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Tayari Jones was feeling intense pressure to deliver a follow-up to her 2018 bestseller, “An American Marriage.” She was three years past her publisher’s deadline. Worse, she had begun to suffer symptoms of what was ultimately diagnosed as Graves’ disease, a serious autoimmune condition that attacks the thyroid. At the time she didn’t know what was causing pain in her right leg and the intense itching on her arms, legs and torso — or why her handwriting had “gone funky.” Meanwhile, 200 pages in, the novel she owed Knopf Publisher and Editor in Chief Jordan Pavlin wasn’t coming together.

She confided to a close friend, “This book got me feeling like a clown right now.” Jones began to doubt that she was ‘worthy’ of another literary success.

“You know how musicians say ‘that band was swinging’? I wasn’t swinging,” Jones, who lives in Atlanta, tells me during a recent phone call.

She says she turned to an empty notebook, and began word doodling — scrawling random words, going wherever her pen took her. “Kin,” the magnificent novel that emerged, is out now. Oprah recently announced that it’s her latest book club pick (the second time Jones has been honored with the selection).

“Kin: A Novel” by Tayari Jones

(Knopf)

“Kin” was supposed to have been an entirely different book — an of-the-moment novel about gentrification in the New South — but what materialized from Jones’ creative experiment was a tiny Louisiana town called Honeysuckle, amid the 1950s and Jim Crow. Then, as Jones puts it, “Annie and Vernice [her main characters] introduced themselves.” All of Jones’ previous fiction has been contemporary, and at first she didn’t know what to make of the path Annie and Vernice were leading her on. “I don’t write historical,” observes Jones, “I’m a writer of my own era.” Not to mention she’d always been suspicious of writers who claim their characters came to them fully realized.

Even at that point, Jones still believed Vernice and Annie might just be part of a larger backstory, perhaps parents to protagonists she had yet to conjure. “So I stuck with it to find out.” The more she wrote, the more the puzzle pieces began to fit together. Annie’s journey out of Louisiana takes her through a sharecropping brothel in Mississippi, then on to Memphis where she is convinced she will find and reunite with her mother. Meanwhile, Vernice attends Spelman (the HBCU Jones is a ’91 graduate of).

Jones began to suspect that she’d had a previously undetected ulterior motive for moving her book to the past. She wondered if “Kin” was actually an effort to better understand her parents, particularly her mother, a former economist who’d been active in the civil rights movement. “My mother is a very tight-lipped person,” Jones says. “I knew very little about her life, and maybe this was my imagination trying to crack the code.”

Jones’ progress wasn’t without its setbacks. She was deep into the writing of “Kin” when her Graves’ disease flared in earnest. Her blood pressure spiked. She got winded just climbing the stairs to her bedroom. She landed in the emergency room with a life-threatening “thyroid storm,” requiring surgery and daily medication. Then her eyesight deteriorated, which necessitated a month of radiation. But she powered through, and sent off the manuscript.

Jones’ editor, Pavlin, admits the novel she received was a surprise. “But it was as perfect a novel as I’ve ever read,” she says. “No publisher in their right mind would stand on anything as insignificant as a contractual description in the face of such a work.”

“Kin” deftly alternates points of view between Vernice and Annie, narrating events by way of a vernacular that would be at home on a front porch rocking chair. When Annie takes a job at a nightclub in Memphis, she says of its penny-pinching owner: “The man was tight as a skeeter’s teeter.” Jones is equally adept at the delicate prose, as in this description of a well-worn family Bible: “The paper, thin as butterfly wings, was heavy with wisdom.”

While Jones had Toni Morrison’s short story “Recitatif” in mind while writing “Kin,” her take on the subject is singular. “Vernice and Annie remain friends because each of them is the keeper of the other’s true self,” she says. “Friendship is particularly meaningful because it’s a relationship you’re constantly recommitting to — reupping.”

Now that “Kin” is out in the world, and Jones has weathered the bumpy road to publication day, we asked her if she’s nervous about how it will be received eight years after her previous novel was published. “I am not ambitious now in the way I was then,” she says. “I’ve learned what success can and cannot do for a person. You have to learn to be satisfied. People say ‘don’t rest on your laurels,’ but what are laurels for?”

Haber is a writer, editor and publishing strategist, and co-founder of the Ink Book Club on Substack. She was director of Oprah’s Book Club and books editor for O, the Oprah Magazine.

To prepare for his role on the 1984 comedy “Revenge of the Nerds,” Robert Carradine spent two weeks wearing “nerd clothes,” a wig and glasses everywhere he went.

This included heading to fraternity row at the University of Arizona during rush week while in character with a fellow actor. They asked the head of a fraternity if they could join.

“The guy took one look at us and said, ‘No way,’ ” Carradine recalled in 1990. “By the time the first day of shooting rolled around, I was in full flight as a nerd.”

Carradine, who played Lewis Skolnick, the king of the college nerds with a signature laugh, in the “Revenge of the Nerds” movie franchise, has died. He was 71.

In a Monday statement to Deadline, Carradine’s family said he struggled with bipolar disorder and died by suicide.

“It is with profound sadness that we must share that our beloved father, grandfather, uncle, and brother Robert Carradine has passed away. In a world that can feel so dark, Bobby was always a beacon [of] light to everyone around him,” the statement said. “We are bereft at the loss of this beautiful soul and want to acknowledge Bobby’s valiant struggle against his nearly two-decade battle with Bipolar Disorder.

“We hope his journey can shine a light and encourage addressing the stigma that attaches to mental illness. At this time we ask for the privacy to grieve this unfathomable loss. With gratitude for your understanding and compassion.”

The youngest of a prolific Hollywood family, Carradine’s siblings include actors David and Keith and architect Christopher, of Walt Disney Imagineering. David Carradine died in 2009 at age 72. Their brother Bruce, who died in 2016, was also an actor.

Keith Carradine told Deadline that his family wanted everyone to know about Robert’s struggle with bipolar disorder.

“We want people to know it, and there is no shame in it,” he told the outlet. “It is an illness that got the best of him, and I want to celebrate him for his struggle with it, and celebrate his beautiful soul. He was profoundly gifted, and we will miss him every day. We will take solace in how funny he could be, how wise and utterly accepting and tolerant he was. That’s who my baby brother was.”

The youngest son of prolific character actor John Carradine, Robert Carradine was born on March 24, 1954, in Los Angeles. Known for both his film and television work, Carradine made his debut in a 1971 episode of the long-running western “Bonanza.” His first film appearance was in the 1972 John Wayne western “The Cowboys.”

During his 50-year Hollywood career, he appeared alongside his brother David in a 1972 episode of “Kung Fu” and the 1973 Martin Scorsese film “Mean Streets.” David, Keith and Robert joined other sets of acting siblings to portray sets of real-life siblings in the 1980 Western “The Long Riders.” Carradine also landed roles in Hal Ashby’s 1978 Vietman War drama “Coming Home” and Samuel Fuller’s 1980 World War II epic “The Big Red One.”

While Carradine found success in the family business, he also had a love for racing.

“There are certain people who are supposed to be race car drivers,” Carradine told The Times in 1991. “And I’ve got that. I’ve got that thing that makes me have to race. I have to do it.”

At the time he was balancing both careers, racing at the Grand Prix level in a Lotus Esprit Turbo SE. But it was clear he would have chosen racing over acting if he could.

“The thing about racing that appeals to me is your destiny is in your own hands at that moment,” Carradine said. “I won a race in the Lotus at Road America, and I won it. And that’s it. You can’t do better.”

In the 2000s, Carradine charmed a new generation of fans as lovable TV dad Sam in “Lizzie McGuire.”

“There was so much warmth in the McGuire family and I always felt so cared for by my on-screen parents,” the show’s star Hilary Duff wrote in her Instagram tribute to her on-screen dad. “I’ll be forever grateful for that. I’m deeply sad to learn Bobby was suffering. My heart aches for him, his family, and everyone who loved him.”

Jake Thomas, who portrayed Lizzie’s brother Matt on the show, said he “looked up” to Carradine, who he’s known for most of his life.

“My heart hurts today,” Thomas wrote in his Instagram tribute. “[H]e was one of the coolest guys you could ever meet. Funny, pragmatic, sometimes cranky, always a little eccentric. He was a talented actor, musician, and director. But more than anything, he was family.”

Carradine is survived by his three children — actor Ever Carradine, Marika Reed Carradine and Ian Alexander Carradine — as well as his brothers, nieces (including actor Martha Plimpton), nephews and grandchildren, according to Deadline.

In her tribute to her father, Ever Carradine described him as a “sweet, funny dad” and “the guy that’s always there.”

“Growing up in the 70s and 80 with a single dad in Laurel Canyon is not exactly the recipe for a grounded childhood, but somehow mine was,” Carradine wrote on Instagram. “Whenever anyone asks me how I turned out so normal, I always tell them it’s because of my dad. I knew my dad loved me, I knew it deep in my bones, and I always knew he had my back.”

“My dad was a lover, not a fighter. He was all heart, and in a world so full of conflict and division, I think we can all take a page out of his book today, open our hearts and feel and share the love,” she added.

Suddenly it feels like the 2000s again, with a revived “Scrubs” premiering Wednesday on ABC and Tracy Morgan reincarnating the spirit of “30 Rock” in NBC’s “The Fall and Rise of Reggie Dinkins” — network television shows, too, as in the days when streaming was just something tears and traffic did.

Beginning as a tale of new doctors at work and in love, “Scrubs” may also be seen as a looking-glass “Grey’s Anatomy,” although as “Scrubs” premiered first, it’s fairer to say that “Grey’s” is a straight-faced “Scrubs,” probably not a thought that ever crossed Shonda Rhimes’ mind. The show, then and now, combines a sentimental, satirical, soapy, sometimes surreal comedy with a straightforward medical show. Stars Zach Braff, Donald Faison and Sarah Chalke are back full-time, not quite in their old places, but arranged in close quarters, with Judy Reyes and John C. McGinley listed as recurring and other old faces slated to peek in.

The show left the air in 2010, after its ninth season, a virtual spin-off that has been declared noncanonical. The Season 8 finale saw protagonist, narrator and inveterate daydreamer J.D. (Braff), a person who really needs people — “I can’t do this all on my own” runs the show’s title song — looking into a happy future, married with a child to surgeon Elliot (Chalke). But that was just a dream, just a dream. The new season finds them at odds, and while a child is mentioned, it remains unseen, at least for the four episodes (of nine) out for review.

As we begin again, J.D. is working as a concierge doctor, tending to the minor ailments of the rich — cut toe, long-lasting chemically induced erection — when he’s drawn back to Sacred Heart Hospital to check on a patient. By the end of the first episode, his former mentor, the acerbic yet strangely sympathetic Dr. Cox (McGinley), will give him a job, of which is officially a spoiler to describe — even though it’s the premise of the show — noting his gift for teaching and reuniting J.D. with bromantic best friend Turk (Faison), the chief of surgery. (“Two chiefs!” is their chanted motto, followed by a special handshake. They are men who will be boys.) Turk is still married to head nurse Carla (Judy Reyes); they have four daughters, whom we do see, briefly. (J.D.’s appointment rankles Dr. Park, played by Joel Kim Booster, the series’ designated mean person.)

Moving into the space Turk, J.D. and Elliot occupied 25 years earlier are a new crop of interns, bringing youth appeal and naivete (the better to instruct them). Blake (David Gridley) is a cocky know-it-all, who will become a less cocky know-it-not-all; Asher (Jacob Dudman) is British, insecure and attracted to Amara (Layla Mohammadi), who is homeschooled (“I almost won prom queen twice but my brothers voted for my mom”) and a fan of Sam (Ava Bunn), a social media star who hangs her hands like Alexis Rose. Dashana (Amanda Morrow), the serious one, who sees Turk as an ally: “You’re, like, the only Black surgeon in this place; the rest of them just got, like, Coldplay on loop in the ER and say things like, ‘You’re so articulate.’” (“This brother likes Coldplay, too,” says Turk, pressing play on “Clocks.” Another lesson learned.)

As before, the show is fast-paced, packed with asides and ironic cutaways, with jokes riding on the back of jokes and some unexpected slapstick (the best kind), though it will shift into a lower gear when something capital-I important needs to be said. The world has changed in 16 years (“I am now supposed to watch every word that comes out of my mouth because apparently they are all fragile little Christmas ornaments,” grumbles Dr. Cox) and so the risqué material is left to the older characters, though the sex jokes now mostly amount to lack-of-sex jokes. (“She used to get worked up by ‘Bridgerton,’” Turk says of Carla, “but the new season doesn’t come out for another year.” “Spring 2027,” nods J.D.) Monitoring behavior is Vanessa Bayer as Sibby, a tightly wound administrator with an effortful smile, whom Turk calls “the feelings police.” (A longtime favorite of this department, Bayer is a brilliant addition. Told that Tarzan is a fictional character, Sibby replies, “I wouldn’t be so sure. They did make a movie about his life.”)

They say you can’t go home again, but with a good map and a good crew you can get pretty close. Not every bucket drawn up from the well of old IP will prove potable, but it often has: “Arrested Development,” “Veronica Mars,” “Party Down,” “Roseanne/The Conners,” “Frasier,” even “Dallas.” “Twin Peaks: The Return” is, of course, a work of art. Under the watchful eye of creator Bill Lawrence — later to co-create “Ted Lasso,” which is coming back for a fourth season even though it really ended after the third — with Aseem Batra, who wrote for the original series, as showrunner, it is very much the sitcom of old, older. (But everyone still looks good.)

There will undoubtedly be some who find nits to pick, but it’s hard to imagine any less-than-obsessed fans unhappy with this lagniappe, apart from its comparative brevity. And references to the original run notwithstanding — appletinis, “Star Wars,” a certain closet — it’s intelligible and funny on its own terms , and as full of love as ever. “When this work makes you fall apart,” says J.D., narrating, “someone is there to patch you up.”

New viewers will not be shut out.

AN EGGHEADS star has given a quarter of his £200,000 fortune to charity.

Chris Hughes died last year age 77 after a long career of quizzing and left his estate to several charities and his cousin.

Fans of historical dramas are in for a treat as Outlaw King is now available on Netflix UK. The 2018 film stars Chris Pine as Robert the Bruce in a stirring tale of Scotland’s fight for independence.

Fans of historical dramas and period productions are set for a real treat as an outstanding option has landed on the Netflix UK catalogue.

The film, featuring Chris Pine in the leading role alongside Florence Pugh, Aaron Taylor-Johnson, Tony Curran, Callan Mulvey, Billy Howle, Sam Spruell, James Cosmo and Stephen Dillane, portrays pivotal moments from the Scottish Wars of Independence spanning 1304-07.

Outlaw King, a rousing 2018 historical drama, was co-written, produced, and directed by David Mackenzie. The official synopsis reads: “After being crowned King of Scotland, legendary warrior Robert the Bruce is forced into exile by the English and leads a band of outlaws to help him reclaim the throne.”

It’s a classic underdog story of how the 14th century Scottish ‘Outlaw King’ Robert the Bruce employed cunning and courage to vanquish the considerably larger and better equipped occupying English army.

Speaking to Entertainment Weekly, Pine revealed the challenges of perfecting the Scottish accent for the role. The actor admitted: “It was difficult to get an accent to be organic that is so foreign from my own. There were particular sounds that I stumbled on, but also just getting the musicality of the language down.”

“I didn’t want it to be a movie about an accent; I didn’t want people to not believe I was Scottish, but I also couldn’t draw too much attention to it and away from the story.”

Holding a 69 per cent audience approval rating on review aggregator site Rotten Tomatoes, Outlaw King received largely positive notices, with one fan saying: “Great movie all around, deserves way more love than it has received. This one will age well, fantastic period piece with stunning cinematography, solid acting/cast, and realistic fight scenes.”

A further viewer lauded the production, writing: “Noticed that not only were the cast amazing but the extras in the battle scenes were unbelievable, probably the best extras I’ve seen in any movie.”

One noted: “I quite enjoyed this historical tale. It has a quick pace, simple dialogue, brutal violence and charming characters. Quite simply a fun film to watch.”

A professional assessment of the film reads: “The film lifts itself and has great technical and production design, great lead performances, and a story that whilst familiar, is a much better representation of the same story we have gotten before.”

Yet another critic heaped praise upon Chris Pine for his portrayal of the Scottish king: “Chris Pine gives a strong performance in this well-constructed tale of Robert the Bruce’s fight for Scotland’s freedom.”

A third reviewer weighed in on the picture: “Outlaw King is a gripping, moving and grand film full of spellbinding performances. Pine effortlessly embodies Bruce’s conviction, bravery, and compassion.”

Outlaw King is streaming on Netflix now.

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THE daughter of a 63-year-old grandmother who was kidnapped from her home and held for ransom three years before Nancy Guthrie was snatched has branded the investigation a “circus.”

Zoe Lopez, whose mother Maria was taken in 2023 and never returned, has also offered advice to heartbroken Today Show host Savannah Guthrie and her family.

It’s been three weeks since Savannah’s mom was snatched from her home in Arizona, and police are begging the public for help after releasing disturbing doorbell footage of an armed, masked man at the front door minutes before the kidnapping.

The FBI is working with the Pima County Sheriff’s Department, which had been criticized for its handling of the case, and has received more than 21,000 tips.

Savannah announced the family is offering a $1million reward on Tuesday, as they are desperate to bring Nancy home.

In an emotional exclusive interview with The U.S. Sun, Zoe said her heart aches for the Guthrie family: “You kind of just go numb. You feel like, ‘This isn’t really happening.’

“My heart sank when … I believe it was her first statement, somebody had sent me.

“I was hesitant to post anything or to comment on it, but unfortunately, I do know her pain. 

“I understand the confusion, and I understand the anger, and the sadness, and the heartbreak that she has to deal with every single day, and every single minute. It’s devastating. 

“She might feel like, ‘Well, nobody understands.’ I do.

“It’s been three years, and absolutely nothing is normal about my life. You lose a part of yourself that very day.”

Zoe also slammed the Guthrie investigation and public ransom notes, saying the authorities need to get things under control and “reset” the case.

She said, “This is being handled in a very careless [way]. A circus, a complete circus. And this is something so sensitive.

“I am baffled that so much information is just being brought out in real time. 

“It’s been three weeks of chaos. There’s still time for them to get it under control. I think that they should be private about this.

“The loss of control. I can’t imagine how damaging it is to them [the family] emotionally.”

Pima County Sheriff Chris Nanos has reportedly “locked down” the case, and there is reported tension between his team and the FBI.

They have faced backlash for many decisions made amid the search for Nancy, including sending DNA samples to be tested at a facility in Florida, instead of letting the FBI use their lab in Quantico, Virginia.

Sheriff Nanos also admitted he likely released the Guthrie home as a crime scene too early.

This allowed reporters to access the property, where they discovered and photographed blood droplets on the front steps that investigators had reportedly not yet addressed publicly.

Zoe said, “They’re missing a lot of steps, and getting to a lot of important stuff days later, [it] is extremely concerning.

“It’s scary, because it makes you think, well, ‘Who are these agents, and how much experience do they have to be handling a case of this magnitude?’ It’s a kidnapping. It’s absurd.”

Similar to her mom’s case, she believes those responsible for taking 83-year-old Nancy were not professionals or cartel-related.

She said, “They saw an opportunity. They’re driven by money.”

Pain & paranoia

Zoe’s mom, Maria, a US citizen, was kidnapped on February 9, 2023, in Pueblo Nuevo, in the Mexican state of Colima, where she had returned to retire with her husband.

She was alone at home watering her garden after shopping when she was approached by “four or five individuals” who bundled her into a white van.

An eyewitness told authorities that at one point she was seen on the ground after either being struck or fainting during a struggle.

But the kidnappers eventually got her into the vehicle and fled the scene.

Zoe and her family received multiple ransom calls demanding large amounts of money, with the first call coming within 24 hours, and setting deadlines they had to meet.

She is unable to reveal whether they paid the kidnappers amid the ongoing investigation.

Zoe, who worked in road management for professional boxers when her mom was taken, believes Savannah has a long road ahead and might end up giving up her role as a host on the Today Show.

She said, “It took me months to go get groceries, to be honest. I was so scared. And although the kidnapping happened in Mexico, I was afraid.

“I was always scared that somebody was following me. People did recognize me once it went public.

“I couldn’t be out because people [would say], ‘Oh, you’re the daughter of the lady that got kidnapped.’ So it’s just safer to be home. 

“It took about a year and a half before I decided to take a different role, still in the boxing world, but more on a quieter level, where I’m designing outfits for certain boxers.

“I’m going back into production, working with special teams and stuff, traveling.

“She [Savannah] might not be a reporter after this. She might not want to be in the public eye, or it might give her purpose and make her say, ‘I’m supposed to be here. I have to continue to advocate for my mom.’

‘Survivor’s guilt’

“My heart aches for the family. When we were going through the uncertainty daily, not knowing… and then you come to a point, at least for them, they’re weeks in now, where you just feel alone, like nobody understands how bad this aching pain is. It’s a fear.

“Your body is in shock day in and day out.

“There has to be a way I can say, ‘Hey, make yourself some tea.’ You know? ‘Hug each other. Cry.’

“I think that’s another thing, too: it’s okay to fall apart. It’s okay not to be okay. Forcing yourself to be strong for the public, or forcing yourself to be strong for others, is going to be damaging to you.

“You need to find the energy, find that strength from deep down inside, but you also need to take those small moments, even if it’s 20 or 30 minutes. It’s okay, just hold on to each other.”

Heartbreakingly, Zoe says Savannah may learn that she can’t trust everyone around her, as some people who reach out to see how she is may not have good intentions.

“It’s really hard to even say this, but tune out the noise from the outside because she is a reporter and she is in the public eye,” she advised.

“But try to understand that not everybody is going to reach out to be there for you.

“They will reach out to get information, to see where you’re at, and that could be extremely damaging to you.”

She went on, “Her life is gonna change completely. And it’s probably gonna be the best thing for her to take some time just for her.

“It’s been three years for me, and I’m still learning. I feel like I’m learning how to walk again in the normal world and not feel guilty because I think that we carry that. 

“That’s where I guess they call it like survivor’s guilt, you know? Like, why do I get to go to work? Why do I get to go out and have fun? Why do I get to put it aside for a little bit when I don’t know where she is?”

Mexico rumors

Zoe said she and her family struggled to work with Mexican authorities and the FBI, as both tried to take control, mirroring the situation in Guthrie’s case.

“We reached out to the White House so many times through phone calls. She’s going to have to become relentless in pursuing other government officials as well,” she said.

“She [Nancy] is a U.S. citizen. If they did cross the border, then there should be coordinated searches, with federal agencies in Mexico working together with federal agencies here.

“You don’t know if you can fully trust the authorities there or whether they’re going to work together. Are they going to want to work with the FBI? Unfortunately for us, we learned quickly that they weren’t that open to working with them.

“They feel, ‘Well, it happened in our territory. This is our case. We will handle it.’ It’s kind of like a rivalry.

“At the end of the day, you’re looking for the same victim.

“It doesn’t matter whether it was across the border or here. The fact that you have these kinds of power struggles makes no sense.”

She explained that Mexican authorities are willing to allow families to pay a ransom, whereas the FBI tries to negotiate with kidnappers.

“We were definitely put in the middle because we didn’t know, ‘Do we follow the advice of the FBI and not pay the ransom, or do we pay the ransom and hope for the best? And how do we do that when we’re across borders?’

“It’s just constant torture — one phone call after another with different demands: ‘Do this now,’ or ‘If not…’ They set time frames, and more than anything, you need proof of life.

“You need to know, ‘Okay, you’re telling me you want this amount of money and that you have her. I need to speak to her.’ And that took a long time.”

Zoe and her family received what appeared to be a recording of Maria begging them to meet the kidnappers’ demands.

She said, “You live with the uncertainty of, ‘Where is she? How is she? What have they done to her? Is she alive? Is she dead?’

“As far as my situation, you lose everything, you really do.”

Zoe Lopez on the kidnapping of her beloved mom

“And then you have the speculations of everyone. You have the criticism on top. You have the heartache, the pain, your family, how do you wake up today and just try to be normal? You can’t, there isn’t no normal anymore. 

“As far as my situation, you lose everything, you really do.”

Zoe, 42, has been with her husband for 25 years and has two children, much like Savannah, while Maria, a mother of seven, has 21 grandchildren and two great-grandchildren. 

Discussing how the kidnapping affected her personal relationships, Zoe admitted, “They are all damaged, at least with my children; they’re dealing with the pain of losing their grandmother.

“So whenever your children hurt, you hurt with them. I feel it’s been trauma over trauma and pain over pain. I’m witnessing my kids are devastated over their grandmother. 

“And in return, they’re seeing me falling apart over my mother. And having to find that strength of, ‘What would my mom do? How would my mother handle this situation with me? How do I handle the situation with my children?’

“Although it’s been 3 years, we have not given up. We hold on to hope.

“So for Nancy.. stay strong. Know that you’re loved, and that you’re being looked for, although it seems like a lot is going on, the people who matter, are hanging on to hope as well.

“For the bad guys who do have her, please give her up. She’s an elderly person. She deserves to be home.”

Two men were arrested in connection with another kidnapping in Mexico and have since been linked to Maria’s disappearance through DNA evidence from the crime scene.

However, authorities have not publicly confirmed any direct charge or prosecution in her case.

The FBI and Mexican prosecutors have been working jointly on the investigation, and the FBI’s Los Angeles Field Office has offered a reward of up to $20,000 for information that leads to her physical location.

Pima County Sheriff Chris Nanos has admitted that Savannah and her family could also be waiting “years” for answers about Nancy’s whereabouts.

“It’s exhausting, these ups and downs. But we will keep moving forward,” he told The New York Times.

“Maybe it’s an hour from now. Maybe it’s weeks or months or years from now. But we won’t quit. We’re going to find Nancy. We’re going to find this guy.”

Call the Midwife has confirmed Timothy Turner is set to face challenges in episode seven of series 15

Timothy Turner is headed for a difficult ride in the forthcoming episode of Call the Midwife, and his parents will not be able to help.

The latest season of the BBC period drama is set to conclude on Sunday, 8 March, but before the season finale, it appears trainee doctor Timothy, played by Max Macmillan, will face challenges as he takes up work in Poplar.

The 25-year-old actor first appeared on the much-loved BBC period drama in 2012 when his character was introduced during the first-ever festive episode as Doctor Patrick Turner’s (Stephen McGann) mischievous, though kind-hearted, son.

In his first scenes on the show, Timothy is a young schoolboy who waits in a car whilst his dad attends to an older lady in dire need of medical attention. He was also a Boy Scout who got involved in Nurse Chummy’s (Miranda Hart) Christmas nativity, giving his dad a look of pride as he performed the violin in a memorable, heart-warming moment.

In the recent series of Call the Midwife, Timothy is sometimes absent due to his study commitments in Edinburgh as he trains to become a doctor. However, Timothy returns to Poplar on Sunday (March 1) for an exciting storyline, the BBC show confirmed on Tuesday.

Taking to Instagram, the show shared a string of photos of the trainee doctor, ranging from his upcoming scenes to him as a young boy.

Besides the nostalgic snaps, they wrote: “Countdown to Call the Midwife Episode 7: Timothy Turner steps up. In Sunday’s episode, we see the eldest Turner child put through his paces as a trainee doctor in the East End. And – without revealing too much – he has plenty to do…

“For actor Max Macmillan, the journey from a 12-year-old boy in Series 2 to a fully-grown medic has been unique in the history of our programme. What does it feel like to grow up on the set of such an iconic programme? And how does Max feel about the full role he’s now able to take in the drama?”

Max shared his excitement about his new plot after growing up on the show. He said: “It’s really exciting, because I’ve been in this show for over half my life – I was 12 when I started, and now I’m 25 – and a lot of it was just the wonderful shifting dynamic we had within the Turner family.

“But now, suddenly, Timothy has all these new responsibilities! I’m getting to explore a side of acting that I’ve always observed but never been a part of.”

Laura Main, who plays Shelagh, added: “I am so proud to be Max’s fake mum! There are strong bonds between us all, which have naturally changed and deepened over the years as everyone has grown up. Max has always been brilliant with the newer and younger additions to the Turner family, but to now see him carrying huge storylines as one of the adult actors is wonderful.

“He has a great relationship with Renee and Natalie, who are similar ages. He’s graduated into being a full member of the adult company, but he’s still the kind, funny, thoughtful, caring and intelligent person he always was.”

While Doctor Turner star Stephen McGann explained, “Watching Max grow up has been a real privilege. I have a son of my own, a little older than Max, and I think this helped me create a bond with both Max and his character of Timothy in the drama. But sadly for poor Max, he’s had to put up with my terrible dad jokes and wind-ups on set for years and years!”

The post concluded: “Sunday will see Timothy challenged where no parent is there to help. Will he be equal to it?.”

Taking to the comments, Call the Midwife fans shared their admiration for watching Timothy grow up on-screen, with one person writing: “It’s been wonderful watching Tim/Max grow up!”

A second pointed out: “He’s all grown up now!”, while a third chimed in: “The Boy becomes a Man (loveheart)”.

“From scout to doctor. He has grown from an adorable child to a young man”, penned one fan while another echoed the sentiment: “It’s been a privilege to watch Max grow up on screen as Timothy Turner.”

Call the Midwife airs Sunday at 8pm on BBC One and iPlayer

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Netflix has confirmed it’s making a brand-new historical series that will focus on a family ripped apart by betrayal

Netflix has announced plans to produce a period drama focused on one of the most harrowing periods in history.

The upcoming Netflix series comes from the same creative team behind another major period drama for the streaming giant, reports the Express.

IMDb users have been effusive in their praise for the programme, drawing parallels with acclaimed shows such as The Crown and Downton Abbey.

One viewer headed their 10/10 review: “A Masterpiece of Emotion and Visual Beauty.”

They elaborated: “I’m absolutely in love with this series. After waiting two whole years for the next six episodes, I couldn’t help but binge them all in one go. And wow, it was worth the wait! The actors are phenomenal-so much emotion in their performances that they pulled me into every moment. I cried, laughed, and felt everything in between.”

A second reviewer wrote in their 9/10 assessment: “Like the Crown but much more captivating.”

A third critic awarded 10/10, describing it as “an utterly gorgeous series” and noted: “The Crown wasn’t historically 100% accurate either, but did we absolutely adore every second of it and appreciate how beautifully done the series was? Well, I did at least.”

They continued: “This series had me captivated on every level from the first second it began.”

Another viewer commented: “If you like The Crown, you’ll like this” and explained: “Romantic would be something like Pride and Prejudice or Bridgerton. This was more like Downton Abbey or The Crown, where in the drama is the focus.”

Witches is a fresh series in the works at Netflix, brought to you by the producers of The Empress.

The narrative will unfold in medieval Germany, tracing the lives of three sisters amidst the German witch hunts.

As per Deadline, the drama will delve into a family torn asunder by “suspicion, accusation and betrayal”, their struggle to safeguard loved ones from the “grip of fear and fanaticism”, and the “unyielding resistance” during one of “Europe’s darkest chapters”.

In a statement to the publication, producers Robert and Katharina Eyssen expressed their immense joy at finding a “creative home” at Netflix once again, following their collaboration on The Empress.

The duo affirmed that the streaming giant “truly understood” their artistic vision, having built up “trust” over many years with the platform.

They added: “As with The Empress, we are creating a family story centered on strong, complex, and defiant female characters.

“It is a radically emotional story that explores marginalization and persecution – a series that provokes thought, sweeps you along, and gets under your skin [sic].”

This announcement follows reports that filming has concluded for season three of the International Emmy-winning The Empress in Bavaria, Germany and the Czech Republic.

Production for the third season kicked off in September 2025 and it has been confirmed as the final instalment for the sprawling period drama.

The final series will comprise six episodes, delving into the aftermath of the Sardinian War and Emperor Franz (portrayed by Philip Froissant) returning from the frontlines burdened with trauma and guilt over the loss of thousands of young lives.

Empress Elisabeth von Wittelsbach (Devrim Lingnau) will support him as she battles for her marriage and the empire.

She will also encounter difficulties at court due to her deteriorating health, leading her to depart Vienna and embark on an unforeseen journey.

The Empress season 3 is set to launch on Netflix later this year.

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The Empress season 3 will be released on Netflix later this year

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Now everyone can go to the cottage.

Shane Hollander’s (Hudson Williams) cottage, featured in the season finale of the HBO Max hit “Heated Rivalry,” will be available to rent starting March 3 at 9 a.m. Pacific, according to a statement by Airbnb. The Lake Muskoka listing can be booked for $248.10 CAD (about $180 U.S.) per night, an homage to Shane and Ilya’s (Connor Storrie) jersey numbers, 24 and 81.

The Barlochan cottage will host four early access bookings from May 8-10, May 16-18, May 22-24 and May 29-31, before opening for regular bookings, with the property listed exclusively on Airbnb.

“Every great story deserves the perfect setting. Airbnb is inviting guests to Barlochan cottage — which has captivated screens big and small this winter — allowing fans to book and experience the private haven in real life on the shores of Lake Muskoka,” Airbnb wrote.

In “Heated Rivalry,” Shane and Ilya escape to the cottage during their off-season for a private, romantic getaway as the couple hides its relationship from the public. Ilya agrees to attend after being inspired by a fellow hockey player, Scott (François Arnaud), who publicly came out after winning the hockey championship in Episode 5. As Scott kisses his partner on live television, Ilya calls Shane to tell him he’ll come to the cottage.

“That’s then part of the structure of giving 5 that big rom-com movie star ending to [Arnaud], so that I can have a quiet ending with Shane and Ilya,” series creator Jacob Tierney told Entertainment Weekly in December.

At the cottage, Shane and Ilya confess their love for one another, swim in the lake and watch the Lake Muskoka sunsets. According to the listing, the three-bedroom cottage features nearly 400 feet of private waterways, outdoor activities like kayaks and canoes and an exercise room.

Connor Storrie as Ilya Rozanov and Hudson Williams as Shane Hollander in the Season 1 finale of “Heated Rivalry.”

(Sabrina Lantos / HBO)

Airbnb also noted that “travelers have been eager to embark on their own private cottage getaway,” with a 40% increase in property searches in Muskoka since the finale aired in late December.

“Heated Rivalry” became a cultural phenomenon this winter despite the project’s small budget. The show, based on the “Game Changers” book series by Rachel Reid, was produced by Bell Media’s Crave in Canada. After the show was licensed by HBO Max, fans flocked to the series, with an average of 10.6 million viewers per episode in the U.S., according to Warner Bros. Discovery.

So while “Heated Rivalry” fans wait for the second season — set to premiere in spring 2027 — they’ll now be able to take their own trip to the cottage.

Beethoven’s “Missa Solemnis” is a grand mass for large orchestra, chorus and four vocal soloists that lasts around 80 minutes. It was written near the end of Beethoven’s life and is his most ambitious work musically and spiritually. “Coming from the heart, may it go to the heart,” he wrote on the first page of the score.

The Beethoven biographer Jan Swafford put it this way: “ ‘Missa Solemnis’ is Beethoven talking to God, man to man. And what they talked about is peace. Creation was for Beethoven’s the magnificence in the world which we inhabit; ‘Missa Solemnis’ is meant to keep it thus.”

Yet among Beethoven’s major works, “Missa Solemnis” is, by far, the least performed, and not merely because of the need for large forces. Conductors struggle to get a handle on its mysteries and intricacies. Upon turning 70 last year, Simon Rattle contended “Missa Solemnis” remains beyond him. Upon his reaching 70, Michael Tilson Thomas made a momentous meal of “Missa Solemnis” 11 years ago with a staged performance with the Los Angeles Philharmonic at Walt Disney Concert Hall.

Gustavo Dudamel, who has been conducting Beethoven since he was a teen, waited until he passed his 45th birthday last month. His first “Missa Solemnis” performances over the weekend at Disney were the centerpiece of his month-long L.A. Phil focus on Beethoven.

That venture began a week earlier with a political statement. Beethoven’s incidental music to Goethe’s drama of liberation, “Egmont,” was updated with a new text that served as an urgent call for protest in our own era of authoritarianism and militarism. Here, Beethoven exerts a compulsion for triumphant glory.

The glory in “Missa Solemnis” is that of stupefaction. By this point in his life, Beethoven has had it with weapons, the drumbeat of soldiers, the addictive emotion of trumpet calls to action. His man-to-man with God is celestial diplomacy. There is no compromise. We either care, at all costs, for our magnificent world or nothing matters.

Dudamel clearly cares. He conducted the massive mass from memory. And costs be damned. He imported from Spain two spectacular choruses — Orfeó Català and Cor de Cambra del Palau de la Música Catalana — a total of some 130 singers who sounded like they had rehearsed for months under their impressive director, Xavier Puig. The four soloists — soprano Pretty Yende, mezzo-soprano Sarah Saturnino, tenor SeokJong Baek and bass Nicholas Brownlee — were needfully robust and powerful. They were placed mid-orchestra, behind the violas and bravely in front of the timpani.

“Missa Solemnis” follows the standard mass text but doesn’t necessarily follow the liturgical narrative. It is a work of theater, dramatizing feelings, as the earlier Disney staging attempted. Director Peter Sellars and conductor Teodor Currentzis have also been promising a major staged “Missa Solemnis” for many years.

The Kyrie opens with a strong D-major chord in the large orchestra that seems an obvious downbeat but turns out to be an upbeat. Down is up. Eighty or more minutes later at the end of the Agnus Dei, when the great plea for peace reaches its ultimate transcendence, up becomes, in one of the most profoundly unsettling moments in all music, down again. We never fully know where we stand in “Missa Solemnis.” Every expectation is thwarted. Beethovenian peace is a nearly superhuman endeavor.

Gustavo Dudamel conducts L.A. Phil, vocal soloists and Catalan choruses in Beethoven’s ‘Missa Solemnis’ at Walt Disney Concert Hall.

(David Butow / For The Times)

Dudamel‘s approach is to attempt the all-encompassing. He conducted without a baton but with his body. His arms were often open and wide as if embracing the musician masses on the stage, holding the whole world in his hands. Tidiness wasn’t necessarily the issue. Grandeur was. Molding sound was. And, of course, awe.

Throughout his career, Beethoven was the overwhelming master of awe. In “Missa Solemnis,” he out-glories the Gloria. His fugues are a draftsman’s rendering of heavenly splendor. Such awe asks for the superhuman from singers, especially in this ensemble from their ravishing high notes.

But Beethoven also questions every sentiment in the Mass. Grandeur can so suddenly turn solemn that it feels almost a ceremonial sleight of hand. In the Sanctus, a solo violin sails in from nowhere (“descending like a dove from heaven,” Hugh MacDonald nicely puts it in the program note), and suddenly we’re in a violin concerto with vocal soloists of transcendent allure.

The Agnus Dei begins in glum realization that there may be no compensation for humanity’s great sins when, again astonishingly without expectation, one of Beethoven’s uniquely wondrous melodies takes over. Saber-rattling trumpet and timpani intrude and are shushed away as worthless. Peace returns but just as it is about to climax it weakens. There is no grand Beethoven ending. “Missa Solemnis” just stops.

Dudamel’s approach was not, as his Beethoven has generally become, filled with fervent intensity in the moment. That may happen as he gains more experience with Beethoven’s most exigent score. The big moments were still huge, especially with the help of his fabulous chorus. The somber moments were well of the heart. There was eloquent solo playing in the orchestra, and extravagance from the solo singers.

Most unusual was the violin solo. The L.A. Phil is in a concertmaster search, and Alan Snow, the associate concertmaster of the Minnesota Symphony, sat in. He brought silken “descending dove” tone to his solo playing, but at low tone becoming more a voice from afar than soloist. Whether that is simply his sound or what Dudamel was after is, like so much in the “Missa Solemnis,” up to question. Still, its quiet exemplified the elusive essence of peace.

When Dudamel first walked on stage, he got, as he always does and especially in his last season as music director, a strong ovation. At the end of “Missa Solemnis,” the reaction was a respectful standing ovation, unlike the de rigueur rapturous reception he always earns with Beethoven.

Dudamel earned something far more rewarding. It wasn’t a moment for cheering but reflection. True peace in “Missa Solemnis” comes not from winning but from ending conflict, be it between nations, nature or among ourselves. We have as yet too little to celebrate.

The Heat has released an explosive first look at episode two of the new ITV reality show

Olivia Attwood makes a cheeky admission in a first look of The Heat episode two.

The new ITV series, which started on Tuesday 24 February, sees ten ambitious chefs as they travel to Barcelona in the hopes of being the next rising star of the culinary world working under multi-Michelin Star award-winning chef Jean-Christophe Novelli.

However, there’s a twist, as the cameras don’t stop rolling after the cooks have left the kitchen. As these chefs turn up the heat on the stove, things get hot under the collar at home too. Tempers rise, romance brews and drama is guaranteed.

The first episode saw viewers introduced to the new chefs and it was soon a baptism of fire for the new chefs as they hit the ground running while trying to stay focused on a first service while having fun flirting.

In an exclusive first look of episode two obtained by the Mirror, it sees host Olivia, 34, on a lavish yacht in the mediterranean sea.

The presenter says: “Yesterday The Heat opened its doors, the fire was on in the kitchen and later on the team let their hair down but there were sparks there too…

“Today, a new head chef has to step up and take control. Let’s hope there’s not too many distractions!”

In a candid moment, Olivia then hilariously asks crew members: “Is my a**e out? I want it to be, I’ll get more likes” to which laughter off camera is heard.

Meanwhile, an explosive teaser clip shows viewers what they can expect as tensions soar in the kitchen while two contestants strike up a romance, causing jealousy with another ambitious chef.

It comes as Olivia shared what she’s really like in the kitchen ahead of the show’s realease. “I’m a bit Victoria Beckham-coded,” she laughed. “I could eat the same thing every day, I can’t be bothered to make a big mess. I want to eat the food, I don’t want to make it.”

She added that she can bash out a decent spaghetti bolognese and a good roast dinner, but that she can’t do anything fancy.

Still, Olivia continued to say she thought people underestimated her abilities. “I think people think that I can’t cook at all because I think I’m a bit Carrie Bradshaw-coded, probably like with sweaters in the oven.”

Given her expertise lies less in the kitchen and more in the heart, Olivia said she left the cookery advice to her co-host Jean-Christophe Novelli.

However, she was much more willing to advise the contestants on the reality side of the show, as her experience on Love Island in 2017 meant she had a “unique perspective” on what its like to be filmed all the time.

“I was nervous,” she said, looking back on when a 26-year-old Olivia jetted off for a ‘summer of love’ with ITV2. “But I know what it feels like when you go on to a reality show, and you know some things, but you know there’s going to be surprises.

“I think it gives me a unique perspective, which I’m really grateful for. I would say to anyone actually going on reality shows, or competition shows, that you have to just kind of give yourself to the process. Because you’re in it now, so you might as well just jump in with both feet!’

The Heat continues tomorrow, 25^th February at 9 pm on ITV2 and ITVX

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Before the onset of YouTube, U.S. parents had very limited options when it came to video programs that helped teach their children Spanish.

There was, of course, the ever-popular Nickelodeon show “Dora the Explorer” and before that, the PBS show “Amigos,” that looked to instill the basics of Spanish into kids across America.

These programs — while useful, innovative and entertaining — never allowed for full-on Spanish-language immersion for viewers, relying heavily on English as their primary tongue.

Now, kid-friendly videos for language acquisition can be found on all corners of the internet with YouTube playing host to the lion’s share of the market, ranging from partially in Spanish to only in Spanish.

The Times spoke to three of the most viewed Spanish-language educators for children on YouTube to see what goes behind creating highly engaging children’s content.

Isa Muñoz — “Aprende Peque”

Isa Muñoz, 33, had known from a young age that she wanted to become a teacher.

Growing up in the Baja California city of Mexicali, Muñoz’s parents worked as teachers, as did many of her aunts and uncles. Seeing how fulfilling her family members’ careers were, she dedicated her life to educating young children.

After graduating with a bachelor’s degree and master’s in special education, she worked as a preschool teacher and a private tutor before one day receiving a call from veteran program producers Alexandra Cohen and Karen Garzon.

Born and raised in Venezuela, but now raising children in Miami, Cohen and Garzon were disappointed after scouring the internet for video tools to help them make learning Spanish fun and effective for their respective children and finding few helpful resources.

To fill this gap in the market, the duo teamed up with their lifelong friend Jessica Rutenberg to create the Spanish-only educational YouTube channel “Aprende Peque.”

As the idea came into fruition, the team searched for the perfect person to be the face of their channel — specifically someone who had experience working with kids and understood how to efficiently communicate with them.

That’s where Muñoz came in.

As part of the auditioning process, she flew out to Miami from Mexicali to try out for the role. The trip resulted in two days of filming which produced three full episodes of the program that included 21 featured songs.

In the almost three years since “Aprende Peque” launched, the channel has gained 1.05 million subscribers on YouTube and posted more than 500 videos, which have amassed more than 500 million views.

The thumbnail of each video features Muñoz’s ever-emotive face, as well as her signature orange-and-white outfit and large orange head bow. More than just adding an energetic face to the videos, she also integrates elements from the latest studies on child education into each episode.

Interwoven between Muñoz’s warm, patient and interactive lessons are musical numbers that range from nursery range to rock to folksy with visuals that fluctuate between grounded and fantastical.

While Muñoz had always envisioned herself as an educator, she wasn’t as ready to be known for singing.

Muñoz works closely with the program’s musical director, Pablo Estacio, to craft the songs featured in each video. The Venezuelan native has served as the bassist and songwriter for the band Bacalao Men for over 27 years and earned a bachelor’s degree in music production and engineering from the lauded Berklee College of Music.

“Pablo has helped me tune, refine and shape my voice to the point that it’s at right now,” she said.

Those musical detours are crucial to breaking up the episodes into distinct sections and provide renewed points of interaction in videos that often last between 40 minutes and an hour.

The process of crafting such long and engaging videos often takes between three and five weeks, Muñoz noted.

“It takes about a week to write one script,” she said. “After that, we film the episode, which takes about 12 hours. Then comes the part that requires the most amount of time, which is editing and integrating any necessary animations.”

The team aims to complete two to three episodes monthly in order to have a constant stream of content year-round.

While making “Aprende Peque” episodes is creatively exhilarating, Muñoz said it’s the fan reaction and interaction that mean the most to her.

“We’re so lucky that our audience has so much love to give and that they send that love through their messages,” she said. “I personally get motivated by knowing that this whole project is actually helping children.

“For a person to reach a point where they believe that the program has worked so well that they feel compelled to write in to thank us is so wonderful,” she said. “That’s something that we’re so thankful for and something that inspires us.

On a personal level, Muñoz has also experienced moments of deep connection with her family thanks to “Aprende Peque.”

“My mom has joined me on several occasions at meet and greets and I’ve seen her shed tears of joy when she sees the impact that the program has had on kids,” she said.

Liz De León — “Spanish with Liz”

In contrast to Muñoz, Liz De León, 39, never really thought of entering the education space before kick-starting her YouTube channel “Spanish with Liz.”

The native Texan was born in El Paso, but spent the first few years of her life just across the Mexican border in Ciudad Juárez. She moved back to Texas for middle and high school before ultimately settling in California for work.

De León was inspired to start her YouTube channel after having kids of her own.

“Once my kids were born, I wanted them to grow up with my culture and my language and the roots that I value so much,” she said.

At first, De León thought she would be able to find plenty of helpful of educational videos online. But much like Cohen and Garzon, she soon found that many of the visual resources out there came up short when it came to teaching fundamental elements of Spanish.

“A lot of it was catered toward only grabbing the attention of the child with a lot of ice cream and candy and sweets and high energy,” she said. “It didn’t teach the true fundamentals of things moms worry about.”

De León’s husband was the one who first suggested that she record herself singing songs that she created to teach her kids. She began to consider it more seriously after a relative told her that her teaching style was similar to the uber-popular kids’ YouTuber Ms. Rachel.

“That’s when I was first introduced to an educator on-screen that I felt aligned with when it came to teaching — with clear pronunciation, a storyline, making sure everything that was spoken was foundational and root words,” she said. “I really liked her format and thought, ‘She’s just a regular person like me and she did it.’ So I just did it.”

Filmed in front of a green screen in one of the rooms of her San Diego home, De León’s videos aim at helping young children learn vocabulary for specific real-life situations.

Donning her signature pink T-shirt and rocking a slicked-back ponytail, she attempts to minimize the stress of things like going to the airport or a dentist visit by introducing kids to the many elements that factor into those experiences. She creates levity in the videos by having colorful animated backgrounds, through the use of puppets and by singing songs throughout.

Raised in a household that put a premium on education, De León had looked at life through the eyes of a student — which proved particularly helpful as a registered nurse specializing in anesthesia.

“If you ask any medical person, they are teachers. Half of your job is education and teaching people how to stay healthy and to take care of themselves,” De León said. “You have to learn to cater to what’s developmentally appropriate to each person. You learn about child behavior, child psychology and the formation of the brain and how they learn.”

Each episode is crafted with two very important subjects in mind for De León: her two kids, who are 4 and 5. As the kids develop, so does the show.

“They are now understanding the episodes at a deeper level,” she said. “For example, we just watched the Halloween episode a couple of months ago and they now understood that October is a month within the year.”

Her children are also her first round of critics and help her understand what works and what doesn’t. Perhaps most importantly, they are De León’s gauge for how engaging her songs are.

“They help me with the music, actually,” she said. “If they don’t learn it and it doesn’t stick with them I know it’s not good enough. Then I redo it. They’re very much my little co-creators.”

One of the reasons “Spanish with Liz” has reached more than 18 million views on YouTube is the obvious care and research that goes into every video. Being a nurse and having a physician husband, De León has extensive access to medical professionals that let her borrow tools and inform her on what they’ve seen be effective methods for working with children.

“Something unique about our channel, is that we’ve thought about the storyline, how we’re gonna say things, the phrases, what works, what doesn’t work, what kids are afraid of and how we’re gonna tackle all that,” she said. “ So much purpose goes into each episode and then we try to borrow the equipment that’s actually going to be used so they can see it.”

And when she doesn’t have an expert on a topic immediately at her disposal, De León seeks out professionals who can thoroughly inform her. For example, when working on an episode about potty training, she took a class from two potty training experts.

Being that making videos is her third job behind being a nurse and a mom, time is a fleeting asset for the YouTuber. Because of that, each video takes about two months to create from start to finish with De León serving as the writer, director, songwriter and preliminary editor. She is aided by her husband who helps record and occasionally functions as a puppeteer, an additional editor, a composer, a designer and a babysitter, whose help allows her the time to record.

But having a team like that doesn’t pay for itself and that’s where De León’s more than 78,000 YouTube subscribers come into play.

According to the content creator, all the money made from the channel goes into paying for the fees associated with production and the rest goes to donating to three different charities — one that helps immigrant families in the U.S.; another is an orphanage in Mexico; and the final one is World Central Kitchen, which provides food relief in response to humanitarian, climate and community crises.

De León still often finds herself shocked that she’s able to have a platform that helps empower people to achieve new goals and that she’s touched so many lives through her videos.

“Isn’t it crazy that YouTube can change someone’s life?” she asked. “I think of all the artists that came up from putting their music out there on YouTube. I feel like it’s a place the whole world can tap into, mostly for good.”

Miss Nenna — “Spanish for Minis”

From her early days of growing up in the L.A. area, Miss Nenna, 32, felt a deep connection to the universal language of math. So profound was her interest that she obtained a bachelor’s degree in civil engineering and now works at a utility firm in the San Diego area.

As an eighth grader, when she served as a math tutor, Miss Nenna thought about what went into becoming an effective teacher.

“I thought about how I could help someone learn to understand it and make it fun,” she said. “So it was always really fun trying to figure out what worked for some students and what what didn’t work for others.”

She has since taken that ethos and turned it into the YouTube channel “Spanish for Minis,” which has 289,000 subscribers and has amassed over 31 million views. As is popular in the genre, her videos are broken into segments that involve a mix of direct instruction, interactive conversation and exceedingly catchy sing-alongs.

Just like with De León, Miss Nenna first got into the video-making game based on a suggestion from her husband made back in 2022.

“He saw a lot of potential in me because I have a bubbly personality around kids,” she said. “He mentioned I should try teaching Spanish and science to kids and added that it would benefit our child.”

It wasn’t until the couple’s 16-month-old son was diagnosed with speech delay that she really got serious about making videos so that her son could interact with her when she was away.

When the project first began, Miss Nenna had no experience with shooting and editing videos.

“I just sat with my husband and we’d watch videos on how to edit, how to use different graphics, how to make sure it’s OK for us to use certain songs,” she said. “So a lot of trial and error and a lot of research, since it’s just the two of us.”

“Spanish for Minis” videos are filmed at the couple’s residence in front of a green screen and each episode takes about 40 hours to complete.

“None of it is ever scripted. I kind of just set the camera myself and all the lighting,” she said. “I get a basket and I put a bunch of toys in it from my kids’ playroom, then I walk into a room and I record myself.”

While filming, Miss Nenna imagines that she is speaking directly to her almost-4-year-old son or 1-year-old daughter in order to make sure she’s in the right headspace.

The topics of the videos aim to evolve with the ever-changing needs of her son. Most of the earlier “Spanish for Minis” videos were focused on babies and now they have transitioned into content for toddlers.

Production on Miss Nenna’s videos has slowed down in recent months as she has focused her time on raising her children, but she has goals to put out two videos each month in 2026.

One of the more rewarding aspects of “Spanish for Minis” is the interactions that Miss Nenna has with parents and children who watch the program.

“I get messages every day, and I try my best to respond to as many as I can because I love connecting with the parents online,” she said. “I also have Cameo where I make personalized videos. Those are a lot of fun because I always message the parents and it’s like, ‘Hey, give me every single detail about what your kid loves. I want to make sure this is a really personalized video and that they enjoy it.’”

Katherine Short, the daughter of actor and comedian Martin Short, has died. She was 42.

Her death was confirmed by her family.

“It is with profound grief that we confirm the passing of Katherine Hartley Short,” the family said in a statement. “The Short family is devastated by this loss and asks for privacy at this time. Katherine was beloved by all and will be remembered for the light and joy she brought into the world.”

A law enforcement source told The Times that Short, an L.A. social worker, died by an apparent suicide.

This post will be updated as the story develops.

Coronation Street’s latest episode showed who had cut Bernie Winter’s face out of her wedding photo amid a stalking ordeal at the hands of Mal Roper on the ITV soap

There was an unexpected twist involving Bernie Winter on Coronation Street on Tuesday.

After being terrorised by newcomer Mal Roper recently, she was horrified at the start of the week by a scary discovery. She’d gone home after a run-in with Mal to find her face had been cut out of her wedding photo.

She confronted Mal over this on Tuesday, making it clear she suspected him. She warned him to stay away from her, concerned for her safety after he locked her in the café.

His increasing infatuation with Bernie, who has rejected him, has led to sinister scenes. But as he denied being the one who broke into her home and destroyed the photograph, Bernie was unconvinced.

READ MORE: Who was the girl with Jodie on Coronation Street? True link to villain ‘rumbled’READ MORE: Coronation Street star teases Jodie’s downfall as villain ‘exposed’

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Fans soon learned the shocking truth though as the real culprit and the person really targeting Bernie was exposed onscreen. Towards the end of the episode, we saw Jodie opening her mystery trinket box.

The box contains several random items, incluidng a lighter, a bracelet and a locket. As she opened it, she was holding the cutout face of Bernie, and she placed it into the box.

So Jodie entered the home and destroyed the photo, not Mal. This confirms that Jodie is targeting Bernie too, clearly on some sort of revenge mission after their run-in at the café earlier in the week.

So does Bernie need to watch her back, and how far will Jodie go to get back at her? It comes as Bernie faces trouble this week, when someone attacks Mal.

He’s found seriously injured and Bernie, having threatened to kill him, is arrested amd taken to the police station for questioning. Bernie prostests her innocence, adamant that she did not harm Mal.

When it becomes apparent that someone overheard her threatening Mal, she’s forced to defend herself. Teasing the scenes ahead, actress Jane Hazlegrove said: “It’s not a good look because she’s been heard threatening him.

“She is definitely going to be under suspicion so in the end telling Dev has not made it go away. If anything, things have got worse.” Asked whether the plot and the attack on Mal will have far-reaching consequences for Bernie and her family, Jane confessed that it’s not looking good.

She spilled: “Definitely, she knows she’s messed up. If she had told the full truth from the start they might not have got to this place but here they are and it is down to her.”

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 .

The Channel 4 show first kicked off in 2023 with Paddy McGuinness fronting the series.

There’s good news for fans of the smash-hit reality series Tempting Fortune as Channel 4 has announced a third instalment is on the way.

The series first started in 2023 and saw host Paddy McGuinness welcome 12 people to the remote wilderness as they embarked on an 18-day trek aiming to divide the £300,000 prize fund.

Along the way, their willpower will be put to the test as they’ll constantly be offered luxurious comforts, including mouth-watering treats, comfy beds and once-in-a-lifetime experiences.

However, should they give in to temptation and decide to purchase something that’s offered, money will be deducted from the final pot for everyone.

Now, a fresh batch of contestants will have to trek through the Malaysian jungle armed with nothing but basic supplies and their own willpower.

The third series will be fronted by comedian Rob Beckett, who is taking over from the previous host, Paddy McGuinness.

Speaking about joining the show, Rob said: “Put people in the jungle, take away everything nice, then tempt them with hot showers and burgers. It’s hilarious.

“Everyone thinks they can resist temptation until they’re hot and filthy, and suddenly morals go out the window. I’m very happy to be hosting this show, especially from the comfort of a lovely crew hotel.”

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A synopsis for the series reads: “With big brands lining up to transport their products to the jungle to offer up comforting tastes of home, the temptations on offer are more tempting and more emotionally evocative than ever before.

“This new series promises more extreme conditions, more enticing temptations, and some dramatic new twists that will put even greater pressure on the shared cash pot.”

It’s not yet been announced when the third series will air.

Since the show began three years ago, it’s received nothing but praise from fans as one person on X said: “This is amazing #TemptingFortune.”

Someone else wrote: “Thoroughly enjoyed #TemptingFortune, what a great series and SO well made. Easily some of the best tv I’ve watched this year so far. From the brilliant cast, epic set builds and incredible filmmaking feats of the crew, production and producers on the ground.”

Series 1 & 2 of Tempting Fortune is available to watch on Channel 4.

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The Museum of Contemporary Art has acquired Kara Walker’s sculpture “Unmanned Drone,” a cornerstone of the museum’s groundbreaking “Monuments” exhibition.

It joins the 158 works by 106 artists that were added to MOCA’s permanent collection last year, including major works by Jacqueline Humphries, Mike Kelley, Shizu Saldamando, Mary Weatherford, Julie Mehretu and Nairy Baghramian. Fifty artists are new to the collection, including Jonathas de Andrade, Leilah Babirye, Meriem Bennani, Paul Chan, Cynthia Daignault and Ali Eyal.

“Unmanned Drone” — a towering testament to the power of transmogrification — commands a room of its own at the Brick, which co-presented the “Monuments” exhibition in October. Walker created the 13-foot-tall bronze sculpture out of a statue of the prominent Confederate Gen. Stonewall Jackson that was originally in Charlottesville, Va. The statue had been removed after serving as a significant gathering place for the infamous 2017 Unite the Right rally of white supremacists.

A detail of a severed arm — part of Kara Walker’s sculpture “Unmanned Drone,” which she created using a decommissioned statue of Confederate Gen. Stonewall Jackson.

(Etienne Laurent / For The Times)

In a review of “Monuments,” which declared the exhibition “the most significant American art museum show right now,” former Times art critic Christopher Knight called “Unmanned Drone” “devastating” and “brilliant.”

In an interview last fall, Brick director Hamza Walker explained to The Times that the city of Charlottesville issued a request for proposals from organizations interested in taking possession of the statue. The Brick applied and was deeded the statue, taking physical possession on Jan. 6, 2022. The gallery then gave the statue to Walker.

“They were getting rid of the Lee and the Stonewall Jackson statues, and they said, ‘We don’t want them put back up for further veneration,’” Hamza Walker said. “And so the idea of giving the statue to an artist fit that bill.”

Other applicants skipped over the line about not putting them up for further veneration, Hamza Walker said, noting that the Brick’s proposal was up against ones from Civil War battlefields and Laurel Hill, the birthplace of Confederate general J.E.B. Stuart.

A detail of the horse’s nostril in Kara Walker’s sculpture “Unmanned Drone,” which MOCA has acquired.

(Etienne Laurent / For The Times)

Kara Walker sliced apart the statue with a plasma cutter and welded it back together in an entirely new form. She did away with Jackson’s face and put much of the focus on his famous steed, Little Sorrel. The horse now stands upright with its head pushing out from the back of its saddle.

“She didn’t want you to be able to identify with him. She wanted the emphasis on Little Sorrel rather than the myth of the man,” Hamza Walker explained of Kara Walker’s intentions. “She wanted to reduce it to horse and rider.”

“The fiend has no head,” Knight commented in his review. “The folkloric Euro-American story of the ‘headless horseman’ comes to mind — a nightmarish, animated corpse who haunts the living. As a metaphor for obtuse white supremacy, still active today, that terror figure is hard to beat.”

Walker’s work was the only transformed statue out of the nearly dozen decommissioned statues related to the Confederacy featured in the “Monuments” exhibition. The others were all presented as they looked when they were removed, many during the protests that swelled in the summer of 2020 in the wake of the murder of George Floyd.

A detail of a sword on Kara Walker’s sculpture “Unmanned Drone.”

(Etienne Laurent / For The Times)

In addition to “Unmanned Drone,” MOCA announced several other acquisitions that were either featured in recent exhibitions or have significant connections to the museum. These include an environmental sculpture by Olafur Eliasson; work by Takako Yamaguchi; a media installation by Paul Pfeiffer titled “Red Green Blue” (2022), co-acquired with the Brooklyn Museum; and pieces by Cynthia Daignault, Shizu Saldamando and Henry Taylor.

“The expansion of MOCA’s collection this year reflects a sustained and deeply collaborative effort to think critically about what it means to build a museum collection in the twenty-first century,” Clara Kim, chief curator and director of curatorial affairs, said in a statement.

WHEN it comes to having A-list siblings, these two nepo-sisters are at the top of their game.

The two women, who both have popstars for sisters, looked incredible as they stepped into their spotlight at London Fashion Week – but can you guess who they are related to?

The nepo-sisters in question are Rita Ora‘s sister Elena, 37, and Dua Lipa‘s little sis Rina, 24,

The pair were spotted posing for the cameras at London Fashion Week.

Dua’s sister Rina looked chic in white trousers and a striking turquoise jacket.

The aspiring model was spotted at the after party for the Burberry 2026 show.

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Meanwhile, Rita’s big sister Elena looked stunning in a black cut-away dress at the Royal Ascot Millinery Collective, which was held at posh hotel, Claridge’s.

At another London Fashion Week event earlier in the week, she looked equally incredible in a black and gold dress.

Elena works as Rita’s talent manager, creative director, and business partner.

The pair are extremely close, and the popstar involves her big sister in every aspect of her life.

Rita was just a year old when her parents moved her and three-year-old Elena to the UK to escape persecution in Kosovo.

But the pair have gone onto become a sibling powerhouse.

Rita has had Elena by her side since she shot to fame in 2012.

Elena previously said that her little sister’s success is a “team celebration” for both of them, as she has been such a big part of her fame.

“I get as proud of the success as Rita does. But I guess the public only sees her reaction to it,” Elena told Idris and Sabrina Elba on the Coupledom podcast, when she chatted to them in 2021 with Rita.

“It feels like a team thing. Obviously the public just sees Rita, but to us that’s just how it is, you know?”

Rita added: “Elena is really good at protecting me. I think that is so important in this industry.”

Together the sisters have negotiated movie roles, fashion brand deals and lucrative TV contracts.

But the sisters admitted on the podcast that there has often been a battle for Elena to be taken seriously.

“It’s really tough in such a male dominated industry to really stand up for yourselves and navigate this s**t,” Rita candidly admitted.

“What do they expect people in power to look like? There’s not an identity.”

Continuing, proud sister Rita said of Elena:“But she’s never lost her cool. She’s always kept it very together.” Rita says she has always had the same trusted people around her in her career.

“I try to keep my team very small. I don’t really like change. That’s why I’ve had the same team for over 10 years. If it’s not broke, don’t fix it.”

The star siblings also thrilled fans in 2023 when they appeared on Celebrity Gogglebox together, with fans hailing them “the most beautiful sisters”.

Meanwhile, Dua Lipa‘s sister Rina is forging a career as a model

The rising star has done well for herself and has already worked with fashion houses like Miu Miu and Versace.

The model has also walked the runway at the prestigious Milan Fashion Week.

Rina has also set her sights on becoming an actress.

Speaking about going on auditions, she told Nylon: “There’s something about walking into the room and saying, ‘Hi, nice to meet you,’ and having that energy and that aura and that little repertoire between people.

“You can leave feeling like you had a connection if you walk in and you’re a bit bubbly and you are happy to be there. I’m really happy to do really fun auditions. Even if I don’t get the job, that’s absolutely fine.”

Rina got her first taste of fame when her big sister pulled her and their younger brother Gjin up on stage at the Brit Awards.

It came in 2018, when the singer won the Best Female Solo Artist gong and invited her siblings to join her accepting the award,

Speaking to Off Set about the sweet moment, Dua said: “I didn’t even know what I was gonna say onstage and I was like, ‘Come with me! You two — with me.

“They were so terrified. When we got offstage, my little brother and sister were like, ‘Why did you do that to us?’ ”

“They were like, ‘We love you, but that’s crazy. Don’t do that one again.;”

The pitched battle for Warner Bros. took yet another turn Monday night as Paramount Skydance enhanced its bid for the storied studio.

The decision by Warner Bros. Discovery to leave the door slightly ajar for Paramount came after weeks of pressure from its leader, tech scion David Ellison, and his billionaire father, Oracle co-founder Larry Ellison.

The media company has been vying to acquire Warner since late last year, and that fight only increased after the “Casablanca” and “Harry Potter” studio chose Netflix as the winning bidder back in December.

The bidding war has divided Hollywood’s creative community, with filmmakers, producers and unions all staking positions on the deal.

The latest to weigh in was “Avatar” and “Titanic” director James Cameron, who reportedly described Warner’s sale to Netflix as “disastrous for the theatrical motion picture business” in a Feb. 10 letter to Sen. Mike Lee (R-Utah), chair of the Senate subcommittee on antitrust, competition policy and consumer rights.

“I am very familiar not only with ships that sail, but also those that sink,” he wrote. “And the theatrical experience of movies could become a sinking ship.”

Actor Mark Ruffalo shot back at Cameron: “Are you also against the monopolization that a Paramount acquisition would create? Or is it just that of Netflix?” he posted on Threads over the weekend, adding that he was “speaking on behalf of hundreds of thousands of filmmakers worldwide.”

Regardless of which bidder prevails, consolidation in the industry is a major fear, particularly after waves of job cuts due to the pandemic and pullbacks in production spending amid streaming losses. And for the theatrical exhibition business, any merger revives concerns about an even greater decrease in films headed to theaters — particularly if the winning bidder is Netflix.

The health and future of cinemas is an especially sensitive topic in Hollywood. Box office revenue still has not returned to pre-pandemic levels, and some fear it never will, leaving theaters scrambling for alternative ways to fill their auditoriums.

Paramount has positioned itself as a champion for theatrical films, and David Ellison has said a combined Paramount and Warner Bros. would release 30 films a year.

But theater owner trade group Cinema United and the Writers Guild of America have warned that further consolidation would further concentrate the entertainment business, bringing more layoffs and theater closures.

Netflix co-Chief Executive Ted Sarandos has since tried to temper these concerns.

In a recent Senate subcommittee hearing, he pledged to maintain a 45-day theatrical window for Warner Bros. films, while also saying the deal would increase production investments going forward. In a recent letter to Lee responding to Cameron’s missive, Sarandos said he had previously spoken with the director in December about Netflix’s plans for Warner Bros., and that he had been “very supportive.”

Then there’s the politics of it all.

My colleague Meg James has written about Paramount’s efforts to use its political influence with the Trump administration to push its deal — and undermine Netflix’s. Paramount has declined to comment on the matter.

To put it mildly, Trump is a deeply unpopular figure in liberal-leaning Hollywood.

Creatives have feared a chilling effect on speech, particularly after Federal Communications Commission Chair Brendan Carr has aggressively tried to enforce long-dormant rules that require broadcast TV stations to give equal time to opposing candidates. The free-speech matter came to a head last year, when Carr warned that ABC could lose its TV station licenses after late-night host Jimmy Kimmel made a remark about slain conservative activist Charlie Kirk.

More recently, the equal-time rules resurfaced when CBS late-night host Stephen Colbert blasted his own network over its handling of his interview with Democratic Senate candidate James Talarico. Colbert said that CBS told him he could not air the interview because it would require giving equal time to Talarico’s opponents in the Senate primary and that he was instructed not to talk about the issue on the air, which he refused. CBS has disputed Colbert’s comments, saying he was not prohibited from airing the interview.

News industry insiders also raised concerns after the installation of Bari Weiss as editor in chief of CBS News. Two months into her tenure, she made the decision to pull a “60 Minutes” episode that investigated the alleged abuse of detainees sent from the U.S. to an El Salvador prison, a highly unusual step that critics interpreted as a decision to placate the Trump administration.

CBS News, which aired the episode in January, denied the claim, saying the piece had only been held for additional reporting.

On the film side, Paramount continues to make deals with creatives, including the irreverent South Park creators, who have churned out parodies of the Trump administration, “Wicked” director Jon M. Chu and writer, producer and actor Issa Rae, who in a statement earlier this year vowed to “tell stories for and by the diverse communities that have supported my work over the years.”

As the Warner Bros. deal drama unfolds, we’ll see how the lines continue to form in Hollywood’s creative class.

Stuff We Wrote

Film shoots

Number of the week

Sony Pictures Animation’s “Goat” led the domestic box office this weekend with an estimated three-day total of $17 million, beating out the Margot Robbie and Jacob Elordi-led “Wuthering Heights.”

The film, which was also produced by Warriors star Stephen Curry’s production company, has bucked the trend for original animated movies, which have largely faltered at theaters in recent years.

What I’m watching

Last week, I watched more Olympic figure skating (who didn’t watch Alysa Liu’s joyful, gold medal-winning performance?), but I’m also now re-watching 2000s teen detective drama “Veronica Mars.” I’m not Gen Z, but my newfound zeal for comfort TV is not unlike the story my colleague Stephen Battaglio wrote last year about young people’s interest in nostalgic shows.

The director of one of the best films of 2025 that’s up for several Oscars is working on a highly anticipated revival of an iconic series

Ryan Coogler’s The X-Files reboot has just been given a thrilling update.

The revamped sci-fi mystery drama was first announced back in 2023, with the acclaimed director releasing his hit period horror blockbuster Sinners in the meantime.

Nearly three years later, the project has finally been given a pilot greenlight by streaming service Hulu, with Jennifer Yale (The Copenhagen Test) coming on board as showrunner.

Black Panther filmmaker Coogler will write and direct the first episode, which will star Danielle Deadwyler (The Piano Lesson) as an FBI agent investigating the paranormal.

A synopsis via Deadline confirms the series will follow “two highly decorated but vastly different FBI agents — one played by Deadwyler — [who] form an unlikely bond when they are assigned to a long-shuttered division devoted to cases involving unexplained phenomena.”

Deadwyler has a big year ahead as she’ll next be seen in the HBO comedy series Rooster with Steve Carell as well as the third season of Euphoria. Her X-Files co-star has yet to be confirmed.

The original series starred David Duchovny and Gillian Anderson as agents Fox Mulder and Dana Scully, a believer and a skeptic who investigate unsolved cases known as X-Files.

Originally airing from 1993-2002 over nine seasons, the series is widely considered one of the greatest shows of all time, with Radio Times calling the first episode ‘the greatest pilot in TV history’. It returned for two new seasons in 2016 and 2018.

One Redditor claimed it’s “never to be dethroned”, and someone else agreed: “This show is my #1 of all time. It has its flaws but this is the show I go to every night.

“If TV died as a whole entirely and I was stranded on a desert island, this would be my one and only choice.”

And an X user called it “literally the best show ever made, so beautifully shot and a killer soundtrack!”

The reboot certainly has a daunting legacy to live up to, though thankfully director Coogler has more than enough credentials to meet fans’ high expectations.

His latest film, Sinners, starring Michael B Jordan as twin gangsters who encounter a chilling cult of vampires in 1930s Mississippi, was named the best film of 2025 by the African American Film Critics Association.

The critics consensus on Rotten Tomatoes reads: “A rip-roaring fusion of masterful visual storytelling and toe-tapping music, writer-director Ryan Coogler’s first original blockbuster reveals the full scope of his singular imagination.”

Teasing his next project on the Last Podcast on the Left, Coogler said: “I’ve been excited about that for a long time, and I’m fired up to get back to it. Some of those episodes, if we do our jobs right, will be really f***ing scary.

“We’re gonna try to make something really great and really be something for the real X-Files fans, and maybe find some new ones.”

He also revealed that he had spoken to Anderson about the revamped series, though her and Duchovny’s involvement is currently unconfirmed.

“She’s incredible. Fingers crossed there,” Coogler added cryptically.

The X-Files does not yet have a release date.

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Britain’s Got Talent judge Amanda Holden has been open about her feelings towards Phillip Schofield in recent years, following the pair’s reported fallout in 2018

Amanda Holden has taken a fresh swipe at Phillip Schofield after his name was mentioned live on air on Tuesday. The 56-year-old and her Heart Radio co-host Jamie Theakston were joined by Jack Whitehall ahead of his hosting duties at The Brit Awards this weekend.

During the discussion, Amanda was keen to know what Jack was wearing for the gig, to which he confirmed it would be a suit. Pressed further on whether he would opt for a “snappy pair of socks” like his dad, he joked: “I’m not going to go too jazzy with the socks, you never want to be upstaged by a sock.”

Turning to her co-star following the response, she said: “Well, Jamie, I rest my case.”

Puzzled by her comment, her co-star asked: “What are you talking about? Children’s television? That wasn’t me, that was Phillip Schofield.”

After instantly hearing his name, Amanda didn’t hold back from taking a swipe at her former This Morning co-star. She said with a laugh: “Oh god, please, let’s not mention that name on air, it’s a family show!”

The pair fronted This Morning together for a brief period while Holly Willoughby was on maternity leave in 2014.

Four years later, reports claimed that Phillip had ruined her chances to co-host with him again, as Holly fronted I’m A Celebrity… Get Me Out Of Here! alongside Declan Donnelly.

A former daytime TV executive previously told The Sun that Phillip “actively campaigned” for Rochelle Humes to get the job instead.

However, an ITV spokesperson later denied the reports, stating that presenter decisions are only made by producers.

Phillip also addressed the rumours on social media, branding them “hurtful and wildly untrue”.

While Amanda didn’t comment directly on the reports, she has made no secret of her true thoughts toward him over the years.

During a playful game on Heart Radio about three things she didn’t want to find in her home, she quipped in 2019: “Spiders, flies and Phillip Schofield.”

Later, she revealed she had reached out to him for a heart-to-heart over coffee but claimed he didn’t respond.

Quizzed about her former co-star on Heart, Amanda confessed: “I did offer to meet him for a coffee months ago, he didn’t reply to my text. What can I say?”

Jamie added: “The olive branch had been extended,” to which she replied: “Oh, yes.”

The presenter has also previously appeared to take a swipe at Phillip’s former co-star Holly.

Discussing reports about her and Paul C. Brunson’s show Unfinished Business being commissioned for a second series, Amanda was asked if they were true.

“Well, yesterday I read in the paper that we are doing another series, but I don’t know for sure,” she confessed.

Cheekily stirring things up, he replied: “What are they suggesting, they getting Holly Willoughby?”

Caught off guard, Amanda responded: “I… what?!”, followed with a laugh and the comment: “No, they want a proper presenter.”

Jamie replied: “You’re going to get in trouble for that!”, to which Amanda said playfully: “No one’s listening.”

For casting director Gabriel Domingues, putting together the ensemble of “The Secret Agent” meant materializing characters inspired by director Kleber Mendonça Filho’s recollections.

“It’s not that he was showing us a picture and saying, ‘They must look like this.’ They were ideas of memories that could change,” Domingues says of the Brazilian period thriller about a father on the run during an interview at The Times newsroom. One of the nominees for this year’s inaugural Academy Award for casting, Domingues appreciates how politically charged Mendonça Filho’s films are. His narratives are often fertile ground for an eclectic mix of performers.

And there are no throwaway roles in “The Secret Agent”: “Even the small characters represent ideas about Brazilian life and its contradictions,” Domingues adds.

To honor his large cast, a “panorama” of his country’s people, Mendonça Filho includes a montage at the end of the film in which each actor is acknowledged individually. The director thinks of this as the cinematic equivalent of a curtain call or final bow at the end of a stage production.

“Gabriel tries to find an interesting mix of experienced actors and people that we can discover,” says producer Emilie Lesclaux about Domingues, with whom she’s worked on multiple projects. He first collaborated with Mendonça Filho and Lesclaux on “Aquarius” as a casting assistant.

Domingues believes working on “Aquarius” was instrumental in developing his casting method, which involves searching for the least obvious option to cast the character. He prides himself on doing the shoe-leather work of looking for fresh, compelling faces in cities where others might not think to look — those without a prominent arts scene, for instance.

Gabriel Leone as Bobbi/Abdias  (Victor Juca)

Hermila Guedes as Claudia  (Victor Juca)

Luciano Chirolli as Henrique Ghirotti  (Victor Juca)

Roberio Diogenes as Euclides Cavalcanti  (Victor Juca)

Tânia Maria as Dona Sebastiana  (Victor Juca)

Joalisson Cunha as Frentista  (Victor Juca)

Isabel Zuaa as Tereza Victoria  (Victor Juca)

Kaiony Venancio as Vilmar  (Victor Juca)

That’s not to say the entire cast was discovered. Mendonça Filho had lead Wagner Moura in mind from the outset, while others sprung to mind as he wrote the screenplay: Maria Fernanda Cândido, a famous soap opera actor, as a crucial ally to Moura’s character; and the late Udo Kier, who had previously appeared in the director’s blood-soaked film “Bacurau,” as a German Jewish immigrant who lived through World War II.

The filmmaker admits that envisioning parts with a specific person in mind is “dangerous.” “I can write a character thinking of you, but I never know if you will want to make the film,” says Mendonça Filho. “And I grow attached to the image.”

Among the other supporting roles, the most challenging to cast, the team agrees, was that of Euclides, the sleazy police chief. Though the character is “repulsive,” it also required an edge of charisma to make him more emotionally layered. Eventually, they came across actor Robério Diógenes. “Robério has studied the clown art in the theater, and he’s a very funny guy, so he adds a component of ridiculousness to this character,” Domingues says.

For Vilmar, an impoverished man hired as a subcontractor for a murder, Mendonça Filho had in mind a real-life contract killer he’d seen in a 1970s TV program. The actor had to convey a certain ambiguity not often afforded to people of a lower social class. There’s no doubt Vilmar is acting out of necessity, but he is not entirely without agency since he negotiates his payment. Domingues found the ideal embodiment of this complex character in Kaiony Venâncio, an actor from the city of Natal who had mostly worked in short films.

Then there’s the scene-stealing Tânia Maria, who plays the endearing, chain-smoking Dona Sebastiana. The 79-year-old talent first appeared in “Bacurau” as an extra. “I just could not help thinking of her,” says Mendonça Filho about casting her in his latest film. “I even pre-ad-libbed many of her lines knowing what she might say.”

Before finding her way onto the screen, Tânia Maria has long made a living as an artisan handcrafting rugs. “I never thought about being an actress. I only thought about sewing,” she says with an endearing smile. “All of this came as a surprise.”

Igor de Araujo as Sergio  (Victor Juca)

Joao Vitor Silva as Haroldo  (Victor Juca)

Robson Andrade as Clovis  (Victor Juca)

Maria Fernanda Candido as Elza/Sara Gerber  (Victor Juca)

Alice Carvalho as Fatima  (Victor Juca)

Thomas Aquino as Valdemar  (Victor Juca)

Licinio Januario as Antonio  (Victor Juca)

Udo Kier as Hans  (Victor Juca)

And though she’s still sewing, her acting prospects look bright. She’s already appeared in another film, “Yellow Cake,” premiering at the Berlin International Film Festival this month. That Tânia Maria also recently starred in humorous local commercials for Burger King and Heineken is proof of her current status in Brazilian pop culture — as are the Dona Sebastiana costumes that have become popular during this year’s Carnival.

“I can’t go out on the street without people stopping me. They ask me for autographs, for photos, they want to talk to me, they ask me questions,” she says in Portuguese via an interpreter while on a video call from her home. “I make time for everyone, and I’m enjoying all of it.”

Undaunted by what she calls the most challenging aspect of acting — memorizing the lines — Tânia Maria is eager to continue exploring this unexpected new facet. “I don’t want to stop because I’m not old! I’m waiting for more invitations to move forward in acting,” she says.

The success many of the actors have found thanks to “The Secret Agent” very much pleases the filmmakers, but it also has a major downside.

“That’s all that we want for the people that we work with, that the film is good for them and their career,” says Lesclaux. “But for us, it also makes things more complicated for the next film because we will want to work with them, and they might not be available.”

KELLY Osbourne has clapped back at cruel trolls who have attacked her over her weight loss amid grieving her dad Ozzy.

The reality TV star was spotted front row at London Fashion Week on Sunday and her attendance sparked some awful abuse.

Kelly, 41,has denied the use of weight loss jabs, but has become the target of a slew of online abuse.

The singer and TV star has now called out the vicious online trolls for subjecting her to the string of vile comments.

Posting an unsavoury comment to her social media where a cyber bully claimed she “looked like a dead body”, Kelly responded: “Literally can’t believe how disgusting some human beings are! No one deserves this sort of abuse!”

Alongside her statement, she posted a collection of fans comments sticking up for the star and slamming the awful message.

Read more on Kelly Osbourne

RAW REVEAL

Kelly Osbourne pens heartfelt post about grief 7 months after dad Ozzy’s death

ALWAYS REMEMBERED

Sharon & Kelly Osbourne left in tears after Grammys tribute to Ozzy

Kelly continued sticking up for herself as she posted yet another comment dissecting her weight loss and appearance.

She said: “This too shall pass, but like, holy f**k.”

The TV legend has bee forced to fend off a torrent of online abuse since the tragic passing of her dad Ozzy Osbourne.

But, things escalated when snaps of Kelly at the Royal Ascot Millinery Collective at Claridge’s emerged.

Kelly has often been candid about struggling with her weight, telling fans her insecurity developed in her teen years – while starring on the hit reality show The Osbournes.

Talking on The Osbournes podcast last year, Kelly said: “I got pulled into the head of the agency’s office and he … gave me a whole speech about how I was too fat for TV and I needed to lose weight, and that if I lost weight, I would look better.

“And he was just saying, ‘You’re not a movie star, but you could be one if you lost weight.’”

Kelly recently penned an emotional message about grief seven months after 76-year-old Ozzy’s death.

She said: “Some grief doesn’t end. It changes shape. It becomes a weight you learn to carry, the ache woven it your day. Making it through doesn’t mean leaving it behind.

“It means finding strength to live and love and keep going even with forever resting heavily on your heart…”

The Black Sabbath singer died at home with wife Sharon, 73, and his kids by his side, back in July 2025.

Ozzy passed away weeks after he took to the stage one final time with his bandmates at Villa Park in Birmingham.

Kelly has previously told how she has been struggling since her dad died, and confessed to fans she’s been sleeping in her late father’s bed along with her mum Sharon.