around the globe.

In her new book “Lust,” the filmmaker makes a convincing case for an ethical, intelligent porn that can expand our ideas about sex and intimacy. I recently chatted with Lust about sex, power and the internet.

✍️ Author Chat

Are we calling it pornography? Adult content? What do you call it?

For me, it is pornography. What I do is pornography because I work with explicit images, but I also work with cinema, and I strive for cinematic vision and craft. I don’t just pick up a camera, film people having sex and put it online. It is a whole creative process. So when I talk about my work, I see myself first as a filmmaker whose subject matter happens to be pornography.

What compelled you to create adult content?

I was born in Sweden, and I became a feminist quite young. I studied political science in college. When I was exploring my sexuality in my late teens and early twenties, I became more and more interested in finding out about our desires and who we are and what we are attracted to. And then I started to watch porn [and] felt horrible watching it. I felt a little bit troubled by the images. Why are all these female characters just there to please the man? It wasn’t about the women, it wasn’t their stories, and that made me feel a bit angry. When I talked to other women about this, they felt the same way. I felt there was something to explore there. Of course at the time, I had no idea I would be doing this for a living.

There are a lot of tired tropes about adult content that you debunk in your book. That the performers come from broken homes and are forced to do things on camera without their consent and so on.

It’s so easy for people to think that in the sex industry there’s going to be exploitation. But my experience is the opposite. Because people I work with dare to talk about sex. The conversation is over the table, not under the table. The people I have met and worked with in this business are intelligent and smart, with a very clear plan of their future. They take care of themselves, their bodies and their sexuality.

In “Lust,” Erika Lust debunks tropes and stereotypes surrounding the production of pornography.

(Jahel Guerra)

How has technology affected how we think about sex?

There’s a lot of sex anxiety going on in our society, and I think that also has a lot to do with technology and how it has taken over our lives. And I’m reading more articles about the intimacy crisis, and the fear that people have of connecting with other people, and young people who are not having sex. Technology has gone wild. It has taken over our lives. People are afraid of other people, of friction, of negotiating boundaries. They don’t know how to explain their own desires so they would rather talk to robots. I think we need to disconnect from technology, and think more deeply and talk to each other — not just about sex, but about everything.

Given the ubiquity of free adult content on the web, how do you compel customers to subscribe to your site?

I think people that subscribe are looking for something completely different, something more elevated, and they understand that that kind of film costs money. I can’t shoot without paying my crew and my staff. Shooting with an Alexa camera is not the same thing as picking up my mobile phone. And then I need crew members who can work with that technology, I need gaffers and electricians, I need to pre-light the set the day before, and so on. The budgets that I’m working with are really budgets for independent films. We have a staff of 45 working with me and my husband.

It’s the last artistic underground, really. I did notice that Bruce LaBruce, a filmmaker whom you mention in your book, has a collection of his films presently being shown on Criterion Channel.

I never think it’s going to become mainstream. My true hope is that we can at least be known as an independent porn culture making quality films that aren’t exploitative. That people understand that it exists, and that it’s an option apart from the mainstream porn websites.

This Q&A was edited for length and clarity.

📰 The Week(s) in Books

Chuck Lorre has written a memoir, “Sitcom,” about his career

(Christopher Patey / For The Times)

How does Bonnie Garmus follow her blockbuster 2022 novel “Lessons in Chemistry”? With “Peck & Peck,” a “whimsical and winning ode to the written word, and send-up of the pretensions of its gatekeepers,” writes Leigh Haber.

Chuck Lorre, one of the most successful and prolific writers and producers in TV history, has written “Sitcom,” a memoir in which he reveals, among other things, his decade-long tenure as a card-carrying Scientologist. Writing the book “was cathartic,” he tells Mary McNamara. “There’s a little bit of therapy going on in this book. I got to say some things out loud that in the past I would have kept hidden because they were embarrassing.”

At a time when it seems like anger and hostility has become the fossil fuel of everyday life, author and conflict expert Priya Parker’s new book “The Art of Fighting” argues for civil and spirited debate as a balm for our troubled times. “As a conflict resolution facilitator for the last 25 years, I can say that healthy community needs healthy conflict,” Parker tells Margaret Wappler.

Finally, Maddie Connors talked to Michael Douglas about his new memoir, “One Helluva Ride,” a book about his life and career. “Your 80s may be a good time to share,” the 82-year-old actor tells Connors. “People interested in movies, we give them a certain insight into the process, and maybe they could learn something. For others, it’s just gossip.”

📖 Bookstore Faves

Formerly a pop-up bookstand, Reverie Bookstand is a brick-and-mortar bookstore on Sunset Boulevard in Echo Park.

(Reverie Bookstand)

Located on a busy stretch of Sunset Boulevard in Echo Park, Reverie Bookstand is doing its level best to buck the AI tsunami, selling used books created by humans in a variety of subjects. In an email exchange, owner Tim Horner tells us what’s selling in his store.

What prompted you to open the store?

I was driving by and I saw it was for lease. I had been selling books for some years as a scout for other bookstores, and also at flea markets where I would pop up with a ”bookstand.” So it wasn’t a brand new idea; I had always dreamt of it. The owner of the building was a part of a small team that ran a collective DIY venue and gallery called Echo Curio around 12 years ago. It has since shut down, but Echo Curio was a place I came to as a young person back in the day. So the landlord was sympathetic to the cause and the idea of having a bookstore here. So I went for it.

What genres does the store tend to emphasize?

I specialize in poetry, mysticism, occult and out-of-print secondhand books and paper goods. All the books here in the store are used books. So far it hasn’t been difficult to keep the shelves full, I know some spots.

Who are you customers?

The clientele here is diverse. Students, working-class people, artists, local neighborhood families, musicians and people from all walks of life who simply love books and reading. A thing I am grateful for is how kindhearted and empathetic (most) book people are. It gives me a lot of strength and motivation everyday to know that my book-buying addiction is not in vain but is actually going to some strange use in helping connect people with literature.

What’s selling right now?

The things that are selling the most are things California-related and writers from California especially — Joan Didion, John Steinbeck, Octavia Butler.

Why do we still need bookstores when AI can write books for us?

I think bookstores are relevant still because we all need some type of human connection for our well-being, and books encourage that behavior. Whether it’s connecting with a space and people or connecting with authors, a bookstore is a place where you can actually browse for something and be in the moment with other people that are possibly interesting. The gesture alone validates itself in that you’re telling the world. I am open to ideas, things, places, people, and along the way you find a book you didn’t know existed, a nicer copy of something you already have, or a book you’ve been meaning to read but had forgotten about. And until this point there is no tangible way to browse for these things I have online yet and hopefully ever.

Reverie Bookstand is located at 1519 Sunset Blvd., Los Angeles.

Strictly Come Dancing fans have made the same remark about new host Josh Widdicombe after a rocky start to his co-hosting duties on the BBC show and calls for him to be replaced on the programme

Josh Widdicombe is winning support from Strictly Come Dancing viewers after his first appearances as co-host drew a wave of criticism online. Fans have begun rallying behind the comedian, whose arrival on the ballroom show initially divided opinion. The 43-year-old joined Emma Willis and Johannes Radebe in a presenting shake-up at the BBC programme. Together, the trio replaced long-standing hosts Tess Daly and Claudia Winkleman, who stepped down last year.

A persistent complaint from audiences throughout the initial episodes centred on having two main presenters on the primary dance floor at once feeling superfluous. Numerous viewers also contended that Widdicombe’s comedic credentials would prove far more effective in the upstairs section with the dancers, where impromptu interactions occur naturally, instead of co-hosting the more formal introductions and judges’ commentary.

Social media detractors additionally branded Josh‘s initial outings on the show as “wooden”, “awkward”, or “out of his depth” for a rapid-fire live ballroom programme, with certain audiences believing his approach didn’t instantly gel with the conventional Strictly ambience.

Nevertheless, opinion seems to be changing, with an increasing proportion of audiences embracing Josh after last weekend’s show.

Reflecting on his performance on X following last Saturday’s October 10 episode, one viewer wrote: “I might be the only one but I actually like josh a host.”

Another agreed: “I really like him too!” A third concurred: “I think he’s brilliant,” while someone else added: “I’m enjoying these presenters, it’s a fun vibe.”

As fourth remarked: “I really enjoyed tonight. I think Josh is so natural and I found him genuinely funny tonight.”

The support will come as a welcome boost for Josh, following widespread calls from BBC viewers to have him removed or replaced.

Many argued that Emma, 50, is more than capable of hosting the main floor on her own, with some dismissing Widdicombe’s presence alongside her as unnecessary.

Neither the BBC nor the show’s producers have signalled any plans to replace Widdicombe. Production staff and fellow cast members, including the professional dancers, have publicly rallied behind the presenting trio, emphasising that new line-ups need a brief period to find their feet and pointing to the chemistry already building behind the scenes.

Widdicombe himself also acknowledged the early reaction, noting that viewers understandably have strong feelings whenever a long-running flagship show undergoes significant changes.

Strictly Come Dancing airs next on Saturday 17 October 2026 at 6:15pm on BBC One and BBC iPlayer.

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

EXCLUSIVE Coronation Street star Vicky Myers has told the Mirror what Swarla fans can expect for Lisa and Carla Connor-Swain and their family as we head through the rest of 2026

Coronation Street star Vicky Myers has teased what’s ahead for Lisa and Carla Connor-Swain.

Teasing Halloween and the end of the year, she hinted there was no real drama. A year ago, the couple, known as Swarla by fans, hit a number of obstacles thanks to Lisa’s ex-wife Becky Swain.

Speaking exclusively to the Mirror, Lisa actress Vicky agreed Christmas would be happier than last year, before she teased what was ahead for the Connor-Swains. She also teased Halloween, and it sounds like there’s plenty of fun ahead.

She told us: “As far as their relationship’s concerned, between Lisa and Carla, and also as a family unit with Ryan, they’re in a really good place. And I think after last year’s shenanigans, this is good, this is fine, you know?”

Asked if it would be a happy Christmas for once, Vicky replied: “Yeah!”. She then teased what was coming up for her character. On Halloween she said: “Just because it’s Halloween, it doesn’t have to be chaos and mayhem, it’s perfectly fine.”

Asked about the couple’s outfits for the Halloween episodes, she went on: “Just wait until you see them! I can’t really say too much about it, but I was having a chat with makeup, and I’d already suggested the costume and who Lisa should go as.

“And then this person passed away the week that we were shooting it, and I couldn’t believe it, because this person’s a bit of an icon. I just love this person. So to do that, it is a great homage to this person.

“I was made up. And I was very grateful to them for letting me sort of scratch that itch.” Vicky also shared the importance of Lisa and Carla living their own lives on the Cobbles, as well as having scenes together as a couple, amid viewers recently commenting that there’s been an absence of Swarla scenes.

Vicky explained: “It’s important because we get to see them in their own professions and as individuals rather than as a unit. But that doesn’t mean to say that they’re not together, and I know that some people can catastrophise things.

“But I think it’s really important that we can show these women in their their own way, in their own right. Because I think what’s really important is that Lisa came in as this Detective Sergeant.

“Carla’s been a a staple and an icon of the show for 20 years. I think it’s something to celebrate! Especially how ever-changing this industry is, and the show is. For Ali [King] to have been here and portrayed this iconic character for 20 years with the same amount of energy and brilliance and level of curiosity is fantastic, and absolutely should be celebrated.

“People should be sort of singing it from from the rooftops. But I do think it’s important for the viewers to see them in in their own profession and in their own right. It’s good representation as well.

“We have to go to work. Life is is very different to how it was years ago, and also with Betsy’s story, it was really important to be a story of hope, after everything that happened. Because we move, we go on, we continue, we have to. There’s no choice. So, I think for that as well, Betsy to have two working moms, that’s also massively important.”

Coronation Street airs weeknights at 8:30pm on ITV1 and ITV X. * Follow Mirror Celebs and TV on TikTok, Snapchat , Instagram , Twitter , Facebook , YouTube and Threads.

MILEY Cyrus broke down in tears on stage at the Hollywood Bowl as she paid an emotional tribute to her late “aunt” Dolly Parton.

The Wrecking Ball hitmaker, 33, halted proceedings at the Los Angeles venue for a heart-wrenching monologue in which she said she and the country music icon are “eternal”.

Miley, who rebranded herself with a new name after Dolly’s tragic passing, aged 80, in August, took to the stage for her Bass Persuades gig.

Just five songs in, she took a seat and referred to the I Will Always Love You singer’s death and said: “Me and Dolly, we are eternal.

“Nothing in this life could ever tear us apart.

“And I am going to see her again, and I can’t f**king wait because I miss her,” before dabbing her eye with a tissue.

MILES AWAY

Miley Cyrus reveals extreme new lifestyle after near-death experience

MILEY’S MOVES

Miley Cyrus grinds on topless dancer in her underwear in new music video

Disney Channel alum Miley added: “Some of the greatest music that we have today was written, produced, performed by my aunt Dolly.

“This is one of those songs,” before the band started to play Jolene as the sixth song in her set.

One fan confessed on TikTok: “Now I’m crying”.

Another put: “Miley was the first person I thought of when I heard about Dolly”.

A third added: “And now I’m bawling over Dolly Parton again”.

Miley kicked off her 18-track show with song Orbit, and wrapped with Flowers.

Fan favourites The Climb, We Can’t Stop and Party In The USA also featured.

After dolly’s passing, she said she no longer wants fans to call her by her full moniker and revealed the change on social media.

She now appears to have dropped “Cyrus” completely from her stage name.

Dolly sadly passed after battling health issues.

Miley later penned a heartfelt tribute to her “Aunt Dolly” on Instagram, saying that the late singer “would want me to feel it, write a song about it, and then continue on and be strong.”

Dolly had first gotten close to Miley’s father, Billy Ray Cyrus, 65, after the success of his 1992 country hit, Achy Breaky Heart.

The pair toured together that same year, and Billy asked the I Will Always Love You hitmaker to be Miley’s godmother.

Rumors have circulated that Dolly, who did not have children of her own, left behind the rights and royalties of her hit track, Jolene, to Miley.

However, The U.S. Sun confirmed that no court filings related to Dolly’s will or official plans for what will happen to her $650 million fortune have been made yet.