SHOW BIZ

THE SIDEMEN’S Josh Bradley has revealed he’s set to become a dad for the first time as his wife is expecting a baby boy.

The streamer took to Instagram to share a series of sweet snaps and captioned them: “Mum and Dad for real this time.”

In the snaps, Josh and his wife Freya Nightingale brimmed with happiness as they shared their joyous news with their followers.

After smashing a pink and blue gender reveal cake, the delighted couple shared they were having a baby boy.

The happy pair also posted a sweet image of their baby scan to their family and fans.

Fans flocked to comment and one wrote: “Announcement & gender reveal in one. YUPPPPP love you both so muuuuchhhh. Coolest parents.”

main man

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Another said: “Yes!!! Congrats!!!”

A third added: “Amazing news.”

A fourth wrote: “Oh my god!!! Huge congratulations to you both. This is the most amazing news.”

While a fifth said: “KSI left and now Josh and Freya are having a baby, the good news can’t stop coming.”

The Sidemen appeared to take a sideswipe at KSI after he announced he was splitting from the YouTubers last week.

In bombshell news the Britain’s Got Talent judge revealed he had recorded his last video with his mates and was flying solo.

The Sidemen put up a long post on their social media which seemed to criticise the way in which KSI did it.

They wrote: “Ideally, we would have loved the opportunity to give JJ the send off he deserved, a proper farewell video, time for everyone to process it, and a chance to celebrate everything we’ve built together.

“Unfortunately JJ released the news before we had agreed on a mutual way of letting our audience know.”

In the video KSI posted he said: “This is honestly the hardest video I’ve ever had to make in my life.

“I’ve gone back and forth on this decision for a very long time. I’ve spent months trying to figure out what the right thing to do is.

“But after a lot of thought, I’ve decided that I’m no longer be doing sidemen videos. Today, 31st of May, will be my final Sidemen video.”

A BBC expert has warned more than 270,000 people in England, Wales and Northern Ireland

More than 270,000 people across England, Wales, and Northern Ireland have received letters through the post, according to a BBC expert – and those who ignore them could find themselves facing court action. Viewers of BBC Morning Live were recently warned about the thousands of letters connected to county court judgements that have been dispatched over the past 12 months.

Expert Laura Pomfret explained to viewers that a County Court Judgement (CCJ) is essentially a court order issued in England, Wales, and Northern Ireland when someone fails to repay a debt and the creditor pursues enforcement action. She noted it could come from a council, company, landlord or a private individual – and if left unpaid, it can appear on the person’s credit report.

She said: “I think that’s what a lot of people resonate with that they’ve heard of CCJs can be bad for your credit. They stay on your credit report for six years. It can impact you getting a mortgage, even getting um a rental property. Sometimes credit checks are done, even when getting a mobile phone contract.

“It’s definitely something to avoid if someone can avoid it, and worryingly, in the first quarter of this year, over 270,000 new CCJs were registered, and that’s 17.5% up on last year. So this is obviously showing that people are struggling and in the energy industry is something that you know it’s it’s getting bigger and bigger.” She explained that these are frequently issued to those falling behind on energy bills — with the latest Ofgem figures revealing debt standing at £4.5 billion — while Energy UK puts the figure even higher at £5.5 billion.

She added: “That’s like such a big bill that lots of people are pay and people pay every month clearly struggling with it. And interestingly as well, credit card transactions in February were up 6% versus last February whereas debit transactions were only up 1%. And that also shows, you know, that people are having to rely on credit for even the most basic of bills.”

Ms Pomfret noted that receiving a CCJ typically follows a series of threatening letters, meaning the householder will already be feeling anxious. She said: “Firstly, it is upsetting to receive a formal document like that. If you get that through the post, it’s got a court seal on it it’s very formal. It might have followed you, you know, debt demand letters with red writing all over, which is overwhelming.”

“Firstly don’t be overwhelmed is easy to say but don’t be alarmed like it’s just a formal process it’s essentially a document asking you asking you for money and so it if it comes through the post you it will tell you what you owe it’ll tell you how to pay it and it will also tell you the deadline by which to pay so you have a few options when you receive a CCJ.” She explained that the first option was to repay the debt – and if someone does so within a month, it could be removed from their credit file. She said: “After that, it stays on your report, but it says that you paid it. So, please make sure you prioritise paying it.”

It’s also possible to vary the terms of a CCJ, she noted, which involves approaching the court to attempt to alter the conditions of the judgement. “Another thing that you may be able to do is apply for what’s called breathing space. So this is formerly called in England and Wales the debt respite scheme. “What this does is it gives you space from creditors, including the CCJ, and maybe gives you time to make a plan to pay it back or speak to a debt advisor, which is super helpful. The last thing that you may be able to do is you may actually be able to get the judgment or CCJ set aside. or recalled if you believed um that it’s an error.””

She stressed that there would need to be a legitimate reason to apply for it to be set aside, including submitting evidence, primarily that the individual doesn’t owe the money or that it’s a mistake. She added: “Another reason is that you didn’t receive the original claim form. So before a CCJ is issued or a decree is issued, you will get a claim form put forward and there’s an opportunity to respond.

“So you could have, for example, the wrong address, it could have been sent somewhere else. You may not have received it. Now, the court’s not going to take kindly to just saying, ‘I didn’t receive it.’ It’s kind of like the dog ate my homework sometimes for some people, but you may genuinely not have done. So that could be an option. Ultimately, you’re going to need evidence, you’re going to have to fill in the correct forms. You may have to pay fees to get it set aside, but you know, in the long run, it may be worth doing tha if you don’t want it to damage your credit.”

To find the steps and court forms involved in asking a court to vary the terms of a CCJ or decree, such as requesting to pay in instalments, or even how to get a judgment cancelled, you can click on the links below.

For England, Wales and Northern Ireland you can click here.

For Scotland you can click here., external

There temporary protection from your creditors while you get debt advice and make a plan.

In England and Wales this is called Breathing Space, and you can find information on that by clicking here., external

In Scotland this is called a moratorium, and you can find more information on that here.

DUA Lipa partied with friends until 6am at the finale of her three-day Sicilian wedding after Elton John sang and played piano for her ceremony.

The Be The One singer, 30, downed Negronis, drank champagne, smoked cigarettes and snogged new husband Callum Turner, 36, through the night, insiders said.

But The Sun can reveal security downed two drones by jamming their signals after they flew over the party, causing a huge security scare for the A-Lister guests.

We can also reveal she wore two dresses over the course of the night, both believed to have been designed by Donatella Versace.

Both dresses were white and floor length, and described by onlookers as “glittering”.

Dua, who wore her hair down, had a long train for her wedding ceremony, but slipped into a more comfortable one so she could dance at the afterparty.

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Guests wept earlier in a hugely emotional moment as Sir Elton John serenaded Dua by playing piano and singing Your Song.

But a source told The Sun there were concerns for the Rocket Man legend, who was visibly struggling with his eyesight and appeared frail as he had to be supported by two men holding him.

A source told The Sun: “He had a person on each arm to guide him because he couldn’t see but he played the piano so well.”

They were then treated to a wedding feast which included a catalan lobster salad, tuna, and pasta with lobster.

Guests also had cannoli – Sicilian sweet pastry treats.

Sir Elton John left after the dinner, around the same time as Versace left too.

An Albanian community group based in Palermo also danced at the reception for Dua as bands played live music to guests whose cheers could be heard from the neighbouring streets.

Kosovo-Albanian singer Besnik Qaka and his band performed inside the venue in the evening.

A spectacular ten-minute firework display wowed guests at 11.30pm, before they moved inside the Villa Valguarnera for the afterparty. DJs played music including discotech.

A huge security presence threw a ring of steel around the event, and staff all signed NDAs and had to hand their phones in at 11am and did not get it back again until they left in the early hours.

Dua and Callum Said I Do in the Garden before the reception began.

Guests sat on wicker chairs adorned with white ribbon and gifted hand-embroidered white handkerchiefs with ‘Stay Mad with Me Forever’ on them in red.

They also got a white cotton bag with a red ‘D and C’ on the chair, which was filled with biodegradable confetti.

Elton, 79, who flew in by private jet for the ceremony, and Dua are close friends after they collaborated on the track Cold Heart in 2021.

Italian fashion designer Donatella Versace, 71, was also at the wedding, held in the grounds of the 18th-century Villa Valguarnera in Bagheria, and is believed to have designed Dua’s dress.

Yesterday’s service followed an official one at Old Marylebone Town Hall in central London last week.

A-list guests in Sicily included Brit actor Joe Alwyn, American actress Grace Gummer and her husband DJ Mark Ronson, and pop star Charli XCX and her husband George Daniel, the drummer with The 1975.

Some guests were understood to have signed non-disclosure agreements to protect the privacy of the star-studded three-day celebrations, which kicked off on Friday.

A ring of steel surrounded the venue with metal barriers erected along the roads leading to it.

The villa, which featured in the opening credits of HBO drama The White Lotus 2, is widely considered one of the most historically and culturally significant villas in Sicily.

One Kiss singer Dua, who has an estimated net worth of £150million, and Callum hired the venue for a reported £86,000.

It was once a Mafia hideout but has since been taken on by 76-year-old Italian author and translator Vittoria Alliata di Villafranca, the Princess of Valguarnera, who still lives in the estate.

A huge floral installation of white peonies, hyacinth and lily of the valley from a local florist served as the backdrop for the couple’s vows in the striking courtyard.

Meanwhile the grand entrance to the villa was adorned with purple bougainvillea flowers — a defining feature of Sicily.

Dua is understood to have walked down the aisle with her dad and manager Dukagjin through the courtyard. Pale wooden chairs draped with a cream ribbon were arranged for 200 guests in a semicircle for the ceremony.

Wedding favours included white hankerchiefs embroidered in red with “Stay mad with me forever” and there was also a photo booth.

Guests arrived in chauffer-driven cars and were served wine and popcorn while waiting for the ceremony to commence.

The ceremony was followed by a traditional Sicilian menu from chef Tony Lo Coco’s Michelin-starred Bagheria restaurant I Pupi.

Guests then partied into the night with an outdoor DJ set.

Dua and Callum — who is among the favourites to be the next James Bond — are staying in a £6,000-anight suite at the five-star 19th Century Palazzo Villa Igiea in nearby Palermo.

They are reported to have reserved two floors of the hotel and are staying in the Donna Franca Suite with the private terrace offering panoramic views of the Tyrrhenian Sea.

They also shut down two city centre squares in Palermo for the first of three days of parties.

Last week The Sun revealed that Dua paid £5,000 to residents who live around the area to thank them.

But she was criticised by locals who stuck up posters accusing the singer of making their public space a “living room for the rich”. Others said: “Palermo is not for rent.”

Sir Elton John left Palermo in a private jet just after 12.30pm local time today.

The music legend, 79, was accompanied by husband David Furnish, 63, who took a photo of the singer with ground staff.

The £24,000 private jet headed towards Farnborough, near his home in Windsor. Elton was a blue tracksuit while David wore a yellow suit.

Call the Midwife favourite Judy Parfitt appeared on ITV’s Love Your Weekend with Alan Titchmarsh

A Call the Midwife legend has opened up about their emotional exit from the BBC drama.

Judy Parfitt is best known for playing Sister Monica Joan in the long-running series. Viewers were therefore left heartbroken when the cherished nun passed away peacefully in her bed at Nonnatus House in the season 15 finale.

During her final moments, Sister Monica Joan was emotionally reunited with Sister Evangelina (played by Pam Ferris), who unexpectedly died during the season five finale from a suspected stroke.

Actress Judy Parfitt appeared on ITV’s Love Your Weekend with Alan Titchmarsh on Sunday (June 7), where she was joined by Brian Conley, Freddie Fox, Julian Ovenden and Honeysuckle Weeks.

After being shown an “enormously sad” clip of Sister Monica Joan being reunited with Sister Evangelina, Alan said: “I can’t watch that,” with Judy admitting: “Neither can I!”

She added: “Showing me at my best, I see. Also, [I] had a cap and it had the thing [go] round, so all the wrinkles were pushed up. So, [you think], ‘God, do I look as bad as that?’ And the top lighting, it looked like the Grand Canyon!”

On being reunited with Pam Ferris, Judy went on: “It was absolutely wonderful, because, I think, Pam left after four years, and we used to sit together quite a lot during the time she was there, swapping recipes and everything – it was wonderful.

“I hadn’t seen her, we only phoned a couple of times after she left, and it was so wonderful to do that scene with her, because it’s like you’ve found your teammate, sort of [like] tennis or something, and she was throwing the ball back.

“It was just a lovely atmosphere, and we’ve kept in touch ever since then – it was lovely.”

Judy then looked back on being part of the drama for so many years, sharing: “It was like a family, and that’s what I miss terribly. We’d seen each other through marriages, births, deaths, divorce – everything. And we helped each other.

“It was lovely because it was mostly women. Sorry guys, but it was wonderful to be in a show where instead [of there being] 13 men and two women – one young one and one old one – you have a show with all these women. There was no jealousy, no rivalry or anything. It was wonderful.”

BBC viewers will be pleased to learn that they haven’t seen the last of Sister Monica Joan.

Following the latest season of Call the Midwife, the show will rewind the clock to World War II with a prequel series, titled Sisters in Arms, which will be set in Poplar during the London Blitz.

Creator and writer Heidi Thomas revealed that it will include younger incarnations of Sister Monica Joan, as well as Sister Evangelina and Sister Julienne (Jenny Agutter).

The returning Sisters will also be joined by three new young midwifes, who are new to the East End.

Call the Midwife is available to watch on BBC iPlayer, while Love Your Weekend with Alan Titchmarsh is streaming on ITVX

In this week’s episode of The Envelope podcast, “Love Story” stars Paul Anthony Kelly and Sarah Pidgeon open up about inhabiting John F. Kennedy Jr. and Carolyn Bessette — and creating a cultural moment of their own.

Kelvin Washington: Welcome to the next episode of The Envelope, Kelvin Washington alongside Yvonne Villarreal; we got Mark Olsen as usual. And so you, my friend, had a chance to speak with stars of “Love Story” — Ryan Murphy, of course, tackling love with this. So it got me thinking, give me some real-life love stories that you’d like to see portrayed, maybe next season. Some love stories you always found interesting.

Villarreal: This one doesn’t have a tragic ending, and that’s why I want it. And that is Ina and Jeffrey Garten. “Barefoot Contessa”!

Olsen: I didn’t know that there was a great romance in her life.

Villarreal: Mark. You’ve never heard of Jeffrey? You don’t know Ina and Jeffrey. OK, this is why we need it. That man adores Ina and anything that she makes. Chicken, anything. This is a love story I need to see get the full display. I’ve read it in her book, but I need —

Olsen: So like “Julie & Julia.” Julia Child and her husband.

Villarreal: But cuter, sweeter, more adoring.

Washington: Loving the food theme here.

Villarreal: She’ll make anything and he thinks it’s delicious, and she laughs at everything he says, and I just want more of it, and I’m very curious what a Ryan Murphy take on Ina and Jeffrey would be.

Olsen: But see, that’s the thing. A Ryan Murphy take on that would ruin it for you.

Washington: That would be dramatic and spicy. Salacious.

Villarreal: Nothing could ruin it for me.

Washington: You got one?

Villarreal: Yeah, what’s yours?

Olsen: Well, I have two. One is because the sort of the ’90s vibes of “Love Story.” So you would obviously do Kurt Cobain and Courtney Love. And that one would be very exciting and dramatic and very ’90s-ish. But I think for more of a torn-from-the-headlines [version], Taylor Swift and Travis Kelce.

Villarreal: It’s too current.

Olsen: That’s why though.

Villarreal: How about you?

Washington: So I’m gonna stay with your ’90s. Instead of the pop grunge. I’m going to go R&B pop. I’m going to go Bobby and Whitney.

Olsen: I mean, that’s gold right there.

Washington: I’m just saying. You got love, you got fame, you got tragedy. You’ve got stuff that we didn’t know about behind the scenes.

Villarreal: Maybe he could hire us as head writers for each of these seasons and we can all have our say.

Washington: We can all have our own season. So as I mentioned, Yvonne, you had a chance to sit down with Paul Anthony Kelly and Sarah Pidgeon of “Love Story.” How’d that chat go?

Villarreal: They play John F. Kennedy Jr. and Carolyn Bessette, respectively, and it sort of looks at this seven-year tumultuous relationship and what they both endured navigating the spotlight and what that did to them, how they each felt about it. So it was interesting to get the take from Paul and Sarah about how they’re also navigating the spotlight, because I feel like social media fame is quite different than what John and Carolyn were navigating back then. And I was curious to see what it was like for them. So yeah, it was an interesting conversation.

Washington: All right, let’s get into that conversation now.

Sarah Pidgeon and Paul Anthony Kelly, the breakout stars of FX’s “Love Story.”

(Jason Armond / Los Angeles Times)

Villarreal: I imagine doing this series has been a sort of singular experience. What do you want to remember about this moment that you’re in?

Kelly: All of it’s so fun, it’s exciting. It’s definitely, for me, a new muscle that I’m learning to use and explore and stretch and flex. And I get to hang out with her a little bit more. It was wonderful.

Pidgeon: I think it’s just really hard to contextualize what this [is] — [to Kelly] I don’t know if you feel this way too — because there hasn’t been a ton of space from even the show having all the episodes come out. I don’t think I totally understand how this fits into the story of my life. I recognize that we’re experiencing something very exciting. And I think I speak for both of us that we feel really grateful and so honored to have taken on these roles and that it’s resonated and has excited people. But being out and about in New York and someone stops you and says, like, “Are you that girl from that show?” … When you’re making something, it can feel so insular. I remember when I started, I had a freak out sort of midway through like, “Oh, this is actually going to come out. It’s not just about the making of it. People will see it.” I had a huge heat rash. [To Kelly] Remember when we were in Hyannis Port? I just haven’t totally had that perspective. It’s just been very full-on in the most exciting, lovely, happy way.

Kelly: It’s all unfolded in succession. There’s been no period of time to really process. I can’t believe I did it, still. It’s out and it’s exactly the same thing … people are like, “Hey, you’re the guy in that thing, right?” I’m like, “Yeah.”

Villarreal: Has it happened in an awkward way?

Kelly: No, no, it’s all been overwhelmingly positive. I guess that’s best-case scenario, but I still try to walk around with a mustache and glasses and a hat and they’re still like, “Hey …!”

Villarreal: You didn’t try to go to the [JFK Jr.] look-alike contest in New York?

Kelly: Oh, my gosh, no.

Pidgeon: He would have won. That wouldn’t have been fair.

Kelly: It’s too many people. I got the show, so I think I already won.

Villarreal: A big theme of the series is exploring the heavy ramifications of fame on privacy. And aside from the great opportunities that come with doing the press or other things that come along with this, what has it been like adjusting your life to this experience?

Pidgeon: That idea was on both of our minds when we were filming. And we were filming in New York, so apart from the scenes and subject material we were exploring, we actually experienced it in real life as well. You have even more characters in a scene when you’re shooting on the streets of Tribeca and people stop and watch. And there was a lot of interest from the public while we were filming. I’ve been marinating on that idea. Maybe not marinating, but meditating. [Or] a little bit of both. Through our characterization of Carolyn and John, I think we felt those extremes. I haven’t felt anywhere close to that. But I don’t know about you [Kelly], but I feel like I’ve been quite busy going different places, coming on podcasts and things like that where my downtime hasn’t really been spent walking the streets so much. It’s been kind of going home and taking a shower and going to sleep.

Kelly: Same. I haven’t really had much time to go out and just be in the public, which I think has been kind of a gift. I recently had a child, so I have no time between the show and being dad. It’s been really great to live within that little privacy bubble I have at the moment. I’m going to New York for the first time in a little while tomorrow.

Villarreal: Has living in their story made you more conscious of what types of boundaries you do want to set?

Kelly: Absolutely. That was a really great gift of the show. And exploring the exponential setting of what privacy means to people, certainly those two individuals. But now I’ve adopted that within my own life, and it’s like, “OK, yeah, I like to be a private person.”

Villarreal: What about you, Sarah?

Pidgeon: So much, at least for Carolyn, was she was constantly battling this sense of how she was being perceived. And I really admire her ability, whether or not she felt the pressure [to do so] — she never spoke on the record and never had to correct the record despite, in my mind, a lot of those allegations being false in the stories about her. That sense of sort of self-possession is quite admirable and, again, this is so new for the both of us. Being able to embody her, that approach and attitude towards it, is something that’s quite interesting to me. And I mean, it definitely has a lot of self-restraint attached to it, so who knows if I possess that as well.

Villarreal: The love story between John and Carolyn, as well as their fateful flight, generated a lot of media attention. And I know you, Sarah, were a toddler, at the time of their deaths; and you, Paul, were a young boy — and you’re a Canadian. What was your image of them in terms of the lore that surrounded them before making the series?

Kelly: Growing up in Canada, I was familiar with who he was. I became even more familiar with them after living in the States for a while. I was a model before, and I had been told I looked like him, so after being told that, you kind of do a little bit of research. Who is this guy? And I was like, “I don’t look anything like JFK.” But then I realized [they meant] JFK Jr. “OK, maybe; yeah, I do look like him a little bit.” So I became more aware of them after that. But growing up, it definitely wasn’t in my cultural zeitgeist, whatever you want to call it.

Pidgeon: I knew that Carolyn worked at Calvin Klein. I knew they were married. I knew their story. I was such a young child when they passed, but they remained so in the cultural conversation because, especially in 1999, they represented such hope in politics. And they’re such a modern couple, sort of breaking the rules of what those norms are, especially coming from such a storied family that has such legacy in the States.

Villarreal: There’s an overwhelming amount of source material from the Kennedy side, but less so on Carolyn. What proved to be most useful to you? What were the things that you turned to to study or figure out who she was?

Pidgeon: That was such a mystery. [I was] taking these still photographs, mainly paparazzi images — and now that I’ve had a few photos taken of myself, you hold yourself differently when you know someone’s taking a photo of you that you also don’t know. That plus videos of her, very few in which she was speaking. And some of the candid photos, mainly from when she was younger. I sort of laid those on top of each other and then used as many books that I could find and interviews that people would give who knew her. But there’s scarcity in terms of that information. That at times felt arresting, but at other times … there’s a lot of freedom in that. And I think that’s what was so interesting about playing this character that is so well known and yet very enigmatic. Finding her walk and thinking about how that changes over the course of nine episodes and six-and-a-half, seven years. How this woman with so much freedom and anonymity — 26 years old, living in New York City, barreling down these streets in the East Village — then changes when she’s the most photographed woman in America. How that perception changes you physically.

Villarreal: Her walk was very striking for me, because I’m like, I can’t move that way.

Pidgeon: Yes you can. You can get a pair of Manolos.

Villarreal: It won’t look as elegant as you, Sarah, but talk to me about finding that walk because, like you said, it shifts from when the onslaught happens. Did you work with a movement coach? Was that all you?

Pidgeon: Julia Crockett is so incredible. There’s not enough hours in the day to sing her praises. We started with a lot of what I just mentioned, the quotes that people said of how she moved. She spoke with her hands. She could be a fast walker — most people who live in New York are. If there was a video of what I was doing in these hotel rooms, they’d think I was absolutely crazy. Rolling around on the floor, isolating different parts of my body, making it as dramatic as possible, and working it into a circle of attention that felt real. And understanding we were both 5-10, which helps. I think tall women carry themselves in a certain way. But understanding that my body is still my body, and our production I don’t think was particularly interested in doing huge physical transformations in terms of prosthetics or things like that. But getting the shoes, walking around in my spare time in New York in heels, which Carolyn does in the show and Sarah Pidgeon does not. That really changes you and it changes how you feel. And just always having that through line of, “What were the touchstones of Carolyn as a young woman, and where did I want her to end up physically?” You can see it through so many different versions in these different photographs — her hair changes, how she dresses changes, the red lip. I [was] always remembering that there was a journey that I was going on: “How can the world close in on her? What does that feel like?” Also, not only putting it into my body first, but feeling it in my body, imagining that. And what are the images that come up? We thought about [her as a] mossy ball; very tactile, just rolling down these hallways in the Roosevelt Hotel in Hollywood.

Villarreal: Paul, you had about three weeks from when you got cast and when production started. And there’s ample stuff to sift through. How did you figure your way out through the noise? What was the thing that really helped you lock in to who he was?

Kelly: He narrates his father’s book, “Profiles in Courage,” and that for me was a great asset. I had to learn how to use my tongue in a different way than I’ve ever spoken before. His speech patterns are different. I worked with a dialect coach. I would listen to that all day, every day — amongst ’90s alt music, some Nine Inch Nails and stuff because that’s what John would do.

Villarreal: Was that what he was into?

Kelly: I think so. One of my favorite photos of him is a candid photo, and he’s wearing a Nine Inch Nails shirt. I’m like, “My guy! Here we go. I can relate.” I watched a lot of his interviews just to see how he kept his cool and composure. He was a very relaxed individual under extreme stress situations. The Larry King interview was a great one; I relied on [it] a lot. I also looked at a lot of images and saw how he moved through the world. I was a model before so I’m pretty good at understanding how my body moves and how to move it; I also worked with Julia pretty briefly, but she gave me some really great tips and I took those throughout the entire duration of filming and just ran with it.

Villarreal: Are you someone that takes bike as your transportation often?

Kelly: Oh yeah. Four wheels moves the body, two wheels moves the soul.

Villarreal: How is it doing it with the suit on?

Kelly: It’s hot.

Pidgeon: Yeah, you did a lot of that in July during a heat wave.

Kelly: Oh, my gosh, when we started filming, the first scene where John is introduced on the bicycle, we shot that on a Sunday and it was like 103 degrees outside and I’m in a ’90s wool suit. It was great … And a hat. And a backpack. There’s a photo where there’s several hands coming at me with fans and spritzer.

Villarreal: How about finding John and Carolyn together? What did that look like for the two of you, figuring out who they were as a couple?

Kelly: I feel like it happened organically. We had like this unspoken bond and trust with each other from the moment we met and it was just like, “OK, we both understand the assignment.” Then we get to step into these shoes and we understand what that was like, I guess, but just going through it together [helped]. It’s also so well written and it is easy to fall into that. It’s very easy to fall in love with this one every day and then fight.

Pidgeon: Oh, you flatter me.

Villarreal: Because you both were so young at the time that they were a couple, were there modern-day couples of your generation that you looked to in terms of how they dealt with the spotlight? Was there someone you were looking to, to help you understand it?

Pidgeon: I think they were pretty singular, especially considering so much of how we view them as a couple was the time in which they existed. I don’t think I can really point to a couple … obviously there’s a comparison with [Princess] Diana, but I can’t really I put my finger on a couple that had the same essence of John and Carolyn, or the same challenges and obstacles of being a couple in public life. [To Kelly] Can you think of anyone?

Kelly: Not really, no.

Pidgeon: It was also that we were coming in on this advent of paparazzi. Obviously coming from such an important family, there was — and I want to speak for you [Kelly] in terms of how you felt about your characterization of JFK Jr. — but there was so much investment in them as a couple because America, and really the world, had watched him grow up. So of course there is this heightened interest in who America’s son marries. And again, that hope that they were this modern couple, one that we’ve never seen before, and what will they become in this new millennium? In terms of finding them together, what was so wonderful about the writing of the show was they were — granted, it happened in about three or four episodes [for the show’s purposes] — but as we were getting to know each other, so were Carolyn and John. They were falling in love with each other and figuring out what that dynamic was and having those misfirings and miscommunications and moments of intensity and questioning. The amount of times I’ve used the word “meta” while talking about the experience of making this show, that sort of mirrored life in a way. I was able to just absolutely give over to Paul and trust him and be excited working with him every single day and be so curious about who John and Carolyn were that day on set. No one better than Paul Anthony Kelly.

Kelly: Oh, you flatter me.

Villarreal: There are a lot of scenes that are stuff that we’ll never know whether they actually happened. But then there are the moments that were played out in tabloids — one of them is the Bryant Park episode. What can you tell me about what that was like shooting on the streets of New York? What do you remember about that experience?

Kelly: What was it, the Nextdoor app called?

Pidgeon: Citizen.

Kelly: The Citizen app. They called it [a] “domestic dispute” … so we were obviously doing our job correctly. It was interesting. Shooting in New York is a very interesting experience because you have all these outliers just watching and gawking. Everyone’s got phones and cameras and what have you. And we’re so in it and doing it and then to have like this blowup argument over and over and again, take after take, angle after angle.

Pidgeon: I wonder if someone reported us just to be like, “Make it stop!”

Kelly: Yeah, exactly. Nobody tried to save you in the moment. Maybe that was them trying to save you [by posting it in the app].

Pidgeon: That was always something to contend with or accept, really, at a certain point. This is an expectation of working in the city. And what I really liked about that scene was that — considering there was such little videography of her, especially because that was a private moment that was unfortunately caught on tape — they both had less inhibitions. I found it [to be] a really amazing exercise as an actor to finally be able to really take something and mimic it exactly and find how the words that Connor [Hines] had written [aligned with it]; it felt like such a great sign when it felt the writing really matched what I physically knew to be true. Because our interest in the story is what happens behind closed doors, as you said. But in those few moments that we did re-create, the real-life [moments], it felt very reassuring as an actor to feel like the words that we were speaking matched the physical footage. I just found it such an exciting way to go about it, to have it really be this outside-in approach. You take this physicality and vocal pattern that I had developed as Carolyn, but then really have some proof for that to be the jumping-off point. I love that we had that scene; we had when they take their first photo after their wedding; we had, in Episode 9, the [Newman’s Own/George Awards] event. Remember that clip that we watched? We’re in the exact same outfits, and I think it’s the Newman’s Own event. I always appreciated those moments. It felt like a different way in to a character that I had really started to get to know at that point.

Villarreal: Whenever I watch something based on a true story or people that were like historical figures, I can’t help but Google to see if something really happened. Is there something you Googled in the process of making the show where you were like, “Did this really happen?”

Pidgeon: There’s a bit of speculation as to how they met. There’s a couple of different stories. Considering this couple was so well known, the fact that there’s still a mystery into how they even met for the first time I think is quite interesting.

Villarreal: I Googled — and I will say I clearly am not the only one that thought this because there was a whole story of it — “Did they really eat KFC chicken?”

Pidgeon: They did.

Kelly: Fine dining.

Pidgeon: You didn’t eat any chicken.

Kelly: Noooo. I got secondhand chicken. That chicken, oh my gosh.

Pidgeon: They did warm it up a bit, but it was pretty cold, you know.

Villarreal: We can’t talk about this show without talking about the wardrobe, the costumes. It’s such a key piece to the storytelling here. Tell me about that collaboration and what the clothes said to you about who Carolyn is and then who John is.

Pidgeon: Yes, clothes are incredibly important to the story and to how most of the public knows and remembers Carolyn. Working with Rudy Mance was so incredible. What he was able to source, while we’re not necessarily sure if they were pieces that Carolyn herself wore, they were the exact pieces of the exact same collection. The very few pieces we weren’t able to source, they were impeccably re-created. Just the attention to detail, I had never really experienced something like that. It was just really watching a master at work, and the rest of our crew as well; not a detail was ever overlooked. The mystery that we really tried to solve in the beginning was: Wow, there’s so many photos of her [from] ’95, ’96 and beyond; there are far fewer photos of what she looked like when she was working at Calvin Klein. And we’re in that space and that time for quite a while. From the photos that we do have of her living in this time in her life, and then how we know she will dress, what are the through lines? What are the pieces she repeats? I don’t think I wore much Prada in the first two, three episodes, which makes sense, because she was just starting out at Calvin Klein. We [had her wear] a lot of Calvin pieces. What was so insightful to playing her was her sartorial choices and her understanding of how, especially since she never spoke on the record, [and] what she can communicate through fashion and how in those initial fittings, even before I really spoke the words of those episodes, how it immediately changed how I held myself as Carolyn was growing and getting older. I keep referencing this quote about Yohji Yamamoto, a designer whom she wore frequently. He liked making the association with his clothing to armor. I just thought that was such a great way into her sort of mental state and how she approached clothing. It was very her, she wore the clothes. That was something that I had to remember, that if I was going to try and embody her, I had [to] feel like I was wearing the clothes because that’s what really stuck out. You always saw her first, despite her wearing some incredibly beautiful clothing. Carolyn was No. 1.

Kelly: John had such great style. Sometimes it was pretty kooky. I also loved that too because it just is such a sense of him. Working with Rudy was a dream. He and his team were incredible. They were able to source so many things. And if they couldn’t find it, it was a direct re-creation, like exact copy of what it was. I remember even just like those shorts with the Knicks logo that he wears playing football. I remember seeing a comment, “John would never wear those.” [Sighs.] “OK, sure.” There’s something about getting into those outfits that it just was this whole other transporting layer of becoming. You hold yourself differently in these things and it just made it feel more real and you’re like, “OK, cool,” and you just live in it and it feels good and you get slouchy and whatever. It was really nice.

Villarreal: How does your style compare? Did they influence your style now?

Kelly: Honestly, it’s a little different, but it’s not that far off. I feel pretty good in a suit. I like to wear suits a lot. I’m the suited heavy metal guy.

Pidgeon: You also have that cool factor about you too. I think there’s something in that with John. He looked great in a suit, he looked great in a tux, but then there was a bit of an edge to him. There was bit of a realness, I think, that you guys share.

Villarreal: Everyone’s trying to emulate it. So many TikToks of people trying to re-create it. Sarah, do you feel like you can never go back to brunette now? Like this is your thing now? You have to stick with it?

Pidgeon: The blond seems to be working. I like being a different hair color. I don’t think I’ll be blond forever. Simply too much time [involved]. It’s so much work. My colorist is amazing — Kari Hill. Cannot sing her praises enough. And Alex Pardoe, who does extensions. It’s been really interesting to find how I [am as a blond] — so much of my time being blond was embodying Carolyn. [Paul and I] would both sleep on the weekends. We wouldn’t do anything while we were shooting. So I didn’t really get a chance to take a walk in this new hair. And when I started dressing again, to go out, I would put on my favorite clothes from when I was brunette. It’s like, “Oh, it just doesn’t hit.” It’s been cool to see how I present and how color theory is crazy. But we’ll see, I guess it depends on how much time I have on my hands.

Villarreal: The series really grapples with the media invasion that swirled around them. What do you say to the critics that feel that a show like this either reignites that craze or contributes to it? What do you want the takeaway of a show like this to be?

Pidgeon: Thinking about one of the first questions you asked — how are we now dealing with with being potentially recognized — I think the intensity of interest in famous people, famous couples, celebrity, actors, musicians, you name it, artists, it’s changed shape, but it has never gone away. Our intention in making this show was, again, what we know about their lived reality, but what can we infer might have happened behind those closed doors. To the general public, [they were] sort of two-dimensional … I knew very little about Carolyn, but I ingested so many photos of her far before this project was ever on my radar. While I recognize this may have contributed to reigniting interest in them, I hope that that interest feels like there’s a more intimate understanding of these people; that they weren’t just figures, that they were people with very full lives, feelings, a profound sense of privacy, intense relation to each other, very, very human. I guess that would be my answer to that. I hope that this is also a bit of a lens or a mirror that, again, if that intensity hasn’t changed, how might we [change it] in the future?

What was the moment from the season finale of “The Pitt” that finally broke you?

Was it the shot of the day-shift staff watching the Fourth of July fireworks from the hospital roof, the sound of “America the Beautiful” playing in the distance? Maybe it was Dr. Al-Hashimi (Sepideh Moafi) crying in her car, realizing she can’t work around the seizure disorder that makes her a liability in the ER. Or perhaps it came when Noah Wyle’s Dr. Robinavitch (a.k.a. Dr. Robby) swaddled Baby Jane Doe, telling her that “everything’s gonna be just fine,” because she has “so many wonderful things to see and so many people to love.”

But what opened the floodgates for me, after the last half-hour of the episode left me completely dazed and dumbfounded, was Drs. Santos (Isa Briones) and King (Taylor Dearden) exorcising the day’s demons by belting out Alanis Morissette’s “You Oughta Know” at a karaoke bar and demonstrating that primal scream therapy is alive and well three decades into the 21st century.

Which is all to say: “The Pitt” is the only television show I’ve watched that gives me the same feeling I have when I read a great, immersive novel. When the end is near, I’m bereft. I’m Al-Hashimi in her car, wanting to pound the dashboard. I do not want to let these characters go. They’ve given me 15 hours and I still crave more. I would devour a series of short films about odd couple Santos and Whitaker (Gerran Howell) sharing an apartment or a summer spinoff showing Dr. Abbot (Shawn Hatosy) working off-hours as a SWAT medic. Anything to fill the long, “Pitt”-less weeks between seasons.

Instead, I’ll just have to content myself with scrolling through social media, watching fan-made videos of Dr. King self-soothing her way through the day, (this one, set to Vince Guaraldi’s score from “A Charlie Brown Christmas,” is the absolute best) and taking in the compilation of the show’s cast asking, “What’s the status on Baby Jane Doe?” in their best Katherine LaNasa Pittsburgh accent.

“The Pitt” won five Emmys from 13 nominations, including best drama series, for its celebrated first season, a 15-episode run that began with Dr. Robby up on the hospital roof talking down Dr. Abbot after an intense shift. The season ended with Dr. Abbot returning the favor after Robby and his staff ground their way through a day that included a mass shooting, a child drowning and a patient assaulting LaNasa’s no-nonsense charge nurse.

How do you follow that?

For a few episodes this new season, it looked like “The Pitt” wasn’t up to the task. We watched the ER staff dealing with a series of bloody, messy (the disimpaction!) medical maladies, an avert-your-eyes spectacle that felt like the writers were trying to one-up themselves and find the worst possible affliction to make viewers double over. Worse, the thrill of discovery that kept us invested throughout the first season, the slow drip of information about the characters, wasn’t quite there. Something was missing, and it wasn’t just Dr. Robby’s motorcycle helmet.

But the luxury of having 15 episodes is that the writers can take their time laying the groundwork for the story they want to tell.

And what a story it was.

Over the course of the season, we watched Dr. Robby disintegrate, his mental health more precarious than ever because he has done nothing to address his apparent PTSD. “You need help,” Dr. Langdon (Patrick Ball) tells Robby, confronting him in the finale. “Be honest with yourself.”

Robby isn’t the only one struggling, as Dr. Abbot puts it, to “dance through the darkness.” Langdon is back, managing his sobriety. Dr. Mohan (Supriya Ganesh) is having panic attacks. Santos is still dealing with self-harm. Dana remains haunted by that Season 1 patient assault and now carries a syringe containing a heavy sedative just in case somebody emerging from that overcrowded waiting room crosses the line again.

“I’ve seen so many people die that I feel like it’s leaching something from my soul,” Robby says. “I’m tired of feeling like I’m drowning every day.”

And there you have it, the subject of Season 2 of “The Pitt.” Medical professionals are gasping for air, and the American healthcare system, with its focus on profit above all else, is failing them and the patients they treat.

Remember Orlando, the patient with severe diabetic ketoacidosis who arrives at the ER after fainting? Orlando had to ration his insulin because he lacked insurance and felt he had to cut corners. He ends up leaving the hospital early, fearing the cost of treatment. Later he returns, having fallen (jumped) from a catwalk at his construction job, fracturing his skull. But good news: He now qualifies for Medicare and Medicaid due to long-term disability.

It’s a tragedy, one of many reasons the season finale shot of the ER staff holding back tears as they watched the Fourth of July fireworks felt like a body blow. “America the Beautiful”? How can that be true when the current administration is seeking $1.5 trillion for defense spending — nearly 50% more than this year — while cutting healthcare and social safety nets? How can that be true when an act known as the “Big, Beautiful Bill” removed funding from an already frayed healthcare system and exacerbated the shortage of care in rural areas of the country?

That one scene, the culmination of hours of careful, patient storytelling, said more about the disconnect between American ideals and America’s reality than anything else I’ve read or watched this year.

Give “The Pitt” all the Emmys. It has more than earned them.

Ben Gibbard remembers late 2023 as a time of competing realities.

Onstage, the frontman of Death Cab for Cutie and the Postal Service was thriving as his two bands toured together to mark the 20th anniversaries of Death Cab’s “Transatlanticism” and the Postal Service’s “Give Up.”

Behind the scenes, Gibbard’s personal life was in shambles.

“I was getting off phone calls — very difficult phone calls — 20 minutes before going on in an arena,” he says. The singer and his wife, photographer Rachel Demy, were in the middle of an agonizing breakup that would eventually lead to divorce. Yet audiences in the thousands were turning up nightly to see Gibbard reanimate the peak-millennial classics that made him one of indie rock’s defining stars.

“I’d just tell myself, You’re a professional — you’re gonna go out there and do it, and no one’s gonna know,” he recalls. “It was all waiting for me when I got offstage, of course. But for two hours I was able to disconnect and be a performer, which was incredibly …” Gibbard, 49, trails off into a laugh.

“I don’t know if it was healthy,” he says. “But it was helpful.”

Two and a half years later, that split-screen experience — “this idea of how we compartmentalize our pain or our grief or our trauma,” as Gibbard puts it now — forms a through line of Death Cab’s ruminative new album, “I Built You a Tower.” Due Friday from Anti Records, where the group landed after leaving its longtime home of Atlantic amid a corporate shake-up, the LP sets thoughts of broken fences and never-ending storms against tuneful arrangements that can churn, shimmer or chime.

“I pledge myself to your misery / I kneel at its throne,” Gibbard sings in his still-boyish tenor over the sleek new wave groove of “Trap Door,” “Respecting your proclivity / To languish on your own.” In the fuzzed-out “Envy the Birds,” the frontman recounts an argument between two lovers “spraying bullets of grievances”; the driving “Riptides” is narrated by a guy “too tired to end the war.”

“This record is definitely the result of a divorce,” Gibbard says plainly during a recent visit to Los Angeles from his home in Seattle. “But I didn’t want to make a score-settling record or an angry record. This wasn’t an opportunity to defame someone or make this about how I’d been wronged. People drift apart — relationships don’t work. And I think how that’s affected me at almost 50 is a very different mindset than I found myself in when I was 33 or whatever the last time it happened.”

Gibbard means his first divorce, in 2012, from the actor and singer Zooey Deschanel — a split that inspired Death Cab’s 2015 album “Kintsugi,” on which one song asks, “Was I in your way when the cameras turned to face you?” and another chides an unnamed celebrity: “You’ll never have to hear the word ‘no’ if you keep all your friends on the payroll.”

“There’s some gnarly stuff on that record,” says Gibbard, who’d moved to L.A. to be with Deschanel then promptly left as soon as their marriage collapsed. “It’s not exactly a kind album.”

Bassist Nick Harmer, who formed Death Cab with Gibbard in the late ’90s after the two met as students at Western Washington University, agrees that “I Built You a Tower” represents a shift in perspective. “There’s so much more self-examination — and so much more self-indictment,” he says. (Death Cab’s other members are drummer Jason McGerr, guitarist Dave Depper and keyboardist Zac Rae.)

Which isn’t to say that Gibbard entirely resists placing blame. In “Trap Door” he sings about “a trap door in your heart and a button on your desk well-worn from being pressed.”

The frontman says that in recent years he’d “tried to get away from using the word ‘heart’ because that had been a touchstone for so many of our early records.” Yet this line seemed worth holding onto when it came to him.

“I Googled it to see: Did I already write this?” he says, laughing. “Or is there a very popular song called ‘There’s a Trap Door in Your Heart,’ and now I’m just rewriting it? We’ve made a lot of songs at this point — you gotta check your work.”

Indeed, “I Built You a Tower” is Death Cab’s 11th studio LP. After the band’s previous album, 2022’s “Asphalt Meadows,” fulfilled its deal with Atlantic, Death Cab reupped with the major label for one more record, Gibbard says, based on its strong relationship with the company’s then-CEO, Julie Greenwald.

“Julie was our shepherd and our protector the whole time we were there,” the singer says of Death Cab’s nearly two-decade run at Atlantic, which began with 2005’s Grammy-nominated “Plans.” Yet just days after they reached an agreement for “Tower,” Greenwald was fired and replaced by a new leader, Elliot Grainge, about whom the band felt less than optimistic.

Ben Gibbard

(Cielito Mercado Vivas / For The Times)

“We weren’t given the impression that Elliot had spent a lot of time with ‘Transatlanticism’ in college,” Gibbard says of the 32-year-old exec, who made his name signing rappers like Ice Spice and Trippie Redd. With Greenwald’s help, Gibbard says, Death Cab negotiated an exit from Atlantic with ownership of the new album.

Did Grainge try to persuade the band to stay?

“Never heard a word,” Gibbard says.

In an email, Grainge (whose father is Universal Music Group Chairman and Chief Executive Lucian Grange) said that Death Cab’s music “has meant a great deal” to him.

“Working together may not have been in the cards for us; however, that does not lessen my enthusiasm for the band,” he wrote. “They have delivered an impressive body of work over their decades-long career, and I am looking forward to their new music.”

Death Cab’s Harmer says he and his bandmates “talked for half a beat” about putting out “Tower” on their own before thinking better of the idea.

“We’re not businesspeople,” Gibbard says. “Music is the only thing we know how to do.”

At a friend’s wedding in 2024, the frontman had been seated next to the musician Allison Crutchfield, who was then heading up Anti’s A&R department; early this year, Death Cab announced that it had signed to the indie label, whose other acts include Fleet Foxes and Madi Diaz.

This summer, the band will tour behind “I Built You a Tower,” including two shows in August at L.A.’s Greek Theatre. After the “Transatlanticism”/”Give Up” anniversary outing — not to mention a subsequent tour on which the group looked back at “Plans” — Gibbard is “very ready to play some new material,” he says.

Doing the hits was fun. “But at a certain point,” he adds, “it’s really about moving ahead.”

Audiences have been streaming their “favourite role” of Anthony Head’s, following the sad news of his death.

BBC viewers have spent this weekend rewatching a ‘spellbinding’ and ‘phenomenal’ drama.

Following the devastating news of Anthony Head’s death, fans have been paying tribute and watching one of his best roles.

The news of the Buffy the Vampire Slayer star’s death was announced days ago, with his daughters sharing the news that he had died aged 72.

“He passed away peacefully of complications due to pneumonia, surrounded by his family,” his daughters Emily and Daisy said.

Their statement went on: “It has been, and forever will be, an honour and a privilege to be his daughters, and to have witnessed firsthand the impact both he and his work have had on so many.”

Fans have now taken to social media to share they’ve been watching some of his works, including Persuasion, Ted Lasso and Vanity Fair.

“It’s a lovely tribute to remember artists for their work,” one fan wrote on Reddit.

Another replied: “My favourite was him in Merlin,” to which another said: “He was incredible as Uther! So intimidating!” “Right he was so good as Uther,” a fan agreed.

The beloved actor starred as Uther Pendragon, King of Camelot in the BBC fantasy series, alongside Colin Morgan as Merlin, Bradley James as Prince Arthur and Richard Wilson as Gaius.

Merlin aired for five seasons between 2008 and 2012, and followed a reimagining of the legend, in which the young warlock was sent to live with Gaius in Camelot after his mother feared for his life because of his gift of magic.

Working in court, he becomes Arthur’s manservant and spends his talent trying to protect him from evil forces.

Over years, the pair become trusted friends, despite Merlin keeping his magic a secret from all those around him, as he works to help Arthur become the King he was destined to be.

Fans have hailed Merlin as “spellbinding” and “one of the best,” with one writing: “The ending is heartbreaking and may leave you in an eternal sadness but it’s worth it.”

Another said: “I love Merlin, from the 1st episode I knew this would be an excellent show.”

“One of the best TV series of BBC,” another echoed, as one called it “perfection”.

Someone else called it “phenomenal”, as another fan called it “an epic masterpiece”.

Anthony Head previously spoke about how much he enjoyed playing his role in Merlin.

“He has so many levels, and that makes him fascinating,” he said in a 2010 interview.

“We established early on that he wasn’t just a two-dimensional baddie, and now his past transgressions have manifested themselves, which is great fun to play.”

He joked: “I also get to wear the cloak and sword, which reminds me of dressing up as a knight when I was a child.”

Merlin is available to watch on BBC iPlayer.

A site of big changes, the Music Center has become farewell central. Alongside the Gustavo Dudamel hullabaloo at Walt Disney Concert Hall, James Conlon has begun his final appearances in the Dorothy Chandler Pavilion as music director for two decades of Los Angeles Opera, with his own signature form of enchantment in Mozart’s “Magic Flute.”

The silent-movie panache of Barrie Kosky’s production, which opened Saturday night at the Dorothy Chandler Pavilion and runs through June 21, is on its way to becoming a perennial. This is the third revival since L.A. Opera first staged it in 2013 — all four times with Conlon in the pit. The production operates like an operatic graphic novel and live animated film charmingly all in one. The scene is a giant movie screen broken up in sections and upon which is projected witty, fantastical background animation, while the characters are the live singers, dressed as though silent film stars.

The orchestra plays Mozart’s score as though it were, as orchestras did in the old days, accompanying a silent movie but to radically different effect. Fulgurous cinematic spectacle may immerse your attention, but the opera’s essence is transferred from the stage to the pit. The singers, meanwhile, function to an unusual degree as choreographed characters in a cartoon, leaving little opportunity for body language, allowing, instead, individual expression almost exclusively to their voices.

In Mozart’s opera, Tamino, a prince in a fairyland of mystic temples and mystifying gods, relies on his supernatural flute that turn sorrow into joy to get him out of jams. The genius of Kosky’s singularly musical production is that it magically makes the orchestra itself a compendious magic flute. It more than ever becomes an agent of delight.

That is where Conlon comes in. He has, while leading L.A. Opera for 20 seasons (half the company’s existence), served as an advocate for the core operatic repertory — notably Mozart, Verdi and Wagner — much of it little heard in our late-blooming former operatic desert. He has also been an international champion of his “recovered voices” project, salvaging the neglected operas of composers in the first half of the 20th century who were silenced by Nazi Germany.

“The Magic Flute,” one of the world’s two or three most popular operas, needs no such patronage. Written at the end of Mozart’s life as a popular entertainment, its a singspiel, or sung play. As a proto-Broadway musical operatic genre of spoken word and musical numbers, it appeals on all levels. The fairy-tale libretto is child-friendly. Mozart’s score is tune heaven.

The troublesome Queen of the Night dazzles with high notes that shoot out like daggers. The main lovers, Tamino and Pamina, are lyrical wonders. The comical bird-catcher, Papageno, is everyone’s darling. The domineering Sarastro, an all-powerful priest, bellows spiritual profundities. But if you start digging under the surface, deeper than the symbolic Freemasonry and all, you may never find bottom.

The opera begins with three ceremonial chords in the orchestra that signal a brief, sober introduction quickly undercut by an exhilarating fast-forwarding overture. Those three chords can be made to mean many things. Often, they come across as commands by an orchestra to sit up straight and pay attention. They may be dignified or downright quirky and playfully no big deal, just a here-we-go.

Conlon handles them as a sweet, perfectly tuned, almost amorous invitation to pleasure, implying this will be a genial, gracious, laid-back “Flute.” Among his accomplishments in L.A. has been to make the opera’s orchestra capable of producing just such velvety, flowing Mozart, as well as terse, tight theater.

Here, Conlon offers a lesson in the kind of leadership generally lacking in modern society, by simultaneously staying out of the way yet being at the essential center of things. Depth here is not announced, but the care of phrasing implies that there is more to everything Mozart is saying than first meets the ear, that, under it all, the “Magic Flute” is not fantasy but a spiritual lesson in morality.

Many in the cast, this revival, are young singers, not yet well known and new to the company. Sydney Mancasola and Miles Mykkanen, as Pamina and Tamino, are likable, lyric lovers. Kyle Miller catches Papageno’s vulnerable charm. Aigul Khismatullina, Queen of the Night, impresses with the silvery pricks of her high notes, while Kwangchul Youn’s Sarastro, unsteady in middle register, takes on weight at the bottom of his bass. Zhengyi Bai’s lustful Monostatos, disguised in the production as a hammy vampire, almost steals the show a time or two. The Three Ladies and Three Spirits provide vocal allure.

One of the evening’s most theatrical moments, though, came after the music stopped when what sounded like a gun interrupted curtain calls. But as if rescued by a magic flute, an instant of fear turned to joy, glittery gold graffiti filling the Chandler and celebrating Conlon.

The World Cup arrives in L.A. on Thursday. This marks the first time the festivities have taken place in the Southland since 1994, when Pasadena’s Rose Bowl hosted the final between Brazil and Italy, which famously ended in a scoreless tie and was decided by a penalty shootout that led to Brazil winning its fourth World Cup title. (The U.S. hosted the Women’s World Cup in 1999 and 2003, with the finals at the Rose Bowl and Home Depot Center [now known as Dignity Health Sports Park], respectively.)

Soccer is art and art is soccer and soccer is life — and also one of the most beloved sports on the planet — and thankfully for you, dear arts lover, you can mix your passion for art and fútbol by heading to a free public viewing party at a number of local museums and cultural institutions.

This year sees Spain and France as favorites, with England, Brazil, Portugal and defending champions Argentina all in the running. No matter who your team is, there is a museum watch party for you. Here are your top choices, in no particular order:

The Getty Center: A variety of watch parties will take place on newly installed big screens at the museum’s Trellis Bar & Lounge and Garden Terrace Cafe, which will also feature themed menu items and drinks. The Getty will stay open until 9 p.m. on June 12, 19, 26 and July 3 to accommodate evening games. Normal Friday hours will resume July 10. Admission is free, but a reservation is required. Parking is free after 5 p.m.

Los Angeles County Museum of Art: The museum is hosting two free outdoor watch parties on large screens located on its Smidt Welcome Plaza on Wilshire Boulevard. Mexico vs. Korea can be seen from 6 to 8 p.m. on June 18; and Uruguay vs. Cape Verde will take place at 3p.m. on June 21.

LACMA is also hosting a few soccer-themed events, including “Andell Family Sundays: ‘Fútbol Is Life’,” set to take place on June 7, 14 and 28 from 12:30 to 3:30 pm. The event features art-making workshops inspired by the museum’s ‘Fútbol Is Life’ exhibit featuring soccer miniatures by Lyndon J. Barrois Sr., and led by artists Karl Petion and Patricia Yossen. There is also an event called “Let’s Play: Soccer Juggling,” from noon to 3 p.m. on June 21. This is also tied to the exhibit and offers lessons in soccer basics through a drop-in juggling and accuracy workshop led by representatives from American Youth Soccer Organization. All ages and experience levels are welcome. RSVP required.

The Autry Museum of the American West: The Autry’s free Griffith Park watch party will take place at 4 p.m. June 12 when Paraguay takes on USA. The event will feature food trucks, themed cocktails, soccer-inspired games and activities, and local vendors selling specialty wares. Free, but an RSVP is required.

The Music Center: It’s not a museum, but it’s one of the city’s most beloved cultural centers. It’s also hosting a free public screening of Spain vs. Uruguay from 5 to 7 p.m. on June 26 on its lovely Jerry Moss Plaza, including family-friendly activities and themed refreshments. Bring a picnic or pick your dinner from an on-site restaurant. Stick around after the game for a free global dance party celebrating the start of the 22nd season of the Music Center’s Dance DTLA.

I’m Arts editor Jessica Gelt putting my game face on. This is your arts and culture news for the week.

The week ahead: A curated calendar

FRIDAY

Gustavo Dudamel: Celebrating 17 Years
In his final concert as L.A. Phil music director at Disney Hall, the maestro joins his Venezuelan and American identities, conducting two poetry-inspired choral symphonic works. John Adams’ “Harmonium” borrows texts from Emily Dickinson and John Donne to explore time, harmony and rhythm. “Cantata Criolla” by composer Antonio Estévez follows a Venezuelan troubadour who squares off against the devil.
8 p.m. Friday and Saturday; 2 p.m. Sunday. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com

Haunted
In this one-act dance opera, composer Paul Salerni unites poetry and music to share a tale of doomed love entwined with a ghost story with an unexpected conclusion. Based on a libretto by former California Poet Laureate Dana Gioia.
8 p.m. Friday and Saturday. Sierra Madre Playhouse, 87 W. Sierra Madre Blvd. sierramadreplayhouse.org

SATURDAY

Family Fest: Pride
A free, outdoor event celebrating love, identity and inclusivity, featuring Bob Baker Marionette Theater, Iwalani Music, Everybody Dance LA, Drag Story Time, Color Me Face Painting and more.
11 a.m.-2 p.m. The Wallis, 9390 N. Santa Monica Blvd., Beverly Hills. thewallis.org

“Catapult” by Alex Gardner, 2025. Acrylic on canvas.
48 1/16 x 96 1/16 inches.

(Wild Don Lewis Photography; courtesy of Alex Garden and Perrotin)

Alex Gardner, Gabriel Rico and Makiko Kudo
A trio of new exhibitions connected through the natural world and the creatures, great and small, who inhabit it: In “Animals,” painter Alex Gardner explores his experience of fatherhood; Gabriel Rico’s “Gabrielinos (I Am You And What I See Is Me),” the artist’s first solo show in Los Angeles, uses textile, assemblage and sculpture to encourage viewers to think about the world around them; the life and death of Japanese painter Makiko Kudo’s pet cat inspired “Reincarnation,” a series of oil paintings.
Opening reception, 6-8 p.m.; exhibitions run through July 11. Perrotin Los Angeles, 5036 W. Pico Blvd. perrotin.com

Magnificent Mozart & Mahler
Eckart Preu conducts the Long Beach Symphony in two classical masterpieces, “Eine Kleine Nachtmusik” and Mahler’s Fifth.
7:30 p.m. Long Beach Terrace Theater, 300 E. Ocean Blvd. longbeachsymphony.org

Will Geer Theatricum Botanicum
The summer repertory season launches with Shakespeare’s “Romeo and Juliet” and “A Midsummer Night’s Dream” in the great outdoors of Topanga Canyon.
“Romeo and Juliet,” 7:30 p.m. Saturday-Sept. 26; “A Midsummer’s Night Dream,” Sunday-Oct. 10. Will Geer Theatricum Botanicum, 1419 Topanga Canyon Blvd., Topanga. theatricum.com

SUNDAY

Juneteenth Block Party
Debbie Allen Dance Academy (DADA) hosts its annual free community celebration featuring free dance master classes, live performances, carnival rides, games, food trucks, music and a marketplace for local and minority-owned businesses. Noon-7 p.m. Debbie Allen Dance Academy, 1850 S. Manhattan Place, L.A. debbieallendanceacademy.com

L’Chaim America!
The Braid theater company performs real stories of American Jewish life centered on gratitude and possibility.
2:30 p.m. Skirball Cultural Center, 2701 N. Sepulveda Blvd., L.A. skirball.org

MONDAY
National Museum of the Aftermath
The project, conceived and titled by Cauleen Smith and curated by Jon Rubin and Harrison Kinnane Smith, travels from city to city adopting a different name and form in each location. For two months, it will operate within Oxy Arts, challenging the status quo of history and speculating on the future.
11 a.m.-4 p.m. Tuesday-Saturday; through Aug. 8. Oxy Arts, 4757 York Blvd., L.A. oxyarts.oxy.edu

WEDNESDAY

Denise Burse, from left, Charlayne Woodard and Deborah Joy Winans in rehearsal for “Angry, Raucous, and Shamelessly Gorgeous” at Geffen Playhouse.

(Isaak Berliner.)

Angry, Raucous, and Shamelessly Gorgeous
An expat actor of a certain age returns to the U.S. primed for a comeback, only to face a new generation with very different ideas from her own. Written by Pearl Cleage and directed by LaTanya Richardson Jackson. Denise Burse, Olivia Washington, Deborah Joy Winans and Charlayne Woodard star.
Through July 12. Geffen Playhouse, 10886 Le Conte Ave., Westwood. geffenplayhouse.org

The Revolutionists
Playwright Lauren Gunderson turns France’s Reign of Terror on its ear in this raucous comedy about women fighting for égalité. Directed by Jamie Torcellini.
Previews, 7:30 p.m. Wednesday and Thursday; 7:30 p.m. Thursday-Saturdays and 2 p.m. Sundays, through June 28. International City Theatre, 330 E. Seaside Way, Long Beach. https://ictlongbeach.org/therevolutionists/

THURSDAY

Double Take: Photographs in Pairs
An intriguing exhibition matching photographs based on their formal qualities: the angle of a body, the geometry of a space, the relationship between figures and the interpretation of color. Photographers featured include Diane Arbus, Walker Evans, Robert Frank, Lauren Greenfield, Mary Ellen Mark, Helmut Newton, Irving Penn, Herb Ritts, Sam Taylor-Johnson, Bruce Weber and Bastiaan Woudt.
Opening reception 7-9 p.m. Thursday; exhibition runs through July 18. Fahey/Klein Gallery, 148 N. La Brea Ave. faheykleingallery.com

Esa-Pekka Salonen conducts the Los Angeles Philharmonic at the Walt Disney Concert Hall in 2025.

(David Swanson/For The Times)

Ojai Music Festival
This year’s music director, Esa-Pekka Salonen, is in the spotlight as a composer with the U.S. premiere of his new work for violin and cello and the first complete performance of his “Six Preludes” for piano, and other works; Salonen also conducts the Friday, Saturday and Sunday evening concerts. In its 80th year, the festival pays tribute to its defining musical figures and welcomes L.A. Phil New Music Group, Colburn Orchestra, L.A. Dance Project and many other noteworthy artists.
Through June 14, 2026. Libbey Bowl, 210 S Signal St., Ojai. ojaifestival.org

Rheology
This experimental play by Pulitzer Prize finalist and Obie winner Shayok Misha Chowdhury is a collaboration with his mother, physicist Bulbul Chakraborty, filled with dramatic urgency.
8 p.m. Thursday, and June 12-13. REDCAT, 631 W. 2nd St., downtown L.A. redcat.org

Thursday Night Jazz
Weekly series featuring guest musicians backed by the Jack Lieberman Trio. Upcoming guests include the Tyler Hammond Jazz Experience (June 11); Ido Eylon and Willem Jochems (June 18); and Joey Du Bois with Kahlil Childs (June 25).
8 p.m. Thursdays. The Spotlight, 1601 N. Cahuenga Blvd., Hollywood. thespotlight.la

Arts anywhere

New and recent releases of arts-related media.

Ann Patchett and her novel “Whistler.”

(Los Angeles Times illustration; images from Emily Dorio, Harper)

Ann Patchett, ‘Whistler’
What does a literary novelist have to do with the performing and visual arts? In Patchett’s stories, the past is often inextricably entwined with the present and within those threaded timeframes lie traces of genetic code leading to the arts and art-adjacent worlds. In “Taft” (1994), the protagonist is a former jazz musician turned Memphis bar owner; “The Magician’s Assistant” (1997) finds the title character unraveling the illusions of her own life; “Bel Canto” (2021) features a famous American soprano at the center of a hostage crisis; and “Tom Lake” (2023) revolves around a Michigan woman’s long ago love affair with a soon to be famous actor during a summer stock production of Thornton Wilder’s “Our Town.” Of the writer’s latest book, “Whistler,” Times contributor Leigh Haber wrote, “This exquisite writer has once again delivered an incandescent work of fiction — sweet, but never sentimental, infinitely wise and suffused with love. It’s also an ode to New York City itself.” And that ode notably begins with the protagonist and her husband at the Metropolitan Museum of Art. A place that Haber notes, “one gets the sense, they know by heart.” This connection to art may prove to be tangential — I’ve only read a quarter of the book — but Patchett’s appreciation of these worlds is anything but.
Harper: 304 pages, $30

— Kevin Crust

Culture news and the SoCal scene

Jeff LeBeau, left, and Tim Cummings in the West Coast premiere of Samuel D. Hunter’s “Grangeville” at the Ruskin Group Theatre Arts Center, dairected by John Perrin Flynn.

(John Perrin Flynn)

Times theater critic Charles McNulty reviewed the West Coast premiere of playwright Samuel D. Hunter’s “Grangeville,” directed by John Perrin Flynn, at the Ruskin Group Theatre. The play, which explores the lives of two estranged half brothers from a small Idaho town, is “beautifully acted,” McNulty writes, adding, that Hunter, “the bard of Idaho,” is “one of the theater’s outstanding American realists.”

McNulty also loved the Alicia Keys jukebox musical, “Hell’s Kitchen,” which staged its L.A. debut last week at the Hollywood Pantages Theatre. The musical tells the story of Key’s upbringing in the Manhattan neighborhood of the show’s title, but the story isn’t where the show shines, writes McNulty, noting that the joy comes from the way Keys’ music is seamlessly integrated into the narrative.

Yo-Yo Ma plays the solo for the premiere of Angelica Negron’s “Mudillo” on Thursday, May 28, 2026.

(Jason Armond / Los Angeles Times)

“Our streets are garlanded with ‘Gracias, Gustavo’ banners and billboards. The Walt Disney Concert Hall shop has become a Dudamel-torium, aisles bursting with Gustavo T-shirts, hoodies, tote bags, refrigerator magnets and this and that,” writes Times classical music critic Mark Swed in a review of Dudamel’s penultimate weekend at Walt Disney Concert Hall, including one featuring cellist Yo-Yo Ma.

Dancers from choreographer Benjamin Millepied’s L.A. Dance Project rehearse at LACMA’s David Geffen Galleries on Friday, May 22, 2026, in Los Angeles.

(Carlin Stiehl / For The Times)

Benjamin Millepied’s L.A. Dance Project is staging a free, two-week-long series of public shows called “City of Dance” which take place at nine Southern California landmarks, including LACMA, Hollywood Forever Cemetery, Tongva Park and Stearns Wharf. Read all about how the project came to be, including its use of Philip Glass’ score from the critically acclaimed 1982 documentary film, “Koyaanisqatsi.”

Wallis Annenberg Center for the Performing Arts announced its 2026-27 season.

(Jason Kempin / Getty Images for Wallis Annenber)

Wallis Annenberg Center for the Performing Arts has unveiled its 2026-27 season, its first under the leadership of its new executive director and CEO, Jean Davidson. Highlights include music by Joshua Redman Quartet; Ronald K. Brown and his dance company Evidence, comedy and cabaret by performers including Sandra Bernhard and designer Isaac Mizrahi; recitals by L.A. Opera, concerts featuring Los Angeles Chamber Orchestra and much more. “At the heart of this season is a belief in the power of live performance to connect people to ideas, to one another, and to the shared human experience. We are proud to support artists who spark curiosity, foster empathy, and invite dialogue, while continuing to strengthen The Wallis as a vibrant gathering place for all audiences,” said Davidson in a news release. See the full schedule here.

Pacific Jazz Orchestra also announced its 2026-27 season led by composer, arranger and conductor Chris Walden. The 40-piece string orchestra and big band hybrid is entering its fourth season with five programs dedicated to jazz, swing, soul R&B, Broadway and pop, staged in six venues across the region, including in Beverly Hills, Irvine, Northridge, Palm Desert, Santa Barbara and Ventura. Featured guest artists include Broadway star Sutton Foster, pianist David Benoit and vocalist Nayanna Holley. See the full schedule here.

UCLA’s Center for the Art of Performance has announced “Far Away, Here,” a new multiyear international opera initiative that will launch in the 2026-27 season with the U.S. premiere of a new adaptation of “Kafka’s Letter to His Father, “ scheduled to run Nov. 12-14 at the UCLA Nimoy Theater. The initiative will continue to present U.S. premieres of under-the-radar operas by artists from around the world, and is curated and produced by tenor Timur Bekbosunov, in collaboration with CAP UCLA’s executive and artistic director, Edgar Miramontes.

— Jessica Gelt

And last but not least

I told you where to watch the World Cup at area museums, but here’s a list for folks who would like to watch the old-fashioned way, at restaurants and bars.

Both SAG-AFTRA and the Writers Guild East are condemning the recent firings at CBS’ “60 Minutes.”

Under the news network’s editor-in-chief Bari Weiss, on-air correspondents Scott Pelley, Cecilia Vega, Sharyn Alfonsi and the program’s executive producer, Tanya Simon, have all been ousted from the legacy newsmagazine. The two unions, which represent journalists, said the recent actions appear to compromise editorial independence.

WGA East president Tom Fontana wrote in a letter to members on Thursday that the changes at CBS News “are more than mere ideological interference with the news. They display a profound contempt for the journalism profession.”

He added, “it is clear that CBS brass is engaged in a near-constant level of editorial interference that would have previously been unthinkable.”

Tom Fontana joined WGA and SAG-AFTRA members on the picket line in the strike over contract negotiation at Netflix and Warner Bros. Discovery offices on Aug. 15, 2023, in in New York City.

(Lev Radin / VIEWpress via Getty Images)

SAG-AFTRA similarly said in a statement Thursday that these “decisions can only be seen as part of a broader strategy to gut the crucial independent journalism that is so important to our democratic system.”

A spokesperson for CBS News said in a statement, “There is no political interference at CBS News, not from ownership, not from Bari Weiss. The only ‘interference’ is the normal back and forth between editor and correspondent that happens in every newsroom.”

Pelley, one of the program’s most high-profile correspondents, was fired on Tuesday after speaking out during a team meeting. He reportedly said Weiss “is murdering ‘60 Minutes.’ … She does not love this place. She was brought in to kill it, and she’s been doing exactly that.” He also questioned the newly hired executive producer, Nick Bilton, and his ability to run the show, citing his lack of TV news experience.

Pelley accused CBS News management of favoring the Trump administration by instructing him to put “falsehoods and bias into a politically sensitive story.”

“I’ve been told to include assertions that are unverified,” he said in a statement. “To date, in every case, I have ignored these instructions or refuse them.”

“60 Minutes” is now down four correspondents, following Anderson Cooper’s departure and the firings of Vega and Alfonsi. These are only the most recent controversial moves from Weiss, who’s set on remaking the institution long defined by tradition. She arrived at CBS News in October with no television experience, installed by Paramount Chief Executive David Ellison after he acquired her digital news outlet, the Free Press, with a mandate to change the network.

Since her hiring, there was a significant round of layoffs and CBS News Radio was shut down.

“I’m only interested in working in a newsroom that is built on trust and mutual respect,” Weiss said of Pelley’s firing during a meeting on Wednesday morning. “That foundation was broken on Monday, and despite our attempts to engage with Scott Pelley and to find a way back, unfortunately we weren’t able to do so, and so we had to part ways.”

The lack of reporters means “60 Minutes” will have to line up new talent quickly to fill the correspondent roles, as production of the 2026-27 season is already underway.

WGA’s Fontana added, “To our friends and colleagues at CBS News: We see you, and you are not alone. Thousands of your union brothers, sisters, and siblings have your backs.”

SAG-AFTRA also said the union is prepared to take “legal actions related to the company’s conduct over the last several weeks.”

Times staff writer Stephen Battaglio contributed to this report.

Coronation Street legend Amanda Barrie, who starred as Alma Baldwin on the ITV soap, is convinced bosses would’ve sacked her had her sexuality been made public at the time

Amanda Barrie is convinced she would have been axed from Coronation Street had producers found out about her sexuality. The actress, 90, starred as Alma Halliwell on the ITV soap from 1988 until 2001 and the character became known for her marriage to Mike Baldwin (Johnny Briggs) and ran the local café with Gail Tilsey (Helen Worth) before it was taken over by Roy Cropper.

In real life, Amanda was married to actor Robin Hunter from 1967 until the mid-1980s and she went on to tie the knot with crime novelist and former Mirror journalist Hilary Bonner in 2014, having chosen to come out as bisexual in her 2002 memoir It’s Not A Rehearsal, which she released shortly after quitting the soap.

Now, Amanda, has insisted that whilst the programme now has an influx of gay and lesbian characters, she had to keep her sexuality a secret and is now sure that, had she been open and honest about it, she would have been written out thanks to the attitudes that were in place in society at that time.

She said: “Not thought, I KNOW I would have been [fired], taking into account the climate at the time. Things are so different now. Corrie’s like Canal Street in Manchester these days.

“The people I was close to always knew about me and the relationships throughout my life. Being at the age I am, I still remember when gay men were absolutely crucified for being the way they were. “

Amanda, whose Corrie alter-ego Alma was memorably killed off following a battle with cancer, noted that these days it is “so much easier” for people like Christine McGuinness, who was rumoured to have been dating Nicola Adams after splitting from Paddy McGuinness, to discuss their sexuality publicly.

Now, the former Bad Girls star is just hopeful that eventually, society will arrive at a place where the announcement of one’s sexuality is not even necessary and it ends up being an “unimportant” factor in one’s personality.

Speaking to The Sun, she added: “I believe in the freedom to do and be exactly as you wish in life. To live in your own way. I dream of a day when people’s sexuality is regarded as so unimportant that no one even bothers to remark on whether somebody is gay or straight. “It’s probably a pipedream, but I still like to dream it.”

Amanda, whose stellar showbiz career also includes appearances in other TV favourites like Casualty, Amandaland, and Benidorm and has also seen her become a pantomime favourite, previously spoke of the surprise reaction she got from the public when she did eventually decide to go public about her sexuality.

During an appearance on Good Morning Britain towards the end of last year, she explained: “I expected to be stoned in the street, I got a lot of hugs. What was I in such a state about? Because it was just ‘Oh, I see, oh…'” before adding:

“You automatically revert to the way you’d always behave, lurking about with your head down editing your life is what you do. You change they, he, she, all that editing…”

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

FORMER Love Island star Ronnie Vint has hit out at Pete Wicks following his relationship with Olivia Attwood.

The ITV2 star – who has been friends with Olivia for over ten years – lashed out at former Towie star Pete.

Appearing on fellow Love Island star Tyrique Hyde‘s livestream Latta World, the 29-year-old footballer took aim at the Essex star and defended Olivia’s ex Bradley Dack.

Ronnie – whose ex is reality star Harriett Blackmore – made no bones about his feelings when talking to Ty and fellow islander Mitch Taylor.

During the live chat, he was asked a question from a viewer about Pete.

The video caption read: “Awkward moment chat brought up Pete Wicks situation to Ronnie on Tyrique’s livestream.”

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quick fix

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The star – who is undergoing a hair transplant – said bluntly: “We’re not talking about Pete Wicks,” then laughed wickedly.

Sidekick Tyrique asked: “What’s going on with Pete Wicks?”

An angry Ronnie vented: “F**k him.”

The star continued: “Brad’s my boy, man. My brother, and that’s all I’m saying.”

The 2024 villa star’s friendship with presenter Olivia has gone down the drain following her split with ex husband Bradley Dack.

The Sun previously told of a rift between the pair who met through Olivia’s estranged husband Bradley and considered themselves like “brother and sister”.

As revealed by The Sun, Olivia severed ties with the Love Islander earlier this year – with Ronnie telling friends there’s no going back after Olivia moved on with Pete.

Olivia first found fame on Love Island in 2017 when she reached the final with Chris Hughes.

She encouraged ex pal Ronnie to follow in her footsteps seven years later when he signed up to the ITV2 show.

Fans are still in the dark about what made ended Olivia’s relationship with her on/off partner of 11 years.

However, claims of a “breach of trust” on Bradley’s side were first reported as news of the split broke.

It’s thought Olivia later turned on Ronnie, who was Brad’s best man at their wedding, after discovering “he knew more than he let on”.

Ronnie made it clear he’s taken Bradley’s side by unfollowing her on Instagram after she was pictured kissing Pete in a packed hotel bar.

Olivia had already unfriended Ronnie online at the same time as she unfollowed Bradley.

Pete has known Olivia for around nine years and they both starred in Towie in 2019.

Last August they were pictured cosying up together as they partied with friends on a yacht off Ibiza, leaving Olivia “in the doghouse” with Bradley.

Since her marriage separation, speculation has mounted that Olivia has moved on with lothario Pete.

In a now deleted video shared on her social media, Katie teamed up with Lee’s ex-wife Dina for an episode of The Katie Price podcast. In clips circulating online, the pair could be seen hugging and chatting about Lee.

Katie told Dina in on video: “I came to Dina about one of the cases because I thought, is Dina involved? And then obviously we had a cup of tea, as girls do, we’ve had a long chat, and that’s for us to know, and for you to find out in the future. On that note, I’m glad we met Dina.

Dina also told Katie in the clip: “To be honest with you, I really didn’t care about responding to reporters and everyone that was messaging me. I mean, just out of respect, if there’s anything that I wanted to share and kind of warn her, if anything, it would be woman to woman, you know, face to face.”

THE friction between Sir Paul McCartney and Ringo Starr in 1970 will be brought to life in the upcoming Beatles biopic.

But I can reveal there is tension among the two actors playing the pop legends, too.

Oscar-nominated Barry Keoghan is playing drummer Ringo, alongside Gladiator II star Paul Mescal as Macca.

Sources on the set of the film, directed by Sam Mendes and due for release in 2028, have noticed that the relationship between the two Irish actors has become strained.

One said: “Barry has been rubbing people up the wrong way.

“His timekeeping is not always up to scratch and he often references that he is a parent — despite not living with his son.

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“He also brings his brother Eric on set as his assistant, which doesn’t always bring out the best in his character.

“Barry is professional and can bring out the best in any script.

“But he can test the boundaries off-camera.”

Paul and Ringo, the last surviving members of the band, clashed in 1970, shortly before the group split in April that year.

Paul was preparing to release his first solo album, McCartney, just a few weeks before The Beatles album Let It Be was due to come out.

His bandmates wrote him a letter asking him to delay it, and Ringo hand-delivered it to Paul’s home in London.

Paul, who is now close friends with Ringo, later admitted it was the only time he threw someone out of his house.

The new screen project is a series of four biographical films based on the lives and careers of each member of The Beatles.

The four intersecting biopics, written by James Bond screenwriter Jez Butterworth, will tell the story of the group from their humble beginnings in Liverpool to becoming the biggest band on the planet.

Stranger Things’ Joseph Quinn will portray George Harrison and Harris Dickinson stars as John Lennon.

Earlier this week, Harris and co-star Paul went to the Primavera Sound festival in Barcelona, where they were filming.

Of the four films, Mendes explained: “Each one is told from the particular perspective of just one of the guys. This is a chance to understand them a little more deeply.”

Even so, it sounds like there’s another meaty story behind the camera.

Reza’s sharpe move

MADE In Chelsea couple Reza Amiri-Garroussi and Bella Sharpe have got back together.

The pair, who first dated in 2024, have been spotted together in London.

It comes as Reza’s ex Ruby Adler announced her engagement to multi-millionaire Luxe Listings Sydney star Gavin Rubinstein after just a year of dating.

An insider said: “Reza and Bella split due to the pressures of filming Made In Chelsea. But now they’re taking a break from the show, they’ve reconnected.

“Reza always wanted to give the relationship another chance. With Ruby out of the picture, there’s nothing to stop them.”

Hopefully it’ll be second time lucky for these two.

CHLOE’S PRICE IS RIGHT

TOWIE’S CHLOE BROCKETT is dating a new man – her co-star’s ex.

I can reveal the reality star is courting Essex lad Daniel Price, who used to romance Yazmin Oukhellou.

Chloe recently split with Love Island champ Jack Fincham.

A source said: “Chloe and Daniel have kept their relationship quiet. They are enjoying getting to know each other. He treats her well and she is happy.”

It’s not the first time Yasmin and Chloe have shared the same taste in men after they both had trysts with James Lock.

Small world . . .  

BEBE AND JASON ON THE BALL

POP’S finest didn’t let the relentless rain dampen their spirits yesterday as they took to the stage to perform for Capital FM’s Summertime ball at London’s Wembley Stadium.

Bebe Rexha belted out hits in a denim corset teamed with a fluffy pink cardie, Jason Derulo ripped his shirt off to bust out some signature moves, and superstar DJ Fatboy Slim got fans dancing.

Lola Young was back on fine form as she sang her anthem Messy and expressed her gratitude to the crowd for their support.

Opening up about her sobriety on the socials this week, she wrote: “Sometimes I feel like I am grieving an old version of myself that I have chosen to let go of. Even though I chose a path that is better and safer, there are days where it still all feels wrong.”

 HOPEFULS GIVE XTINA ROLE A BURL

CHRISTINA AGUILERA has cast three young stars to share the lead role in her upcoming production of Burlesque The Musical.

British newcomers Natalia Jacques and Gracie O’Brien will portray Ali, the waitress-turned-dancer played by Christina in the 2010 movie.

American Cecilia Petrush will also star in the role.

Writer and director Steven Antin said: “When Christina brought Ali to life in the film, she created something truly iconic.

“Bringing Burlesque from screen to stage is about honouring that legacy. These three exceptional actresses step into those heels not to imitate Christina, but to continue the legacy she began.”

Burlesque The Musical returns to London this September at the new West End venue The Arts At Marble Arch.

Netflix boosts brand

NETFLIX has added rape- accused Russell Brand’s hit film St Trinian’s on to the streaming service.

The actor and comedian starred in the 2007 movie about rebellious schoolgirls alongside Colin Firth and Rupert Everett.

Netflix added the flick under “comedies” last month.

Brand starred as crook Flash Harry who taught the schoolgirls about “the seven laws of crime”.

He is accused of three rapes, three sex assaults and an indecent assault on six women from 1999 to 2009.

His trial at Southwark Crown Court is due to start in October and is expected to take up to eight weeks.

The former TV and radio presenter denies all charges against him.

Rupert, who played headmistress Camilla Fritton in the film, claimed Brand behaved “perfectly well” on set.

He said: “There were a lot of beautiful women on St Trinian’s and there was never any scandal to do with Russell Brand.”

Sean sis: it’s real deal

LOVE Island star Sean Fitzgerald has uncovered a perfect match in Lola Deal, according to his sister.

Gaelic footballer Sean, who is in a couple with former police detective Lola, sealed their romance with a kiss at the villa in Majorca earlier this week.

The hunk’s sister Katie revealed: “I absolutely adore Lola.

“She is gorgeous, so sweet, kind, and the smile she puts on Sean’s face is really nice to see.

“As of right now in the villa, I think Lola is best suited to him.”

She said of her brother: “I would just like to see more of his goofy side that we all see at home.”

JEANIE IS OUT FOR B*WITCHED

THEY rose to fame in the late Nineties wearing double denim – but Irish pop band B*Witched have revealed that the outfits in their 1998 hit video C’est La Vie were not actually planned.

Twin sisters Edele and Keavy Lynch, who supported their brother Shane and his Boyzone bandmates last night, sat down with Biz on Sunday’s Emily ahead of their performance at London’s Emirates Stadium.

Edele said: “The day before we were doing the C’est La Vie video, our clothes got stolen from the record company and they never knew where they went.

“So in a panic they ended up going to Levi’s in the morning to just grab some clothes.”

She added: “I still have my outfit from the 1998 tour and I still fit into it. I don’t know if that is a good thing or a bad thing at this point. My eldest daughter borrows stuff all the time and I’m always coming across it.

“In the winter she wears this white fluffy jacket which I wore for the To You I Belong video.”

The twins, along with bandmates Sinead O’Carroll and Lindsay Armmaou, released their single Firefly on Friday ahead of an EP in August – but as they gear up for their 30th anniversary, they don’t plan on hanging up their jeans any time soon.

Edele explained: “We’ve realised that if we turn up without denim, we might as well not sing.”

Asked about the possibility of being in a campaign with Levi’s, the singer said: “I think they are missing a trick.”

KATE’S SEACRET TALENT

KATE MOSS has made her debut as an artist this week by unveiling her first watercolour for sale.

The supermodel painted a green and blue seahorse, left, which is being shown alongside new pieces by Rolling Stone bandmates Ronnie Wood and Keith Richards, Hollywood actress Sharon Stone and Guns N’ Roses legend Slash.

The collection is being auctioned online to raise funds for Doodle Drop For Coral, a new campaign led by Project Zero, the ocean conservation charity co-founded by Ronnie’s son TYRONE WOOD.

Kate has signed her seahorse by hand, writing: “Love, Kate Moss”, alongside a tiny heart.

The current bid stands at £285.

A nude portrait of Kate was painted by the late British artist Lucian Freud in 2002. It sold for £3.5million.

Tyrone told me: “Kate’s seahorse is one of those pieces that makes you smile.”

NIGELLA LAWSON has revealed the secret ingredient she tucks into that keeps her skin looking young and plump.

The Great British Bake Off judge, left, said: “I’m a great believer in butter. I just eat what I want.

“I’m not punish-ing myself trying to look like a model. I just waddle over and enjoy myself.”

Speaking at London’s Japanese restaurant Nobu, Nigella insisted she will not jump on the tweakment bandwagon, adding: “Cosmetic work is a tyranny. I just think there’s no point.”

Remind me to include a tub of Lurpak on my shopping list.

Anthony Head, the British television actor who had roles in “Ted Lasso,” “Merlin” and most notably as father figure Rupert Giles in “Buffy the Vampire Slayer,” has died, his family announced Friday.

Head’s daughters Emily and Daisy Head confirmed his death to the Associated Press and said he died of complications from pneumonia. He was 72.

“Our grief is far greater than the hole he has left behind, but we know his legacy will live on, in the shows he was a part of, and in the audiences that love them,” Head’s daughters said in a statement to AP. “How lucky we are to know we are able to watch him doing what he loved, even when he is no longer with us.”

Head, a veteran of several BBC series including “Doctor Who,” became most familiar to American audiences in the late 1990s, playing Rupert Giles — a high-school-librarian-turned-magic-shop-owner and mentor to Sarah Michelle Gellar‘s titular character in “Buffy the Vampire Slayer.” He starred in a majority of episodes — 121 installments, according to IMDb — during the series’ run from 1997 to 2003. Head’s death follows those of fellow “Buffy” cast members Michelle Trachtenberg in February 2025 and Nicholas Brendon in March.

In addition to being Buffy’s advisor, Giles would go on to become a surrogate father figure to the slayer and her crew. In “Buffy” terms, Giles was a Watcher, a member of a council devoted to tracking and studying supernatural entities to keep evil forces at bay. Despite his stuffy demeanor and penchant for tweed, Giles was compassionate and had a rebellious streak, particularly in his youth. He would defy the rules set out for him by his job in order to save Buffy when he could.

Head’s portrayal of Giles left enough of an impression on audiences and series creator Joss Whedon that there was talk in 2001 of a Giles-centric spinoff. The series was planned to air on the BBC and was set to center on Giles and his sleuthing endeavors away from the main “Buffy” band. In the following years the potential miniseries evolved in to a one-off film, but Head finally confirmed in 2008 that the spinoff would not be moving forward. Whedon was “busy with another project, I’m tied up too, so at the moment I’d just say that it’s still out there,” Head told the BBC at the time.

After “Buff the Vampire Slayer” aired its final episode in 2003, Head continued his television work in British series including sketch series “Little Britain,” “The Invisibles” and “Free Agents.” His next prominent role would be in the fantasy series “Merlin” as Uther Pendragon, the King of Camelot and the father of would-be-king Arthur and sorceress Morgana Pendragon. The fantasy series premiered in 2008 and concluded in 2012.

In the following years he appeared in series “You, Me & Them,” “Dominion” and “Guilt,” among others. Head in recent years appeared in hit series “Bridgerton” and “Ted Lasso.” In the latter, co-created by Jason Sudeikis, Brendan Hunt and Joe Kelly, Head portrayed another Rupert — this time Rupert Mannion, a womanizing billionaire and ex-husband of soccer team owner Rebecca Welton (Hannah Waddingham).

Head, born Feb. 20, 1954, in London, was the son to documentary filmmaker Seafield Head and actor Helen Shingler. His older brother, Murray, is also an actor and singer.

Before Head became known for “Buffy the Vampire Slayer,” the actor gained a reputation among British audiences in the 1980s when he starred in a series of romantic ads for Nescafe Gold Blend instant coffee. The ads were later reshot for a U.S. audience for Taster’s Choice.

Head began his acting career in musical theater and has guest starred in series including “NYPD Blue” and “Highlander.” He appeared in a number of films, including in the Oscar-winning “The Iron Lady,” starring Meryl Streep as Margaret Thatcher.

Head is preceded in death by his partner, animal welfare activist Sarah Fisher. She died in 2025 at age 61.

Times staff writer Tracy Brown and the Associated Press contributed to this report.

Call “Scary Movie” lazy, dumb and offensive. It would enthusiastically agree. The lowbrow horror parody thrives on shtick about weed, race and genitalia. The only thing that scares it is high expectations.

But amid the rampant stupidity of the first “Scary Movie,” released in 2000, original director Keenen Ivory Wayans discovered two major talents: Regina Hall and Anna Faris. As heroines Brenda and Cindy, respectively, Hall and Faris were daffy, dopey and committed. Alongside a cast of Playmates (Carmen Electra, Shannon Elizabeth) and family members (Wayans brothers Marlon and Shawn), they played stupid like Shakespeare. In two decades since, both gave up the Ghostface to do better things: Hall in “Girls Trip” and “One Battle After Another,” and Faris in “Smiley Face” and “The House Bunny.” (Frankly, Faris deserves to be doing more.) If a sixth “Scary Movie” is going to lure them back for what the ensemble openly frets is a rebooquel — as in a reboot-sequel, here pronounced “re-booty call” — it better be good.

Fine, good is a stretch. The latest “Scary Movie,” which simply recycles the title “Scary Movie,” is as lazy, dumb and offensive as the others. But Hall and Faris, now playing the dotty mothers of the next generation of victims, are hilarious, romping about like their Brenda and Cindy have clearly been knocked on the head too often. (Brenda, fans of the franchise know, has technically already died twice.) I laughed 10 times, which makes this “Scary Movie” the best of the bunch — a pallid compliment.

Directing duties have shuffled to Michael Tiddes, a longtime Wayans collaborator, who gets gutsy performances from three of this entry’s newbies: Olivia Rose Keegan and Savannah Lee Nassif as Cindy’s estranged daughters, a pill-popper and a Wednesday Addams clone, and Ruby Snowber, maximizing every second of her feature debut as a high school tramp.

The Wayans clan left the series early on due to a contract dispute with Harvey and Bob Weinstein. Now seven have returned. Four Wayans (Craig, Keenan Ivory, Marlon and Shawn) co-wrote the script with Rick Alvarez; three more (Kim, Damon Jr., and Gregg) act in the film alongside Marlon and Shawn, who revive their characters Shorty, a stoner with a shrill cackle, and Ray, whose only personality trait is being gay. In one of many homages to “Sinners,” Ray promises a church he’ll act straight. Then he mimes tucking his manhood between his legs and dancing like Buffalo Bill in “The Silence of the Lambs.”

Yes, Shorty and Ray were also murdered in the first movie. No, it doesn’t matter. “Scary Movie’s” one genuinely ingenious move is to resurrect actors without shame. Jon Abrahams’ bad boyfriend (stabbed), Lochlyn Munro’s lout (slit throat), and Electra’s eye candy (pierced through the breast implant) are back, too, as are a pair of erotically linked survivors, Cheri Oteri’s news anchor and Dave Sheridan’s moronic cop, whose spittle-flecked chin is the grossest thing in a film that has a mall Santa costumed like “Terrifier’s” Art the Clown gifting a child a set of severed testicles.

“The Silence of the Lambs” remains the only horror film to win best picture at the Academy Awards. This “Scary Movie” has no delusions of that. Yet in the years since the last installment, 2013’s “Scary Movie 5” — a sequel so awful that even its own director, Malcolm D. Lee, later admitted, “It’s not worth your time” — the horror genre at-large has become ambitious, with “Sinners,” “The Substance,” and “Get Out” earning Oscar nominations and “Weapons’” witchy Amy Madigan seizing the supporting actress prize.

This “Scary Movie” makes fun of all four of those newer hits, as well as the recent rebooquels of “Halloween,” which was earnest, and “Scream,” which couldn’t decide what tone to hit. Each send-up is funny for at least an entire minute, a lifetime when you’re watching Marlon’s Shorty mug for the camera. Either Shorty has the most screen time or he’s just so excruciating that it feels like it.

I cannot make the straight-faced argument that the worst “Scary Movies” were held back by their source material. Still, it’s true that when the series was at its nadir, so few vibrant horror films were being made that it was stuck lampooning the now-forgotten Jessica Chastain chiller “Mama.” Likewise, when this “Scary Movie” takes a jab at Nicolas Cage’s more-kooky-than-tedious “Longlegs,” the limp gag of the creepy Shorthand (Chris Elliot), underscores that the movie itself just isn’t that interesting.

“Scary Movie” inserts two political jokes that earn a solid gasp-giggle-groan. Yet, the most grating new addition is a self-righteous student named Dei Meeks (Sydney Park), who polices the humor. The movie relishes killing the killjoy. A whole mob does her in; it’s the one death that feels angry. I’d have been happy to see her die in her first scene. Not that I empathize with canceled comics who posture as if they’re victims under attack, but it would do this country good if it could occasionally share a laugh.

Don’t waste one brain cell trying to deduce the assassin. The answer is surprising and satisfying. While the script’s hasty nods to “KPop Demon Hunters” and the biopic “Michael” make it feel like it was written on yesterday’s Kleenex, the immediacy allows “One Battle After Another’s” Teyana Taylor to acknowledge that Madigan’s Aunt Gladys stole her Oscar. Swilling tequila shots and hollering “Viva la revolución!,” she’s hysterical in the cleverest opening slasher scene since Drew Barrymore answered the phone in the 1996 “Scream.” I’d watch six more “Scary Movies” if Taylor starred in them. But like Hall and Faris, she deserves better.

Flynn Byron finally found out what solider Rory Dickson was hiding during the latest episode of BBC’s Casualty as his romance with Stevie Nash left fans gobsmacked

The ending of the latest episode of Casualty has left BBC viewers all saying the same thing.

Saturday’s (June 6) instalment of the medical drama finally revealed the deadly secret from Flynn Byron’s (Olly Rix) past, which explains his mysterious and fractured relationship with his former military trainer, Colonel Jack Bard (Mark Womack)

In the current boxset titled Lethal Legacy, the clinical lead has become concerned about the welfare of one of Bard’s soldiers, Rory Dickson (Gwïon Morris Jones).

After noticing several injuries on the young man, Flynn has reached out to Rory several times, but has been silenced by Bard each time raising suspicions.

In the latest episode, Flynn rushed to hospital in the middle of the night to see Rory, who was brought in after being found drunk on a busy road. Rory received a mental health assessment before being released but Flynn was convinced that he was at risk of harming himself.

Flynn asked Rory to stick around so he can patch him up in his office and Rory later admitted that he’s being bullied by Bard, disclosing various horrific incidents that he has experienced at the barracks.

However, after Flynn secured Rory a place at a recuperation facility, the soldier vanished. A packet of drugs also went missing and Flynn headed out fearing the worst. Thankfully, Stevie found the medication in the hospital.

Flynn then got a call to say that Rory was in a critical condition after being hit by a car. Flynn rushed back to the ED to find Rory in cardiac arrest, but against all odds, managed to restart his heart.

Deeply affected by the events of the day, Flynn went out for a drink with Stevie Nash (Elinor Lawless) on the canal and the pair had an honest chat about her current struggles and they headed to a bar to shelter from the rain.

Flynn told Stevie that he started basic military training at the age of 17 with a boy called Adam, whose name was mentioned earlier in the boxset. Adam was also bullied by Bard and his ordeal led him to take his own life.

He signed a statement out of fear saying that Bard had nothing to do with Adam’s death but in an emotional moment, he explained that his fight to get justice for Rory is partly to make up for his past regrets.

Stevie sent Matty Linklaker (Aron Julius) a text to end their secret fling and she continued to drink with Flynn. He initially decided against sharing a taxi with Stevie but as he started walking in the rain and released that he wants to be with her.

He rushed back to the bar and was gutted to realise that he was too late as Stevie had already left in a taxi, leaving fans begging for next week’s episode already.

Taking to X, formerly known as Twitter, one fan penned: “I am SCREAMING at today’s #Casualty I will simply never recover.” Another added: “Those final scenes between Flynn & Stevie in tonight’s #Casualty were [flame emoji].”

A third person said: “That end montage with Stevie and Flynn? It’s all probably going to go pear shaped though when he finds out about Matty.”

A fourth person said: “That ending had me literally jumping up and down, next week needs to hurry up already.” Someone else agreed: “Today’s episode was intense and full of emotion.” Could a love story be on the horizon or have Flynn and Stevie missed their chance?

Casualty airs on Saturday nights on BBC One and now streams first on BBC iPlayer at 6am on the day of transmission

For emotional support, you can call the Samaritans 24-hour helpline on 116 123, email jo@samaritans.org, visit a Samaritans branch in person or go to the Samaritans website

DUA Lipa has tied the knot for a second time to actor Callum Turner in a picture perfect Palermo-based ceremony.

The popstar and her new husband, who made it official last week with a London town hall wedding, exchanged vows in front of family and famous friends as part of their £1.5m wedding extravaganza in the Italian holiday hotspot.

Dua, 30, and Callum, 36, said ‘I Do’ to one another in an outdoor ceremony adorned with high trees at the magnificent 18th century Villa Valguarnera with A-list pals Charli XCX, Mark Ronson and Tame Impala in attendance.

The Sun can exclusively reveal that bride Dua, 30, walked down the aisle with a bridal bouquet made up of lily-of-the-valley, peonies and hyacinths from a local florist.

Amid the vow renewal, music legend Elton John serenaded the couple with a rendition of his smash hit ‘Your Song’ in an incredibly emotional and touching moment.

The special performance prompted tears all round as the 79-year-old belted out the classic love song for his beloved pal and her new husband.

THESE WALLS

Dua Lipa and Callum Turner’s wedding prep is underway as security ramps up

WHITE HOT

Dua Lipa & husband Callum are cheered by A-list guests at wedding cocktail party

Elton, 79, and the Be The One singer have a firm friendship with the two previously collaborating on single Cold Heart back in 2021, a remix of his iconic song Rocket Man (1972).

The ceremony kicked off at 5pm and lasted for around an hour with guests arriving from 3:30pm in a whopping 60 minivans.

The bride and groom turned up in a luxury Mercedes Maybach Class V at 3pm prompt to greet their guests ahead of the nuptials.

Post-ceremony, a posh dinner is expected to be laid on by a two Michelin star chef from Rome, and speeches, before the celebrities dance the night away with a party set to go well into the early hours. 

The evening is split into three moments: ceremony in the courtyard, a dinner, followed by an outdoor DJ set by four prominent names on the international music scene.

A huge amp system has been set up in anticipation, with diffusers positioned towards the estate and the villa park to limit sound waves travelling into the Bagheria town

Dua’s wedding dress – a well-kept secret – is rumoured to have been designed by Donatella Versace, who attended a pre-wedding drinks reception last night as she and Callum kicked off their celebrations. 

They shut down two city centre squares in Palermo as famous music pals gathered to celebrate the couple. 

Dua stunned in a white, backless Bottega Veneta dress and also had a £2580 Bottega Anidamo leather clutch bag and Bulgari jewels – including a classic £185,000 Manchette watch. 

She was seen dancing to Le Freak and Kylie Minogue’s Spinning Around.

Waiters later bought out Margarita pizza for guests on silver trays. 

A ring of steel was put around the Piazza Sant’Anna and Piazza Croce dei Vespri with police and private security blocking off access to the public.

The Sun revealed that Dua paid £5,000 to residents who live around the Piaza Croce dei Vespri, where the party was held, to thank them.

But she faced a battle against some protestors who stuck up posters in nearby streets accusing the singer of making their public space a “living room for the rich”, insisting: “Palermo is not for rent.”

Dua and Callum are staying in a £6,000 a night suite at the five-star Villa Igiea.

Their Donna Franca suite has stunning views of the Mediterranean Sea and is described as the hotel’s crowning jewel. 

Love Island’s Maura Higgins is reportedly in talks to host the new Blind Date reboot on Disney+

Maura Higgins could be poised to transition from seeking romance on television to assisting other singletons in finding “the one”.

The former Love Island contestant is said to be in advanced discussions to become the face of the reboot of Blind Date with streaming behemoth Disney+ reportedly preparing to commence filming later this year.

Maura, 35, initially rose to prominence on Love Island in 2019 before establishing an impressive television career on both sides of the Atlantic.

Since departing the villa, she has featured on programmes including Love Island USA, The Traitors US, Dancing On Ice and I’m A Celebrity… Get Me Out Of Here!.

Now sources suggest producers are convinced she represents the ideal candidate to follow in the footsteps of legendary presenter Cilla Black.

A TV insider told The Sun: “Discussions are at an advanced stage, with the show’s producers convinced Maura’s the perfect choice for the job.”, reports the Daily Star.

“Not only did she shoot to fame on a TV dating contest, she is now an internationally famous face which is what a global service like Disney need for one of their shows.

“Maura also has an unquestionable glamour combined with cheeky charm which has echoes of Blind Date’s most famous host.” Daily Mirror has reached out to Disney and Maura’s representative for a comment.

The original Blind Date became one of Britain’s most successful television programmes after launching in 1985, with Cilla Black at the helm. At its height, the show drew audiences of up to 17 million viewers before ultimately being axed by ITV in 2003.

A subsequent Channel 5 revival presented by Cilla’s dear friend Paul O’Grady aired between 2017 and 2019 but struggled to capture the original’s sparkle.

Reports of a fresh comeback initially surfaced last year, with executives said to be determined to secure a female presenter who could deliver a contemporary twist while maintaining its sentimental appeal.

It is understood the iconic wall dividing contestants from their prospective dates will be retained, though other aspects of the format may be modernised for today’s audience.

The development would represent another significant career achievement for Maura, whose public profile has continued to rise since her reality television debut.

The Irish star has established herself as one of the most prominent figures to emerge from Love Island and remains a consistent presence on television, red carpets and high-profile entertainment occasions.

Disney+ is anticipated to premiere the reboot at some point next year, with an official confirmation still to be announced.

Netflix have updated their viewing figures and it makes for a compelling list of what you should binge next

If you’re looking for the next binge watch to see you through the weekend, Netflix already has you covered.

The streamer has updated its latest viewing figures and it pretty much reads as the new list of recommendations you need. So rather than scrolling through for hours on end, you can make your way through at least one of these titles and it will most likely only take you one sitting.

Not only that but there is something for everyone, including a sci-fi hit, a tense crime thriller and also a heart warming laugh out loud comedy.

The Boroughs

Website Collider call the series a ‘sci-fi masterpiece’ and compare it to a Steven Spielberg movie. They also report that the title managed to accumulate 15 million views in its first 10 days of being available.

It is the most watched Netflix series globally over the last couple of weeks and remains in the UK top 10 at the time of writing. It is set in the sun-drenched expanse of the New Mexico desert and a picturesque retirement community which promises its residents the time of their lives.

But for new arrival Sam Cooper, paradise feels more like a prison. Everything changes when a terrifying night time encounter reveals that something monstrous is stalking the manicured cul-de-sacs.

One review said it is “Stranger Things Meets Thursday Murder Club”. Meanwhile many viewers say they watch it in one sitting. A fan added it “has everything that your next binge-watch needs.”

Nemesis

Coming from the creator of Power, the eight-part series follows two rivals from opposite sides of the law who are at each other’s throats when a daring heist in Los Angeles opens up old wounds. What follows is an exhilarating game of cat-and-mouse as an LAPD cop desperately tries to hunt down a criminal mastermind behind a string of robberies.

One viewer claimed: “Kept me engaged and not sure whose side I was on. Binge watched twice. I need season 2.” Another said: ““Binged in one sitting- very authentic catchy story line. I hope there is a season two.”

While someone else contributed: “This was a masterpiece! The rollercoaster, amount of cliffhangers, and overall writing was top notch!” It has spent three weeks in the global top 10 charts also claiming more than 15 million views on the streamer.

The Four Seasons

One of the more recent additions, the series has just returned for its second season. Co-created by 30 Rock’s Tina Fey and based on the 1980s movie of the same name.

A group of married couples who regularly vacation together throughout the year reunite once again after one of the most difficult times in their relationships. They have new members of the group to contend with as well as some old problems.

It has immediately become the third most watched series across the world among Netflix users. Many fans admit to becoming ‘obsessed’ with it.

One person simply shared on social media: “The Four Seasons” is a must-watch series on Netflix.” Someone else added: “I binged it the day it came out with my man. We’re obsessed!” Another admitted: “I literally started it last night and I’m already on season two. I love it.”

The Witness

This is Netflix’s latest true crime thriller. While the platform have yet to release the official viewing figures, it has immediately surged to the number one spot among UK subscribers.

As a result, it’s expected to compete with the numbers of all the titles already mentioned. Consisting of only three episodes and based on a gripping but horrifying true story, it is bound to keep viewers captivated and watching all the way through in one go.

It follows the experiences of Alex and André Hanscombe as they deal with the devastating impact of a brutal act of violence. When Rachel Nickell was killed on Wimbledon Common in 1992, André became a single parent overnight. Putting his own grief to one side, he made his son Alex – the only eyewitness to the attack – the centre of his world.

This is the story of how a father and son moved through the aftermath of unimaginable tragedy, from darkness into light. Fans sharing their thoughts on the series include one who posted: “15 mins into The Witness on Netflix and I’m already broken.” Someone else said: “The Witness on Netflix will give you the chills.”

Ted Lasso star Brett Goldstein has denied he is dating his Office Romance co-star Jennifer Lopez, but what do we know about his love life?

The Office Romance leads have quashed speculation following their chemistry-filled promotional appearances.

Brett Goldstein has dismissed talk of a romance with Office Romance co-star Jennifer Lopez, leaving admirers wondering about his actual relationship status.

The Sutton-born Ted Lasso actor plays Daniel, a bumbling solicitor alongside JLo’s formidable airline boss Jackie in Netflix’s latest rom-com destined for success.

When the corporation becomes embroiled in legal action from a fearsome competitor, Daniel and Jackie are thrust into close proximity, though the firm’s strict no-dating policy throws a spanner in the works as their attraction intensifies.

Speculation about an off-screen relationship between the leads gained momentum throughout the film’s publicity campaign, fuelled by their undeniable on-screen rapport, reports the Express.

Yet during an appearance with Savannah Guthrie on The Today Show, the duo cleared up the confusion by confirming they’re not an item.

“There’s never a time when I’m seen with somebody or working with somebody where they don’t try to put me with the person,” Jennifer quipped.

Brett added with a laugh: “If you stand near her, that’s what happens.”

Jennifer’s marital history includes four marriages, with her most recent being a rekindled relationship with Hollywood A-lister Ben Affleck. The couple wed in 2022 before divorcing last year.

Regarding Brett’s romantic situation, inquisitive supporters will find little satisfaction as, similar to his Office Romance alter-ego Daniel, he maintains strict privacy around his personal affairs. Details about his love life remain largely under wraps, though he previously had a relationship with fellow comic Beth Rylance.

During his Emmy acceptance speech for Ted Lasso, he gave her a shout-out, quipping: “I was very, very specifically told I’m not allowed to swear, so this speech is going to be f****** short. Beth, I love you.”

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Beth herself responded in a since-deleted tweet: “Today is the day that my boyfriend goes to the Emmy’s as a Best Supporting Actor nominee and I am at home on my second load of laundry. Just to confirm, my boyfriend is Kenan Thompson off of SNL.”

The timeline of Brett and Beth’s romance remains unclear, as does when they parted ways. Currently, Brett is thought to be unattached. He is almost certainly unmarried as he has not been spotted wearing a wedding ring.

He’s recently been contemplating the notion of soulmates, particularly after starring in his 2025 Apple TV sci-fi romance All of You, which delves into the concept.

Speaking to InStyle, he pondered: “Do I believe in soulmates? I change my mind,” adding: “I honestly don’t know. Sometimes yes, sometimes no. I’m not sure there’s one person for everyone. I think there’s 50 people for everyone.”

He elaborated: “I think in your lifetime there are probably 50 people that you should have met. That doesn’t mean you’ll have sex with, but there’s some karmic connection, over millennia. You know what I mean?”

Office Romance is now available on Netflix