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Adam Peaty and Holly Ramsay looked happy and relaxed in pictures from their honeymoonCredit: InstagramHolly showed off her figure in a gren bikini and wrapCredit: InstagramThe newlyweds posed near a pool for another happy snapCredit: InstagramThe couple married at Bath Abbey on Dece,ber 27 but most of Adam’s family were uninvitedCredit: Splash
It came after Holly’s dad Gordon Ramsay’s latest dig, when he called himself “dad” as he commented on a clip of Adam’s wedding speech, in which he declared he would “always choose” Holly.
The subtle snub after Adam reportedly uninvited his parents – Caroline and Mark – has sparked fears “he’s made his choice”.
An insider close to Adam’s parents said: “It’s been a really emotional time for them as a family.
“They’re coming to terms with what has happened and that Adam has picked his side.
“It’s dashed any hope of reconciliation in the near future.
“They’re keeping their heads down and trying to move on quietly. It’s clear Adam’s made his choice.”
Adam’s mum Caroline was left devastated to be uninvited from his weddingCredit: Andy Kelvin / KelvinmediaAdam snapped a pic of his wife heading for dinner in a cream dressCredit: InstagramThey had a stunning view of the beach from their accommodationCredit: Instagram
MICHELLE KEEGAN and Mark Wright have shared rare pictures of their baby girl Palma from a sun-soaked holiday in Abu Dhabi.
The trio have been enjoying some time away at the stunning Rixos Premium Saadiyat Island in the capital of the United Arab Emirates.
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Michelle Keegan and Mark Wright have shared rare pictures of their baby girl PalmaCredit: InstagramThe family are on holiday in Abu Dubai and have been sharing snaps of their baby girlCredit: InstagramThey’ve been treating fans to behind the scenes snapsCredit: Instagram
Both doting parents have taken to Instagram to share peeks into their beautiful holiday, with sweet snaps of their little girl.
Mark, 39, shared a series of pictures on his feed, including one of Palma crawling in the sand as the pair look down at her in pride.
In another photo, Michelle, 38, holding Palma in her arms while standing on the beach with the sun in full view in the background.
A third snap showed Mark holding Palma by the swimmingpool as the tot wears a cute yellow sun hat on her head.
He captioned the post: “Special memories spent with my 2 girls, my world. What a beautiful resort @rixospremiumsaddiyat thank you for having us.”
Meanwhile, Michelle took to her own page to post some similar pictures, with the first one being of her wearing a brown beach hat and white maxi dress while posing for a selfie.
She also shared pictures of the incredible resort as well as one of Palma wearing a yellow dress and standing by a fountain.
The former Coronation Street actress captioned hers: “Magic in the Middle East.”
Her followers flocked to the comments section, especially after seeing a rare glimpse of Palma.
One person gushed: “Bless her Palma crawling and standing already. That time has flown. Growing up so fast.”
Another social media user commented: “Awwwww look at Palma in her cute outfit.”
Somebody else enthused: “Awwwww beautiful. Holidays are the best with your baby xx.”
The Netflix star previously took to her stories to share some behind the scenes action from the holiday.
Covered in raspberries and an iPad, Michelle highlighted the tactical use of kids’ TV to get through a meal.
“The actual reality of coming out for a meal with a baby. Thank you Ms. Rachel for adding to the ambiance.”
She added: “Messy, messy girl.”
Michelle and Mark welcomed Palma into the world on March 6 last year.
They announced the happy news with a black and white photo of their baby swaddled in a crochet blanket.
The couple shared: “Together we have a new love to share. Our little girl. Palma Elizabeth Wright, 06.03.25.”
The first-time parents have kept their firstborn largely out of the spotlight, hiding her face from social media snaps to maintain her privacy.
The mother and daughter duo on the beachCredit: InstagramPalma enjoyed some quality time with her daddy tooCredit: Instagram
Former National Basketball League (NBL) player AJ Ogilvy has publicly come out as gay.
The Australian basketball star, who played for the Illawarra Hawks and Sydney Kings, shared the news during a recent interview with out gay player Isaac Humphries.
At the start of their sit-down, which was in support of the NBL’s Pride Round event, Ogilvy reflected on his expansive career that ran from 2010 to 2022.
“I was very lucky with my career. I got to travel the world and get paid to play basketball, which is, you know, such a privilege. [But] I probably didn’t live my life as authentically as I probably could have during my time in the NBL,” he explained.
Ogilvy went on to reveal that he’s been married to his husband for 18 months, adding that they met while he was playing in Sydney, Australia.
When Humphries asked Ogilvy if he kept his husband away from the team and his life as a basketball star, the latter revealed: ” While I was in Sydney, I probably kept it separate, but I also wasn’t, I guess, super discreet about it.
“Some of the guys probably knew. Nothing was, I guess, ever explicitly said, especially at your level of, you know, openness. While I was in Wongong, definitely more of the guys got to know him. A couple of the guys, my old teammates, were at the wedding.”
While discussing his coming-out journey, the 37-year-old athlete revealed that he initially planned to keep his sexuality private.
“I think part of it was I viewed it as just my business, but the world shifted probably in between our generations. Like when the marriage equality vote rolled around, I was very vocal about that while still not publicly saying, I’m a gay man,” he continued.
Despite initially planning to keep his sexuality away from the public, Ogilvy went on to say that Humphries’ historic coming-out announcement inspired him to embrace his identity.
“A bunch of my friends started me the video, and were like, ‘Hey, did you see this about Isaac. It was just such a huge moment, not just in the MBL, but basketball and across really the world,” Ogilvy explained.
“[It] was hugely beneficial to have someone of your stature and attitude be able to step forward and proudly say, ‘This is who you are.’”
Elsewhere in the interview, the Sydney-born athlete opened up about the difficult moments he faced while trying to maintain a double life.
“I think for a long time it was, ‘I want to be a basketballer and to be a basketballer I had to be this, I have to present as straight. I have to not show this side of my personality,’” he continued.
“So I had two social media accounts. One that I’d use for basketball stuff, and one that I just had friends on where I could be more open. Growing up, it wasn’t just in basketball; it was like a media as a whole, it just wasn’t positive portrayals of gay relationships. It was more, ‘It’s going to be a sad life, a lonely life.’ [It] definitely weighed on me pretty heavily.”
Towards the end of their sit-down, Ogilvy praised the NBL’s Pride Round as another driving force behind his decision to publicly come out, adding: ” There’s now a place for us to have this conversation, for us to be able to talk as openly as this.”
Check out the pair’s full interview here or below.
A “brujo,” a “magician,” “a social arsonist” and the “father of Chicano Theater” — these are just a few of the monikers that have been bestowed upon Luis Valdez over the course of his decades-long career. The 85-year-old filmmaker and playwright is responsible for “La Bamba” and “Zoot Suit,” films that raised a generation of Latinos and are now upheld as classics — both were inducted to the National Film Registry of the U.S. Library of Congress.
Valdez awakened a movement, bringing Chicanos from the California fields he grew up working in to stages and screens all over the world. His stories shifted the frame, placing us at the forefront of the American story, allowing us to see our dreams, anxieties and struggles reflected back at us. In David Alvarado’s upcoming documentary, “American Pachuco: The Legend of Luis Valdez,” it’s the celebrated storyteller’s turn to be on the other side of the lens.
The film traces Valdez’s beginnings as the son of migrant farmworkers in Delano, Calif., to his early days in theater helming El Teatro Campesino — a traveling performance troupe who worked alongside Cesar Chavez to mobilize farmworking communities, raising awareness about strikes and unions through skits and plays. Incorporating folk humor, satire and Mexican history, their work later evolved to include commentary on the Vietnam War, racism, inequality and Chicano culture more broadly.
Narrated by Edward James Olmos, who broke out as the enigmatic pachuco with killer style and a silver tongue in 1981’s “Zoot Suit,” the documentary was awarded the Library of Congress Lavine/Ken Burns Prize for Film last year.
De Los spoke with Olmos and Alvarado ahead of the film’s world premiere on Thursday at the 2026 Sundance Film Festival.
This interview has been lightly edited for clarity.
David, what was your introduction to Luis’ work? And how did it influence you as a filmmaker?
David Alvarado: I grew up watching things like “La Bamba” with my dad, and it made a huge impression on me, but at the time, as a kid, I didn’t really know the name Luis Valdez. Then in 2006, I was an undergrad at the University of North Texas, and I got a Hispanic Scholarship Award. At the celebration, Luis gave a speech and I was just blown away. I was a young wannabe filmmaker trying to learn how to make movies, and somebody like me was up there onstage telling a story about how he got there. I felt really inspired and I always carried that with me. Then in 2021, I was at a juncture in my career where I had told these science and technology stories, and I loved it, but I wanted to do something more personal. I thought back to Luis Valdez. Where was his story? So I reached out to him and that’s where this all started.
Mr. Olmos, your breakthrough came from playing El Pachuco in “Zoot Suit,” first in the play and then the film. What was your first impression of the story?
Edward James Olmos: I remember I had been doing theater for years, and I was walking out of an audition for another play at the Mark Taper Forum when I heard someone say, “Hey, do you want to try out for a play?” And I said, “Excuse me?” And she said, “Well, do you or don’t you?” And I said, “OK, what do you want me to do?” I didn’t know who she was, or what the play was about, but the next day, I was standing there with 300 other guys getting handed a little piece of paper with the opening monologue [for “Zoot Suit.”] I knew from reading it that this was serious, really serious, so I just became the character immediately.
I remember when they called me and asked me to do the role, it was on a Friday night, around 8 o’clock, and they were going to start rehearsals on Monday morning. I hadn’t gotten any phone calls, so I thought [the part] was gone. Then all of a sudden, the phone rang and they asked me if I wanted the role of El Pachuco. I said it would be my honor, my privilege. I hung up the phone and I slid down the side of the wall crying. I just completely lost it.
DA: Eddie really stole the show. I mean, it’s just undeniable. What he brought [to the production] was exactly what Luis was looking for, and I think it’s what Chicanos wanted to see and hear at the time. He really struck a nerve, and that was a huge part of the success of “Zoot Suit.” What Luis tapped into with this collaboration with Eddie, with the Teatro Campesino, or later with “La Bamba,” that was his gift: finding people who could represent the true nature of what it means to be Chicano.
(Elizabeth Sunflower / Retro Photo Archive / Sundance Institute )
There’s so much incredible archival footage here from the Teatro Campesino. What was your reaction to seeing some of that early work?
EJO: That footage is priceless, and that’s one of the reasons this movie is really important, because Luis is truly someone that has given our culture a voice. He gave me my voice. When you want to learn about a culture, you try to study what’s been written about them, any documentation or books, but nothing compares to their art. Right now, I’m working on a piece with Luis called “Valley of the Heart,” a play that he wrote over the last 12 years. It’s a never-been-told love story between a Mexican American and a Japanese American in an internment camp during World War II. It’s been difficult to make, but once people see it, they’re going to be thankful because it doesn’t matter what culture you are, the humanity of it comes through. That’s how people will feel after seeing David’s documentary, too. It’s inspiring.
DA: I think people are ready for the real story of America. I mean, the documentary and “Valley of the Heart” are part of American history, they talk about a real American experience, and it’s not the kind that people hear anymore. People are thirsty for that kind of authenticity, and to re-evaluate what the American story really is.
One of the core themes within the documentary is how we as Chicanos view the American Dream: Can we achieve it by being ourselves, or do we have to assimilate? We see that identity struggle play out as Luis and his brother, Frank, take different approaches in their lives, and it’s later paralleled in the story of “La Bamba.”
DA: That’s such a core pillar of the film. We all want the American Dream, but what that dream is confusing to a lot of people. The quest to get there through assimilation is something that Chicanos, Latinos and other immigrants have tried at the expense of their own heritage and identity. They give it all up and lay it at the altar of the American Dream. They try to fit in, and be this other thing, and so often, that doesn’t work. In his own life, Luis’ answer to that was if America is supposed to be this multicultural beacon of democracy, then let’s have a space for Chicanos to play a role there. I’ll retain my culture and be an American.
He and his brother tried to make it together, but they weren’t taking the same approach. In Frank’s story, that caused him a lot of pain, and he never quite made it that way. Luis, in very important ways, did make it. The fact that his work speaks to those themes, and was part of his personal life, I couldn’t leave that on the editing room floor.
In the documentary, we see the triumph of “Zoot Suit” being the first Chicano production on Broadway, and then the crush of it being panned by critics who didn’t seem to get it. Mr. Olmos, you say that the reaction wasn’t a loss for you all, it was a loss for America. What did you mean by that?
EJO: Well, because it wasn’t going to be spread around the country and understood. To me, the theater is magic. When it really works, it’s amazing. But [those negative reviews] stopped us from that growth process. There was one critic from the New York Times, Richard Eder, who said it was street theater on the wrong street.
I have to tell you, though, the people who were given the opportunity to see that play in New York, even after the critics panned it, always gave us a cheering standing ovation at the end. They burned the house down every single night. Even in L.A., that play was monumental. But that criticism hurt Luis badly, it hurt us all. I think if we’d gone through Arizona, Texas, Chicago, Miami before hitting New York, we would’ve been a powerhouse that would still be running today. It’s one of those stories that deserves to be revived over and over again.
The story of “Zoot Suit” is set in the 1940s, during a time of intense scrutiny and discrimination for Mexican Americans. How did the story resonate in the 1980s, and what do you think it has to tell us now?
EJO: People came from all over the world to watch the play, but Latinos kept coming back. Some of them had never been to a theater before in their lives, and they were bringing in family, friends to come and see it every weekend. It was a beautiful experience, one that was like giving a glass of water to somebody in the middle of the desert. They cherished us for giving them the opportunity. Now, we’re needed more today than we were even then. Today’s time is uglier than almost any time.
DA: It’s ugly, and it’s crass. We’ve had so long to try to figure out racism and get the American experiment back on track, and yet it just feels so depressing. Like when is the cycle going to end? At the same time, I hope that there’s a little bit of optimism in the film that the community can come together, and that we can find a way through this.
The documentary does a great job of showcasing the power of art. The performances from the Teatro de Campesinos allowed the farmworkers to really see themselves in a way that helped build a movement and made for a successful collective action. What do you hope this documentary can teach a new generation of Latinos today?
DA: For me, it’s to understand who you are, and to do what it takes to make it work here in America. When Luis spoke to me from that lectern, the thing that really got me going was that he said, “Whatever it is that you’re trying to do, whatever your project is, just stop doubting yourself and do it.” I remember thinking, “Oh my God. Maybe I can be a filmmaker. Maybe I could tell stories for a living.” So I hope that that’s clear in the film: that if you believe in yourself, you can fit into America, you can make a place for yourself.
But also, know that creation is an act of joy, and that the whole point of life is to find happiness and share it with other people. Despite all the heavy things we’ve talked about so far, I do want to point out the film is a joyful one of exploration. Luis has his moments when the world pushes back on him so hard, and it’s painful, but he just has so much love to give, and that’s the point of making art. I want people to walk away thinking that they can do it too.
Antoni Porowski has addressed the supposed “backstage drama” at Queer Eye as cast members continue on a press tour ahead of the last season
Queer Eye is coming to an end (Image: )
Antoni Porowski has addressed the “backstage drama” on Queer Eye. The reality star, 41, is the food and wine expert on the hit Netflix series but fans have rumbled that there is something going on with the atomphere on set,
As Antoni joined cast members Tan France, Jonathan Van Ness and Jeremiah Brent for the rollout of their tenth and final season Karamo Brown was notably absent from multiple public appeareances designed to promote the last run of episodes to be released on the streaming service.
Fans were quick to notice that Karamo has unfollowed his co-stars on social media, and CBS Mornings host Gayle King was informed just half an hour before the cast were scheduled to be interviewed that he would not be able to join because he was struggling with his mental health.
In a statement provided to CBS Mornings, representatives for Karamo said: “I hope everyone remembers the main theme I have tried to teach them over the past decade, which is to focus on and to protect their mental health/peace from people or a world who seek to destroy it; which is why I can’t be there today.”
One fan was quick to voice their opinion, and took to the comments section of a post Anton had made on Instagram on Wednesday. They wrote: “Ngl the backstage drama kinda kills the vibe of the show. I’m not motivated to watch you all portray to be a big happy family on every episode knowing it’s all fake. If you can’t work out your own mess, how can you be in charge of fixing someone else’s life?
Antoni was quick to respond to the comment, noting that everyone comes from a different sort of background but he wants to present something “authentic” with the show.
He said: “a lot of us come from complicated families and still have jobs and positive things we’re passionate about. Authenticity is about being honest about the complexities of life and knowing two things can exist at the same time!”
Throughout its run, Queer Eye has been nominated for 37 Emmys, winning six between 2018 and 2023. The series underwent a major change however in 2023, when Bobby Berk announced that he was leaving the show.
The star, who was the show’s interior design expert, later said that he stepped down from the show to work on “multiple other projects”. When asked about a rumoured fall-out between him and co-star Tan, he told the Mail Online: “There was a situation, and that’s between Tan and I, and it has nothing to do with the show.”
The series launched on Netflix in 2018 as a reboot of Bravo’s 2003 series Queer Eye for the Straight Guy.
Over the last nine seasons, fans have watched the stylish gang as they’ve transformed the lives of men and women in need of a makeover.
Love Island: All Stars contestants Charlie and Scott got into a heated argument on Wednesday’s episode of the ITV2 dating show as everything bubbled over from love triangle drama
Charlie got into a row over his behaviour regarding Millie and Jess on Love Island (Image: ITV/Shutterstock)
Love Island: All Stars contestants Charlie and Scott got into a heated argument on Wednesday’s episode of the ITV2 dating show. The two reality stars are back in the villa for another shot at love, but Charlie has got himself into a love triangle with Millie and Jess, a drama that has been bubbling away for the past few days.
Scott raged: “You admitted to me, you said you wanted Millie to open up her feelings to you via the situation with Jess!” “I just wanna drop it, it’s so annoying!” “Well it’s uspet me, you said it out of passing comment and it’s really f****** upset me!”
Scott and Charlie then began to talk over each other and demanded that Sean come over to put his two pence into the whole dramatic situation.
He said: “You said it and I f***** agreed, don’t give me that b*******” ” Charlie then went back to his friends to vent about the situation.
He said: “He’s basically saying that I’ve said that I’m trying to make Millie jealous but I’m just following my genuine feelings. It’s constantly Scott though, why is he in my business?”
Fans instantly took to social media to react to the whole blow up, with one writing: “Scott do need to mind his business but he’s right about Charlie and he been right about him sorry not sorry!”
Another said: “Scott should just give up on those two, Charlie can finish them off…” and a third wrote: “Scott needs to defend Millie & Jess less they made their Charlie bed now they can lie and be miserable in this little cr***y love triangle”
A fourth wrote: “with how good charlie is at lying, i can see why scott has been on the attack!”
Fans have watched as Charlie started up a romance with Millie Court but then shared a kiss with Jess. It seemed as if Jess had been expecting Charlie to couple up with her, but he chose Millie. Jess was then left furious with Tommy, despite his decision to couple up with her
Before the recoupling had taken place, it had all kicked off with Scott getting involved in the drama. Millie was then seen telling her fellow Islanders to “drop it” and insisting that she, Charlie, and Jess were all “moving on”.
On the verge of tears, Jess raged: “Everyone is putting their f****** two pence in! I don’t get it. At the end of the day, I’m here for myself, and I do carry some guilt on my shoulders. It’s just the way that I’ve spoken to every single boy, and they all agree. Scott is supposed to be my f****** friend.”
Love Island: All Stars airs weeknights at 9pm on ITV2 and ITVX.
Amanda Holden has revealed that she once prepared a Sunday roast in front of her family — while nakedCredit: InstagramAmanda said she stripped off because it was a hot dayCredit: Instagram
And she added that her two daughters Lexi, 19, and Hollie Rose, 13, were used to seeing her without clothes.
She told the Table Manners podcast: “You know on the cusp between winter and summer where you have to give up roast dinners and turn it into a barbecue?
“My whole family moan about Sunday roast, but I make them have it, and then this one particular Sunday it was boiling hot so I did just strip off and cook everything naked.”
THE RISING star of the modeling world, Kaia Gerber, is the cover girl for the latest issue of Harper’s Bazaar.
The 24-year-old model, and daughter of supermodel Cindy Crawford, captivates audiences with her latest photoshoot full of itty bitty dresses and braless looks
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Kaia Gerber covers Harper’s Bazaar February 2026 issueCredit: Luis Alberto Rodriguez for Harper’s BAZZARFuture supermodel, Kaia Gerber, in a red leather Givenchy dress for Harper’s BazaarCredit: Luis Alberto Rodriguez for Harper’s BAZZAR
Kaia stuns in a daring tiny white frock, embracing a braless look that has set the internet abuzz.
The white dress, byVictoria Beckham, plunges down to her abdomen, showing off some serious cleavage.
The sultry shoot, photographed by Luis Alberto Rodriguez and styled by Carlos Nazario, radiates a mix of sensuality and sophistication, embodying the essence of modern femininity.
Kaia Gerber in Yves Saint LaurentCredit: Luis Alberto Rodriguez for Harper’s BAZZARKaia Gerber on Harper’s BazaarCredit: Luis Alberto Rodriguez for Harper’s BAZZAR
In the spread, Kaia is also seen wearing a Saint Laurent leather bomber with a cut-out Prada bikini top, and a red leather Givenchy dress.
Durga Chew-Bose interviews Kaia for the cover article, and the model reflects on her growth within the industry and the pressures that accompany her role as a public figure.
Kaia also discusses her relationship with Givenchy’s Sarah Burton, who’s been dressing her for red-carpet appearances.
At last fall’s Academy Museum Gala, Kaia wowed the crowd in a custom-designed Lyon-lace cape-back dress, evoking the essence of the legendary Audrey Hepburn, a muse for Givenchy.
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Sarah Burton noted, “Kaia’s involvement in the dress’s design brings our collaboration to life; it’s always electric when we create together.”
The British designer added, “The dress is both timeless and modern, perfectly capturing Kaia.”
Kaia shares later in the article that she’s currently on her journey of self-discovery and empowerment, stating, “It’s not lost on me that part of my job is just being what people want me to be and being a canvas or mirror for people to reflect their own ideas onto.”
This perspective demonstrates her maturity and understanding of the complexities of the modeling world.
Kaia Gerber with mom and dadCredit: GettyLike mother, like daughter. Kaia Gerber and Cindy Crawford attend W Magazine’s Annual Best Performances Party at Chateau MarmontCredit: GettyKaia Gerber and Cindy Crawford at the 2025 LACMA Art + Film Gala held at LACMA on November 01, 2025Credit: Getty
The February issue of Harper’s Bazaar hits newsstands on February 3, and promises to deliver more than just stunning visuals.
Kaia’s candid insights about navigating the beauty and fashion worlds while maintaining her identity make this an essential for anyone interested in the evolving narrative of celebrity children today.
“I’m a daydreamer,” Kaia said in the interview. “I play out every scenario in my head.”
The model went on to say, “My imagination is really strong, and it’s been such a gift in my work. Not always a gift in relationships.”
The interview for Harper’s Bazaar also discussed how she’s evolved now that she’s an adult.
“Now that I’m more secure in my adulthood, I’m willing to show up messy and be kind of childish about certain things,” Kaia said.
This feature not only showcases Kaia’s modeling prowess but also offers a glimpse into her evolving narrative as a bold young woman in the spotlight.
Model Kaia GerberCredit: Luis Alberto Rodriguez for Harper’s BAZZARKaia Gerber went braless in a black lace leotardCredit: Luis Alberto Rodriguez for Harper’s BAZZARThe actress in some street chicCredit: Luis Alberto Rodriguez for Harper’s BAZZAR
DAVID and Victoria Beckham fear estranged son Brooklyn could be left high and dry after he signed an iron-clad pre-nup.
There were also concerns over his change of Instagram profile photo — to one showing a tattoo of his wife Nicola Peltz’s eyes on the back of his neck.
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David and Victoria Beckham fear estranged son Brooklyn could be left high and dry after he signed an iron-clad pre-nupCredit: InstagramBrooklyn is currently embroiled in a major feud with his parentsCredit: GettyBrooklyn with his wife Nicola and the Peltz parents, Nelson and ClaudiaCredit: Instagram
The Sun can reveal Brooklyn, 26, signed a rigid pre-nuptial agreement ahead of their 2022 wedding, and will not gain any of her family wealth if they split.
The move is significant as Nicola’s businessman and investor father Nelson, 83, is worth an estimated £1.2billion.
The agreement means Brooklyn would only leave with half of what they have made as a brand.
A source close to David and Victoria said: “The fear is that he has been completely absorbed into the Peltzes and has become alienated from everyone else.
“If they ever did break up, Brooklyn would be completely ostracised and without much cash to show for it.
“It’s as if he’s being held captive or something, because heartbreakingly, that’s what it feels like for them. His future is completely in the hands of the Peltzes.”
We can reveal that after Brooklyn sent his family a “desist” legal letter asking them not to contact them directly, they were so concerned about his in-laws’ influence they replied with a letter addressed solely to him.
The insider explained: “David and Victoria felt it was the only way to get a message across to him without the Peltz family’s influence.
“It was like, ‘Give us a signal you’re OK, because we are concerned for you’. Everything they have done for Brooklyn has come from a place of love and worry.”
Brooklyn has also now updated his Instagram page with a new image featuring a tattoo of Nicola peering out from the back of his neck, which his family feels is another cause for concern.
On paper, Nicola and Victoria should get on like a house on fire
A source
Her eyes are above a letter she wrote to him before they got married, saying: “My forever boy…Just know we can get through it all together if you breathe slow and trust. I love you beyond. Love always, your future wifey.”
A pal said: “It’s so over the top and extreme to show his dedication in that way, it’s almost alarming. Why does he feel the need to do that within a loving relationship?”
A source explained: “On paper, Nicola and Victoria should get on like a house on fire.
“They are both really ambitious, they love fashion, and family is the most important thing to them both. But for some reason, they just never hit it off. They never really gelled and the Beckhams never felt like they bonded with Nicola’s parents Nelson and Claudia.
“It was evident at the wedding. It was very much us and them in the room. As one of the most famous families in the UK, it was weird for the Beckhams to play second fiddle to the billionaire Peltzes.”
Due to lockdowns, the two clans only met for the first time after Brooklyn and Nicola got engaged in 2020.
Her parents were reportedly offended when Victoria and David sent their security team to “sweep” their £76million Florida home ahead of their first visit, which was standard for the Beckhams.
The narrative that my wife controls me is completely backwards. I have been controlled by my parents for most of my life
Brooklyn
There were then differences over the wedding, with Nicola’s mum insisting they have just one wedding, with her as the planner.
Meanwhile, the Beckhams had hoped there would be events in both the US and the UK.
At the wedding itself, tensions were raised further when singer Marc Anthony gave a speech referencing how lucky the couple would be to have a marriage like David and Victoria’s.
However he did not mention the Peltzes, who have been hitched for 40 years.
Another key issue is believed to stem from Brooklyn feeling like he was being “controlled” by his parents during his “wild child” years.
In Monday’s six-part salvo, he hit back at the suggestion that Nicola has been influencing him.
He wrote: “The narrative that my wife controls me is completely backwards. I have been controlled by my parents for most of my life.”
However, the Beckhams believe they were only ever looking out for him.
A source explained: “The idea that they have ‘controlled’ him for years is just not how they see things at all. It’s heartbreaking.
Brooklyn’s wedding DJ Fat Tony also waded into the stormCredit: GettyThe DJ posted a clip of Amanda in BBC comedy Motherland dancing wildlyCredit: Instagram
“There was a time, about 10 years ago, when Brooklyn was a teenager and they were just concerned for him. He was doing typical teenage things like staying out late and lashing out, but they always tried to be there for him.
“They put up with a lot, but he is their son and they always had his best interests at heart.”
It was like Brand Beckham was more important than anything else
A source
However he got tired of the perception they were a big happy family.
The source added: “With every event, every post on social media and every family photo opp, it was all about making people think about the Beckhams in a certain way.
“It was like Brand Beckham was more important than anything else.
“It didn’t matter what was really going on behind closed doors, it was business as usual on the outside. He doesn’t want to live like that. It’s fake and exhausting.”
Brooklyn has multiple tattoos dedicated to his wife.
They include his entire wedding vows on his arm, a portrait of his wife and the letter ‘N’ on his ring finger.
Also below Nicola’s eyes are the coordinates where he was born, at London’s Portland Hospital in 1999.
He previously had “mama’s boy” inked on his chest, but covered it up with a design representing Nicola’s wedding bouquet.
The Sun can reveal Brooklyn, 26, signed a rigid pre-nuptial agreement ahead of their 2022 wedding, and will not gain any of her family wealth if they splitCredit: GettyBrooklyn, Nicola, David, Victoria, Harper, Cruz all snapped in 2024, before the heated falloutCredit: instagramThe divide between the Peltzes and the Beckhams, including fashion designer Victoria and Nicola, was evident long before the weddingCredit: instagram/victoriabeckham
One Direction fans are speculating that their is a feud going on between Harry Styles and Louis TomlinsonCredit: Getty – ContributorA new tweet from Louis about his upcoming album release had many eyebrows raisedCredit: AmazonHarry’s new single, Aperture, is being released this FridayCredit: AP
And in one tweet, he wrote: “Going to need your help over the next few days to cut through the noise. Time to give this record the moment it deserves!”
Now, some are reading into his “cut through the noise” comment, suggesting that Harry is “the noise” in this instance.
In the replies to the tweet, one fan said: “Cut through the noise” why do I feel like this is harry shade?”
Others in the replies questioned what Louis meant by the phrase, with one fan even beginning a new Reddit thread to discuss whether he was talking about Harry, who is releasing his single Aperture.
Kicking off the thread, the user wrote: “Louis’s new album, How Did I Get Here?, releases on January 23. Harry Styles just announced his new (and lead) single, Aperture, also releases on that day.
“Many people (mostly Harry fans) are interpreting Louis’s new tweet about cutting through the noise as shade towards Harry.”
They said: “Also worth mentioning Louis commented on Niall’s post announcing new music supporting him, but did not for Harry. What do we think?
“Is there some petty behind the scenes beef between the two, or just a coincidence?”
One account replied: “Hmm if does kind of seem like poor form to release your single on the same day as your former bandmate is scheduled to drop an album.”
Others blasted Harry, who is dating Zoe Kravitz, for releasing his single on the same day as Louis’ new music drop.
However, defending the Watermelon Sugar singer, many brought up the fact that it’s often record labels who decide the date music is released rather than the artist.
“The dates aren’t chosen by artists, they’re being chosen by record label execs, months in advance,” explained one.
Louis asked his fans to “cut through the noise”, which many thought was referring to HarryCredit: Not known, clear with picture deskOne Direction split back in 2016Credit: PA
Dame Prue Leith has been a part of The Great British Bake Off for nine years but announced on Wednesday that she had quit and rumours about who could replace her instantly started to swirl
YouTube Chief Executive Officer Neal Mohan said combating the rise of low-quality “AI slop” on the platform will be a top priority in 2026, emphasizing the need to embrace artificial intelligence while better safeguarding the video app and its users.
As it becomes harder for users to distinguish real videos from AI-generated ones, “we’re focused on ensuring AI serves the people who make YouTube great — the creators, partners and billions of viewers looking for a deeper connection to the world around them,” Mohan wrote in a blog post highlighting the company’s plans for the year. Good-quality AI content will get YouTube’s support. “AI will be a boon to the creatives who are ready to lean in” and “will remain a tool for expression, not a replacement,” he added.
Like other major tech and social media companies racing to integrate generative AI into their offerings, YouTube parent Alphabet Inc. is grappling with how to harness its power without putting off YouTube’s valuable advertisers, creators and ordinary users. In September, the company announced a slew of generative AI tools for video creators, as it remains in intense competition with rivals including ByteDance Ltd.’s TikTok and Meta Platforms Inc.’s Instagram.
On average, more than 1 million YouTube channels used its AI creation tools daily in December, according to Mohan. Some of the tools are powered by Google DeepMind’s latest video-generation model, Veo 3 Fast.
Mohan said the platform will continue prioritizing its content creators, offering them “the most stable path to earn,” and pursuing its place as “the new TV.”
In addition, Mohan pledged greater transparency and protections from users employing AI to mislead and spam others, including by labeling content made using YouTube’s AI products and removing “any harmful synthetic media” that violate its rules. Mohan also touted new detection tools aimed at helping creators manage the use of their likeness in AI-generated material, including deepfakes, on the site.
AI-generated videos are changing the user experience not only on YouTube, but also on YouTube Kids, its youth-focused site. The growing volume of AI children’s content on both platforms, and the way some of it is designed to keep kids hooked, has raised concerns from parents and child development experts. Mohan said that “building the best place” for children and teens, and “empowering parents to protect their kids in the digital world, not from the digital world,” are also top YouTube priorities this year.
My favorite thing in “The Beauty,” a body-horror procedural adventure from Ryan Murphy and Matthew Hodgson premiering Wednesday on FX and Hulu, is a Chad and Jeremy joke buried in a line of dialogue that will mean nothing to anyone who doesn’t know the ‘60s singing duo responsible for “Distant Shores” and “A Summer Song,” or remember their appearance as the Redcoats on “The Dick Van Dyke Show.” I can almost feel the satisfaction, the inward chuckle that must have accompanied the writing of it. The rest of the series’ 11-episode first season I found somewhat less delightful — but then, delight is the last thing on its mind.
To begin. A supermodel (played by real-life supermodel Bella Hadid) goes berserk on a Paris runway, grabbing water bottles from spectators, draining the contents, throwing bodies around like … empty water bottles. Stealing a motorcycle, she rides recklessly through the streets of Paris as the Prodigy’s “Firestarter” thumps on the soundtrack until she’s knocked flying by a car. Pulling herself almost together, she enters a cafe, grabs and guzzles more water, causes even more grievous bodily harm, is shot, keeps going and, exiting to the street, is confronted by a phalanx of gendarmes with guns drawn. Then she explodes. Cue opening credits.
The show develops information slowly and out of chronological order, so if you’re averse to knowing even the basics of the premise, you may want to stop reading now — though I wouldn’t consider any of what follows a spoiler. At the center of the fun is a drug called the Beauty, which can transform the ugliest duckling into the loveliest swan but after a while develops the unfortunate side effect described above, making hotness literal. (This is why we have the FDA, people.) Even more unfortunate, in respect to global health, once a dose is administered — “One shot and you’re hot” is the series’ log line — it becomes a virus capable of being transmitted sexually, and, given how people are, you know how that’ll go.
This alarms the incomparably wealthy character behind the drug — whom press materials identify only as the Corporation (Ashton Kutcher, Hollywood hunk) in order to keep a secret — not because people might die, but because it threatens his plans to market the Beauty, which has crept out of his control and into the world. (It’s not a great business plan, anyway.) Indeed, his way of cleaning up problems is murder, to which end he employs a sinister figure called the Assassin (Anthony Ramos), though he will do the job himself if convenient. (Anthony will acquire an assistant assassin, Jeremy, played by Jeremy Pope.)
Ashton Kutcher as the Corporation, the wealthy character behind the Beauty.
(Eric Liebowitz / FX)
The case of the exploding supermodel brings into the picture a pair of Paris-based FBI agents, Cooper Madsen (Evan Peters) and Jordan Bennett (Rebecca Hall), and their dry Mulder and Scully banter and tailored-suits panache is my second-favorite thing about “The Beauty.” (Unlike Mulder and Scully, we don’t have to wait around for them to sleep together; we meet them in bed.) As beautiful people keep blowing up in beautiful places, they’ll chase the bug to Venice and Rome and New York, with famous sights highlighted to demonstrate that the production is not doubling locations in Prague or Vancouver. Like nearly everything else in this production and milieu, it smells of money (and vacations written into the budget, maybe), but it still might be my third-favorite thing about the series. That the agents speak French and Italian is a nice, elevating touch.
From “The Picture of Dorian Gray” to “The Substance,” and most every vampire movie ever made, the search for everlasting youth and beauty never ends well. In the world we still manage to call real, one only has to turn on the news to see the self-inflicted carnage this obsession has wrought. (Notably, Murphy first got hot back in 2003 with “Nip/Tuck,” a well-regarded, unpleasant show about cosmetic surgeons.) There is some satirical intent here, I’d wager, regarding the shallow aspirations of this age of Ozempic. That the Corporation has a couple of lunk-headed sons might be meant to call President Trump to mind, though the character stands in for vile billionaires everywhere.
Of course, beauty is subject to taste and culture and all sorts of indefinable things. As Franny Forst, unaccountably married to the Corporation, Isabella Rosselini provides in her person the argument for aging gracefully. (She’ll get a speech about it too.) At the same time, Murphy and Hodgson, adapting a comic by Jeremy Haun and Jason A. Hurley, do not hesitate to make a fat person a sad person. The remodeled … patients, I guess you’d call them, though certainly good-looking, are hot in a generic, almost dull way — the women trim, the men muscled — which feels more sad than exciting. A Nobel-winning scientist will be trotted out to offer an “explanation” of how the drug works and what it can do, but it’s really just magic beans.
There’s plenty of gore and goo — the transformation process is not pretty. Some storylines are meant to be poignant but are overwhelmed by the weirdness or feel exploitative, or the characters aren’t dimensional enough to move you. There are plot twists, of course, and rejiggerings, but it’s too obvious to be really terrifying; the game is given away early. (That doesn’t rule out some icky second-season invention; this one ends on a cliffhanger.)
At the same time, there’s enough nonsense, edging into ridiculousness, that the series might best be approached as a black action-comedy — at the end of the opening scene, the gendarmes are splattered with pieces of supermodel — or a very fancy B (maybe C) picture. “Star Wars” built an empire on the latter.
In the immediate aftermath, Elizabeth’s own family were investigated but nothing suspicious was found. Nine months after her disappearance, her kidnappers, Brian David Mitchell and his wife Wanda Barzee, were finally caught and arrested.
While Mitchell was holding Elizabeth captive, another man was questioned by police – Richard Ricci. Ricci once worked in the Smart home as a handyman and had a criminal record unrelated to Elizabeth’s abduction.
He denied any involvement in the Smart case. During the investigation, Ricci was being held at the Utah State Prison in Draper for a parole violation unrelated to the case when he was found unconscious.
In August 2002, he died at the age of 48 after undergoing six hours of emergency surgery to correct a spontaneous brain haemorrhage. He had been complaining of a headache whilst in prison.
He was taken to the prison infirmary, then airlifted to hospital in Salt Lake City by helicopter. There was no indication of foul play according to the Salt Lake County Sheriff’s Department.
A couple of months before his death, Ricci’s wife Angela spoke to ABC News’ Good Morning America, telling viewers her husband had been “devastated” at the news of Elizabeth’s disappearance.
She had said: “He put his face in his hands. He knows that pain and he just felt that for Mr Smart. He knew the kids, he worked in the home, he spoke with them. He was devastated.”
Elizabeth’s father, Edward Smart, said he had not been aware of Ricci’s criminal record and Ricci had been referred to him by another contractor.
As for the convicted kidnapper, Brian David Mitchell, he was sentenced to life in prison without parole after being found guilty of kidnapping and transporting a minor across state lines for sexual activity.
He had been serving his sentence at the US Penitentiary in Indiana, but in October 2025 it was reported he had been moved. Mitchell, who is now 72 years old, was transferred to the Federal Correctional Institution-Lewisburg in Pennsylvania.
In 2012 Elizabeth married Matthew Gilmour, a Scottish native whom she met while on a mission trip to Paris. She told Skip Intro: “Because he didn’t know anything [about] my past, he wasn’t afraid to tell me what he really thought.
“I appreciate that I’m not my past [with him]. I am just who I am right now, right here in the moment.” They have three children and still live in Utah.
The quizzer, dubbed The Beast, features on the popular ITV programme alongside fellow Chasers Shaun Wallace, Anne Hegerty, Paul Sinha, Jenny Ryan and Darragh Ennis.
During yesterday’s repeat episode, Mark faced off against student Marsha and retired supply manager Ian, who had progressed to the final chase.
The pair were battling for a £45,000 prize pot, having answered 18 questions correctly. Under the show’s rules, the contestants can push Mark back by correctly answering questions he gets wrong.
During the round, both the Chaser and contestants were posed the question: “In the Bible, King David saw which beautiful woman bathing?”, reports the Express.
The Beast responded: “Jezebel,” which was incorrect.
Ian hesitated: “I can’t think of anything,” whilst Marsha interjected with “Helen”, as Ian simultaneously offered: “Bathsheba”.
Bradley explained: “Bathsheba is correct, however, Marsha without nomination looked at me and called the answer first, which was Helen.
“I have to accept the first answer and have to tell you that is wrong, we remain eight to catch.”
One viewer was left fuming, taking to X to complain: “Disgraceful making rules up on the spot. Brad.”
Another furious viewer wrote: “cheating b******s on #thechase. Both gave answers at the same time. So it should have been clarified which answer was to be taken. If Marsha hadnt been nominated as Walsh claimed, her answer should have been ignored.”
“Now that was just cruel! Rematch needs to happen,” someone else wrote, while another said: “Absolutely robbed.”
One viewer said: “Very very harsh – Brad should have asked the spokesperson to answer – ref Bathsheba … very unlucky.”
Another called it “gutting”, and several said the players were “robbed” after the “brutal” round.
Another added: “Brad should have taken Ian’s answer as he was the nominated player to give their answers to push backs. Or at least asked them which answer they wanted to offer.”
Another person defended Bradley’s comment, writing: “Marsha piped up with “Helen” when Brad asked for the final answer, fractionally quicker than Ian with “Bathsheba”. That’s why the answer wasn’t allowed. How I see it.”
Another claimed: “Technically, Marsha wasn’t the spokesperson so her Helen answer should have been overlooked.”
Mark later rushed to the defence of Bradley, saying it had never been his decision.
He wrote on X: “I can guarantee that the adjudicator made that call rather than Brad.”
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Mark has previously addressed the gameshow being “fixed”, remarking: “We do have people say, ‘They give you the answers though, right?’
“I always point out that we’re all international quizzers, I mean, Anne is a two-time work ladies champion.
“They think you can’t be that good and the answer is we are.”
South Korean K-drama Can This Love Be Translated? starring Kim Seon-ho has earned an 8.1 IMDb rating with fans calling it a “masterpiece” and a series you can “finish in one sitting”.
Outstanding 12-part rom-com series you’ll ‘finish in one sitting’ is now on Netflix(Image: )
The South Korean rom-com Can This Love Be Translated?, written by Hong Jung-eun and Hong Mi-ran, stars Kim as Ho-jin, an interpreter who crosses paths with budding actress Mu-hee (Go) during a trip to Japan. Despite being new to the industry, Mu-hee swiftly lands a significant role and reunites with Ho-jin, who serves as her interpreter during an interview.
Their lives intertwine again when she participates in a reality show, hinting at a potential deeper bond.
At the heart of this Netflix original K-drama is a show within a show, where Mu-hee chases Japanese actor Hiro Kurosawa (Sota Fukushi) across the globe on a reality dating series named Romantic Trip. Ho-jin aids them in overcoming the language barrier, but Mu-hee’s insecurities and past trauma trigger a mental health crisis, with Ho-jin fervently dedicated to supporting her.
Featuring Sota Fukushi and Choi Woo-sung in secondary roles, the series is currently available for streaming in the UK on Netflix, with all 12 episodes having been released on the platform in mid-January (January 16), reports the Express.
While professional critics have yet to extensively review this series, Can This Love Be Translated? has received acclaim from viewers, boasting an impressive average user rating of 8.1 out of 10 based on 65 reviews on IMDb.
Awarding it a perfect 10 out of 10, one viewer declared the series “an absolute masterpiece” and “hands down” the “best romance of 2026”. Elaborating on their thoughts, they confessed: “I honestly don’t even know where to begin because I am still sitting here, staring at a blank screen, trying to process the emotional rollercoaster I just went through.”
They urged, “If you are looking for a sign to watch this, this is it. Do not hesitate. This isn’t just a drama; it is an experience, and it has completely ruined me for any other romance series in 2026.”
Another viewer described the programme as “a masterclass in romantic chemistry and emotional depth”, explaining: “‘Can This Love Be Translated?’ moves beyond the typical tropes to ask profound questions about communication and intimacy. I was particularly impressed by how the show handles mental health and past scars without losing its lighthearted charm.”
They concluded: “It’s sophisticated, heartwarming, and internationally resonant. Netflix has found a true gem here.”
Branding it “outstanding”, a third viewer praised: “Lead actors did a great job, this is not your typical romcom giddy type of series, you have to be open-minded to really appreciate the premise of the story, the subtle delivery of funny lines, and of course, the most awaited romance was perfect. Loved it. I finished it in one sitting. The cinematography was superb.”
A fourth admirer of the programme shared their thoughts: “This series made me feel everything. A quiet, emotional love story about misunderstandings, unspoken feelings, and the courage it takes to truly understand someone.”
They continued: “The chemistry is soft but powerful, the pacing is slow in the best way, and every glance says more than words ever could. Not just a romance – it’s a reminder that love itself is a language.”
The remains of the original Griffith Park Zoo are imbued with memories of the past. Forgotten animal pens, decaying cages and stony backdrops now sit in various states of abandonment.
It is, in other words, a prime location for a haunted narrative.
“Ghost in the Machine: The Old Zoo” is just that, a site-specific interactive experience in which specters come to life via our mobile phones. In the story, our devices become a gateway to another world — or, rather, a halfway point between our universe and the afterlife. We’ll see visions of a medium, hear fragmented remembrances and explore a trail while discovering a tale that feels like an intimate glimpse into a grief-stricken past. And we’ll learn a little bit of Griffith Park history along the way.
The augmented reality project is the vision of Koryn Wicks, a trained dancer and choreographer who has created her own immersive entertainment pieces while working in the broader theme park space. The project is being remounted this Friday and Sunday afternoons at Griffith Park to coincide with “Ghosts in the Machine” being named a finalist for an award with IndieCade, a once in-person independent game festival that now exists primarily online.
Koryn Wicks, designer of “Ghosts in the Machine: The Old Zoo.” Wicks is an independent immersive creator who works in the theme park space.
(Kayla Bartkowski / Los Angeles Times)
John Houser, 43, from the San Gabriel Valley playing the augmented reality game “Ghosts in the Machine: The Old Zoo.”
(Kayla Bartkowski / Los Angeles Times)
“Ghosts in the Machine” exists as an app in a testing phase, hence the reason for the event-like approach to letting guests experience it. Wicks will be stationed outside the old zoo’s location for about two each hours each day, facilitating downloads and answering questions about the self-guided experience.
Once those who opt to play are set up with the game and near the old zoo, which opened in 1912 with a collection of only 15 animals and closed in 1966 to make way for the current animal park, they’ll receive a call. A medium, but “not like a celebrity medium,” has been trying to reach someone, anyone, and is at risk of losing her memory as she’s trapped between worlds. We’re asked to turn on our camera, and via augmented reality we see an alternate version of the landscape in front of us, one obscured by blue and green hues, and filled with static. The images feel fragile.
This medium, Phoebe, needs our help, and if we agree, the game begins. We’ll be directed to follow a map toward abnormalities around the old zoo. Things may get a little frightening. An apparition will appear before us. Yet Phoebe is telling us ghosts are not meant to be feared. A spirit, she says, is usually lost and confused.
“I wanted to do sort of a haunted location,” says Wicks, 36. “I’m a big nerd for horror stuff. I really like it. I really like the idea of ghosts. I read this book called ‘Ghostland’ and it looked at ghost stories throughout American history and the way they’re practiced and who gets cast as a ghost versus who gets haunted. So the first scripts I was writing were more meta, they were about ghosts in general. Then I gradually narrowed into an actual story with characters. That’s the dancer in me. I tend to think a little more abstractly.”
As the story was honed, it became one that focused more on familial bonds. Without spoiling the experience, which should be able to be completed in a little less than an hour, “Ghosts in the Machine” gradually transitions from a haunt to a tale that focuses on forgotten promises, lost loved ones and the lonely pings that can come from unresolved grief. “Ghosts in the Machine” begins with tension. It resolves as something more meloncholic, a game-like story built for contemplation.
John Houser, 43, left, and Parker Cela, 26, right hold up their phones to scan the staircase while playing the augmented reality game “Ghosts in the Machine” at Griffith Park.
(Kayla Bartkowski / Los Angeles Times)
And it’s staged in a location perfect for rumination. “Ghosts in the Machine” will take us up stairs, around pathways and into now-deserted zoo enclosures as we try to free a spirit from purgatory. There are some game-like mechanics as we’ll gather fragments of memories hidden throughout Griffith Park.
The park, the character of Phoebe tells us, is a “beacon for spiritual phenomenon.” Throughout, she’ll allude to stories of mistreated animals and the Griffith Park fire of 1933, heightening the sense that we are in the presence of unnatural occurrences. The space is dear to Wicks: it’s where her husband proposed, but “Ghosts in the Machine” pulls from more painful memories in her life.
“It had a lot to do with grief and memory,” Wicks says. “It can be so painful to engage with memory when we’re going through grief, and it can also be really complicated. Because there are good memories and there are also complicated memories. How do you hold space for both? That was something I was thinking of a lot at the time.”
The project was born during the worst days of the COVID-19 pandemic. Wicks, who had in the past staged numerous dance performances for small groups, initially envisioned a show in which audiences would use their smartphones to follow a dancer through an outdoor space. It gradually morphed into something more ghostly.
‘Ghosts in the Machine: The Old Zoo’
With a tiny team, a day job and the occasional teaching gig, Wicks has found that maintaining the app to the degree in which it can be properly released has not been feasible. For instance, for this weekend’s pop-ups, the map function had to be completely rebuilt. That’s another reason Wicks will be on site, aiming to help those who may be new to AR, or to troubleshoot on the various devices audience members may bring.
“I think we like to talk about technology as having a permanence to it, but there is no permanence to it,” Wicks says. “Very few people still have their cassettes. Records are still around, but technology phases out.”
Wicks is open to the idea of continuing to develop “Ghosts in the Machine,” and has looked into institutional or commercial support. But she confesses she hasn’t hit on a solution yet.
In the meantime Wicks, who hopes to stage a show later this year that intermixes dance with tarot themes, has created an experience that uses modern augmented reality technology and yet feels ephemeral. And that’s fitting, of course, for a ghost story.
BROOKLYN Beckham claimed his mum hijacked his first dance with his wife Nicola and performed an “uncomfortable” routine instead.
He is understood to be the only one with the footage ofVictoria dancingat his 2022 wedding after he mentioned it in a brutal social media post towards his famous family.
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Victoria Beckham allegedly performed an inappropriate dance at her son’s weddingCredit: InstagramBrooklyn sent the internet into meltdown after he brutally attacked his familyCredit: AP
The “uncomfortable” and “embarrassing” dance was referenced in a nuclear statement Brooklyn posted to social media which claimed Victoria, 51, sabotaged her son’s wedding to the American actress.
As the internet is left speculating on what the dance could be, should Brooklyn release the video and back up his claims?
DAVID and Victoria Beckham have returned to social media after their eldest son Brooklyn Beckham’s scathing six-page rant about their alleged “controlling” behaviour.
David and Victoria Beckham have returned to social media following their son Brooklyn’s scathing Instagram rantCredit: InstagramThe budding photographer, 26, went nuclear with a six-page rant alleging ‘controlling’ behaviourCredit: GettyVictoria returned to Instagram to wish her Spice Girls bandmate Emma Bunton Happy Birthday on her 50thCredit: InstagramDavid also returned to Instagram to wish fellow Man United alum Nicky Butt a special dayCredit: Instagram
Wedding Dress Controversy: Rumours begin circulating that there’s tension between Nicola and Victoria Beckham after Nicola chooses not to wear a Victoria Beckham-designed wedding gown. Nicola later clarifies in August 2022 (and again in March 2023) that Victoria’s atelier couldn’t make the dress in time, but reports in May 2025 suggest Victoria actually changed her mind about making the dress.
Post-Wedding (2022 onwards): Minimal interaction between Nicola and Victoria on social media, and noticeable absence of Nicola at key Beckham family events.
May 2025:David Beckham’s 50th Birthday Snub: Brooklyn and Nicola are notably absent from David Beckham’s 50th birthday celebrations in London, despite being invited. Reports suggest their absence was due to Brooklyn not wanting to be in the same room as Kim Turnbull, the girlfriend of Romeo who had previously been reported to have been dating Brooklyn, who David allegedly opted to have at the party over Nicola.
Rumours emerge of a falling out between Brooklyn and his younger brother Romeo, reportedly due to Romeo’s new girlfriend, DJ Kim Turnbull, who allegedly had a past connection with Brooklyn.
Reports surface that the Beckham parents are “hurt and disappointed” that Brooklyn is “playing no part in family life.” Sources claim that tensions between Brooklyn and Nicola and his parents are “definitely not beyond repair.”
July 2025: Reports indicate David and Victoria are “desperate” to reconcile with Brooklyn. Brooklyn publicly wishes his sister Harper a happy 14th birthday on Instagram, tagging Nicola, which is seen as a potential “olive branch” and a rare public message to his family amid the rumored rift.
Brooklyn UNFOLLOWS his brothers Romeo and Cruz just 24 hours after his birthday message to Harper. Nicola quickly follows suit and also ditches the Beckham bros from her Instagram following. Romeo and Cruz are now also no longer following Brooklyn.
As yet, Victoria and David have not commented on Brooklyn’s six-page statement.
Yet the former footballer was seen for the first time since the scandal broke as he attended the 56th annual World Economic Forum (WEF) in Davos, Switzerland.
Speaking live on CNBC’s financial program Squawk Box, Becks said: “I have always spoken about social media and the power of social media . . . For the good and for the bad.
“What kids can access these days, it can be dangerous.
The Beckhams will be in a tailspin – here’s why there is no going back
BY ELLIE HENMAN
Brooklyn Beckham has delivered what can only be described as the single most damaging blow ever to David and Victoria Beckham, albeit the whole Beckham family, with that explosive statement. But where do the family go from here?
Victoria and David are very much never complain, never explain. They are very much like the Royals in that sense. They will be in an absolute tailspin this morning because this is so damaging. This is a brand, this is a family unit they have built. They love their children dearly. They’ve always protected their happiness and tried to protect their privacy as much as possible. This has just blown every single thing apart.
Do I think the Beckhams are going to come out and say anything? No, I don’t. I think they’re going to say nothing. But I think one thing we can guarantee is there is definitely no going back now.
I think Brooklyn doesn’t want to go back. I think David and Victoria were always really open to reconciliation and I believe they probably still are. But this is so incredibly hurtful of Brooklyn to do so publicly.
Every single time I see an Instagram post by Brooklyn, his followers comment saying: ‘Call your parents!’ I wonder now if those people might have changed their minds and may be backing Brooklyn a bit more? Or are people are still going to be team Victoria and David?
It’s a tough one, but this is explosive and I actually still cannot believe what has happened.
“But what I have found personally, especially with my kids as well, use it for the right reasons.
“I’ve been able to use my platform for my following, for UNICEF.
“And it has been the biggest tool to make people aware of what’s going on around the world for children.
“And I have tried to do the same with my children, to educate them.
“They make mistakes, but children are allowed to make mistakes. That is how they learn. That is what I try to teach my kids.”
He added: “You sometimes have to let them make those mistakes as well.”
A source said: “Victoria is really embarrassed now she’s being mocked online, it’s just devastating to her.”
Brooklyn and actress Nicola Peltz married in 2022Credit: SplashDavid also wished Tracey and Phil Neville happy birthday on his pageCredit: InstagramThe eldest Beckham child made a host of claims in his upload, including suggestions his mum had danced ‘inappropriately’ at their weddingCredit: Getty
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As metaphors for the American dream go, Gabriel Tallent’s taut and engrossing second novel, “Crux,” is exceedingly direct: It’s literally a book about climbing.
Its two main characters, Dan and Tamma (short for Tamarisk) are 17-year-old high-schoolers living in the scruffy outskirts of Joshua Tree National Park. Whatever free time they can scrape together is wholly dedicated to climbing boulders, despite their lack of equipment — neither can afford pads or ropes to break their falls, and Dan salvaged his climbing shoes from a dumpster. (Hard living is Tallent’s specialty: His 2017 debut, “My Absolute Darling,” centered on a tween girl living by her wits in a forest near the Mendocino coast.)
No romance is in the offing between the two — Dan is straight and Tamma is exuberantly profane about being gay — so their bond is built almost entirely around climbing. “Any day you were going to climb granite was the best day in the world,” Tallent writes.
Tallent is well-versed in the lingo of the sport, and some of the book’s finest, most lyrical passages are constructed around it: “Her left foot greased out from beneath her, and she came cheesegrating down the slab,” he writes of Tamma slipping on a boulder. There’s no glossary, but the main terms are clear enough: to “send” a climb is to finish it; a “crux” is a crucial pivot point. The language is infused with intensity, lust and earthy rudeness: Climbs have names like Fingerbang Princess and Tinkerbell Bandersnatch.
Dan and Tamma are climbing toward something, of course: He’s pursuing a college scholarship and she is determined to infiltrate the world of professional climbers. If that doesn’t pan out for either of them, Tamma figures they’ll just chuck it all and live off the grid in Utah: “After graduation, you just go, ‘I’m not going to college! PSYCH! I’m going to Canyonlands with Tamma! Later, bitches!’ Then spike your diploma to the floor and walk out.”
But as her intensity suggests, both of them are running from things too. Each of their families are struggling, laid low by astronomical, ever-escalating medical costs and poor relationship decisions. Tamma’s mother is partnered with a drug-dealing layabout; Dan’s mother, a onetime successful novelist, has a worsening heart condition.
It doesn’t help that civilization seems determined to cut them off from the desert’s wonders. Crowds of weekend warriors limit their ability to climb in isolation, and the region is rapidly filling up with “mansions, survivalist compounds, movie-star bungalows” and more.
“Don’t ever mistake this for a country in which you can set off on your own,” Dan’s father tells him. “It’s not a place dreams come true, at least not anymore.”
If the novel stayed in that lecturing, gloomy zone, it’d be easy to lose patience with it. More often, though, Tallent demonstrates his characters’ precarity rather than declaiming about it. Dan has legitimate reason to wonder whether his college applications are worth filing in an era of late capitalism and a dying mother. Tamma is trying to find the emotional stillness to deal with a dysfunctional family that makes plenty of demands but offers little support. In that regard, “Crux” recalls the best recent novels that have drilled deep into the physical and emotional damage of life on America’s lower rungs: Atticus Lish’s “The War for Gloria” (2021), Barbara Kingsolver’s “Demon Copperhead” (2022) and Ayana Mathis’ “The Unsettled” (2023).
Such a list might also include “My Absolute Darling” too. But where that novel was intentionally defined to make the reader feel closed in, here the Mojave Desert vistas are free and expansive; whenever Dan and Tamma make a break for the boulders, it’s as if their hearts have cracked wide-open. “Every crunching footstep was real,” Tallent writes. “And when you were up on the rock, then every crystal, crack, and ripple was endowed with indissoluble, life-saving importance, each dike and chickenhead inalienably itself.”
But if the desert offers a source of inspiration and possibility, it’s also an inescapably punishing landscape, and the main theme of the novel is how much success — especially now, especially in America — is going to have to depend on individual resolve. Culturally, this typically gets framed as alpha-male, gym-rat bluster about bootstrapping. Here, a woman commands most of the stage. Tamma’s best lines in the novel are unquotable in a newspaper — they involve physically strenuous sexual fantasies involving Ryan Reynolds and various members of Fleetwood Mac — but her exhortations are typically 10 parts insult to five parts inspiration, with a dash of terror that she may fail. “I’ve seen into your heart, dude,” she tells Dan. “Your mom, she doesn’t know who you are, but I do. You’re not that guy. You don’t want to be safe.” It’s fun, headlong reading with a shot of melancholy. She’s trying to convince him, and her — and maybe us.
Dan, as bookish as he is athletic, approaches matters in a calmer register: “How should I conduct my life? Do you trust yourself, or do you not?” Still, the fear and frustration are much the same, and in this novel the tension, smartly and lyrically rendered, is at once wide as the horizon — how do we survive in this country? — and narrow as the slightest of nearly invisible footholds its characters require to get even a little bit ahead.
“Today” co-host Savannah Guthrie is on the mend after vocal surgery and has been keeping her “new voice” under wraps — mostly.
Guthrie returned briefly to the NBC morning show, calling in to Tuesday morning’s broadcast to share an update about her recovery with her “Today” crew and viewers. The news anchor, 54, has been absent from the “Today” desk since mid-December because of her vocal chord surgery.
The longtime “Today” personality and journalist began her cameo smiling and showing off her white board to her co-hosts Jenna Bush Hager, Carson Daly, Sheinelle Jones, Craig Melvin and Al Roker. Shortly after writing “love you,” Guthrie decided to do away with the whiteboard completely and began to talk.
“So I am still on vocal rest but I’m allowed to talk for about five to 10 minutes every hour,” she told her co-hosts. “This is my new voice — or my old voice. But my new voice.”
“Sounds the same,” Roker observed, while other co-hosts also discussed Guthrie’s sound.
Guthrie explained that her recovery will be “slow” and that she needs to be cautious about how often she talks while on the mend. She joked with Daly that the long weekend with her children tested just how much she can raise her voice post-surgery.
She also used her time on Tuesday’s broadcast to share details about her official return to “Today.” Guthrie told Bush Hager and their co-hosts that she will return to her duties on Monday. Before then, she will be featured in a “Today” story about her surgery set to air on Friday, she said.
Guthrie announced her surgery and her break from “Today” duties on Dec. 19. During that broadcast she told viewers that her “voice has been very scratchy and started to crack a little bit.” At the time, she said she learned she had non-cancerous growths on her vocal cords.
During Guthrie’s “Today” stop, Jones — who underwent the same surgery in 2020 — said “we take our voices for granted.” Guthrie ended her “Today” appearance expressing gratitude for her “Today” family and showing off gift mugs from her supporters.
