SHOW BIZ

Some people are still processing “Euphoria’s” evolution away from its roots as a gritty drama that explored highly mature and dark teenage experiences to, in its final season, a fever dream-esque look at adulthood that played like a full-blown neo-noir crime thriller. But another show’s creative transformation has taken the stage now.

The third season of AMC’s adaptation of Anne Rice’s “Interview With the Vampire” brings a reset to the captivating world of bloodsuckers. While the first two seasons adapt the original 1976 novel, relying heavily on the recollection of Louis de Pointe du Lac (Jacob Anderson) as he recounts his centuries-long life and romance with Lestat de Lioncourt (Sam Reid) to a journalist, the new season shifts narrative focus and perspective over to Lestat, who transforms into a charismatic frontman of a glam-rock band to publicly set the record straight. As such, the series has been retitled “The Vampire Lestat,” which is the name of Rice’s second novel. For this week’s Guest Spot, I spoke with showrunner Rolin Jones about the show’s rebranding and Reid’s commitment to the musical challenge.

Also in this week’s Screen Gab, TV critic Robert Lloyd steers us away from the usual streaming options to recommend a man’s video journal that documents his quest to travel the world by foot, while culture critic Mary McNamara suggests a new British comedy about codependent BFFs navigating the sort of tricky development that would end most friendships.

Speaking of endings to relationships, it was announced this week that “Doctor Who” showrunner Russell T Davies is exiting the series (again) seven months after Disney+ decided not to continue its partnership with the BBC to distribute the long-running sci-fi series. BBC also announced it will not air the show’s previously announced Christmas special this year. Lloyd, a longtime Whoverse follower, is a voice of calm through it all. He shares his thoughts on why the new questions swirling around the franchise don’t necessarily have to be cause for alarm — evolution is part of the show’s essence, he reminds us. Elsewhere in current events, if you’ve been curious (… sure, that’s the right word!) about the UFC Freedom 250 live event that will unfold in an oversize cage on the White House South Lawn in celebration of Trump’s 80th birthday and the country’s 250th anniversary — and will be streamed live on Paramount+ — check out our explainer about the controversy — and lawsuit — it has sparked.

Now if you’ll excuse me, I have another Matthew Rhys story to read so I can maintain my executive membership in the fan club. See you next week!

— Yvonne Villarreal

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Recommendations from the film and TV experts at The Times

@AlexanderCampbellOfficial (YouTube)

In February 2023, Alexander Campbell, then 27, set out from Sydney to walk west around the world. Currently he is somewhere around Albania, having traversed, among other places, Bangladesh, Nepal, Pakistan, Kazakhstan, Turkey and Bulgaria. He’s been documenting his progress on camera all along the way, but it wasn’t until Day 938, in Georgia, that he began posting the longer, “uneventful” videos that make his channel such a singular, meditative, even hypnotic, form of vicarious travel. Walking alone to the sound of his own footsteps, through sun, rain, sleet, snow and dark of night, over mountains and deserts, through forests and fields, he becomes a character in a peripatetic, nearly one-man show. The occasionally encountered friendly local will warn him about wolves or bears or the hunters who might mistake him for one, though he meets more dogs than people. (He calls them all “Buddy,” warily.) Titles include “I Slept in a Barn Full of Stray Dogs,” “I Got Caught in a Snowstorm With Nowhere to Sleep” and “Something Was Out There in the Forest.”) — Robert Lloyd

Jemaine Clement, left, and Nicola Walker in “Alice and Steve.”

(Lara Cornell / Hulu)

“Alice and Steve” (Hulu, Disney+)

What would you do if your ex-turned-longtime bestie slept with your 26-year-old daughter? Well, Alice (“The Split’s” Nicola Walker) 100% loses her mind. Sure, during a drunken convo at a bar, she did tell Steve (“Flight of the Conchords’” Jemaine Clement) that he could have any woman he wanted, but she most certainly wasn’t talking about Izzy (Yali Topol Margalith). Having just returned home after breaking up with her boyfriend, Izzy decides that Steve, now bunking down on the sofa, is “strangely hot” enough for a little rebound sex and then a romantic relationship. And Steve, though initially regretful and more than a little shell-shocked, decides this is what he wants too. “I really like her,” he says by way of sheepish explanation. It leaves Alice no choice but to hilariously alternate between screaming and scheming as she tries to put a stop to the proceedings even at the expense of her marriage, her career, her friendship with Steve and her self-respect.

Clement’s sad-sack charm successfully boosts the leap of faith required to keep Steve from becoming an oblivious creep, but the show belongs to Walker. Her Alice becomes a blazing embodiment of the emotional maelstrom inside every woman who is expected to somehow put on a supportive, understanding face no matter how outrageous or impossible the situation. The laughs she elicits are exhalations of shock, recognition and relief. We can’t all ditch the high road for pure, luxurious fury, but it’s mighty fun to watch someone who does. — Mary McNamara

Guest spot

A weekly chat with actors, writers, directors and more about what they’re working on — and what they’re watching

Sam Reid as Lestat De Lioncourt in “The Vampire Lestat.”

(Sophie Giraud / AMC)

If you thought posting cryptic digs about an ex on your social media accounts as a way to cope with unresolved emotions was petty, this TV vampire may have you beat. The wild new, music-infused season of “The Vampire Lestat” (formerly “Interview With the Vampire”) revolves around Lestat de Lioncourt (Reid) on an elaborate mission to tell his side of the story after his ex-lover, Louis de Pointe du Lac (Anderson) published a scandalous memoir — with the help of journalist — that detailed their turbulent romance. In his bid to control the narrative, Lestat becomes an immortal glam rocker who launches a music tour and enlists the same journalist — newly turned into a vampire — to direct and film a music documentary about his life. The result is a flamboyant seven-episode season that blends rock-opera style performances (the season will feature 20 original songs) with personal reflections from its flashy frontman. As it enters its second week of release on AMC and AMC+, creator and showrunner Rolin Jones spoke over video call recently to discuss the show’s creative pivot and more. — Y.V.

To kick off the new season, there was an immersive premiere concert event at the historic Beacon Theatre in New York City earlier this month. Was that a surreal experience? Did you feel like a music manager?

I have a hard time talking about the work — the selling of the work, all that kind of stuff. I want to finish my edit, and then I want to like disappear at the Arctic. I knew we were doing this and I knew that there were like fans from all over the world flying in for it — some who didn’t have tickets. I knew there were people who had worked on the show from Seasons 1, 2, and 3 who got on a plane, asked for a ticket, and made a pilgrimage there. I was really moved by it. It was about as good as these things can ever be. It felt really beautiful. It felt like Vampire Church. It was pretty cool. And Sam — “surprising” is not the word because I’ve worked with him for a long time — was way better than he should have been. It’s incredible.

In this TV landscape, taking a show and giving it a new title as it enters its third season is a daring move. The series moves focus to the second book in Rice’s oeuvre. And while it continues the story of these characters, at the same time, it feels like a new show. What made you nervous about carrying out that kind of creative transformation? And what was thrilling about it?

We could start with a thrilling part because the idea to be able to go to the people who worked really hard and say, “Hey, let’s rebuild it” — that’s exciting. That part’s cool. The executing part about it is where the terror begins because most worthwhile art — you can call TV art — invariably has to have risk and danger involved in it, otherwise you’re probably performing a magic trick. No offense to magicians. But you want something that when you turn off the TV, you’re not immediately forgetting. The more risk you do, in terms of form, in terms of all that, you want to be able to feel like you can pull it off because, otherwise, they [the audience] have nothing to grasp onto. [And they say,] “You just destroyed this thing we love, how dare you!” But generally speaking, everybody — from the top of the network down to the actors who are doing it — was down for it. Mostly because, if you listen to our fandom, I think they demand it. They’re out there on a limb telling everybody “it’s the greatest TV show, and blah blah blah” and you have to deliver that for them so that they can continually confidently bombard all their friends and neighbors and say, “Watch the show.” There’s nobody who didn’t give everything [to this season]. It was a real collective leap together.

Sam undergoes quite the transformation to make this rock star vampire persona believable. What struck you about how he approached embodying Lestat this season?

I gained 20 pounds in Toronto, and that’s because I kept stuffing my face with bread, and about every three or four times I would have this big sloth of butter on bread, I’d go, “Poor Sam” because I know Sam had not touched a piece of bread. Let’s start there — 0% body fat, the dimensions on the waist. The level of dedication. He was living and breathing every second about the role and about the demands of it — sing songs, and not only sing songs, but go learn to be a musician, and go train with people who have been doing it their whole life so you can fake it. I feel very confident saying this: Anybody who watches this season and Sam’s performance will feel like, at the end, they saw one of the 10 greatest performances in the history of our medium. I think he absolutely disappeared. James Gandolfini did not sing songs, Swearengen [the “Deadwood” character played by Ian McShane] did not sing songs. Mr. White [the “Breaking Bad character played by Bryan Cranston] did not sing songs. I’ll put him [Sam] up against all of them. He’s incredible.

What if he wants to go off and be a rock star now?

He could do it.

Jacob Anderson as Louis De Pointe Du Lac in Season 3 of “The Vampire Lestat.”

(Sophie Giraud / AMC)

You have a rock band posing as vampires fronted by an actual vampire who is the focus of a documentary being directed by a vampire passing as a human. And for all this to work, the band has to be good. What was the challenge of making this fictional band’s stardom believable — the charisma, the presence on stage, the discography? It’s a tall order, in addition to making a compelling TV show.

Anytime you have seen these things, following a band, there’s so many ways it can fall flat. You can do three or four of the things you need to do, and if one of them falls apart, you’re still stuck there, going, “Eh.” We all, who are working on it, love music. We’ve all been in clubs. The first thing we did was remove the stardom for budget reasons, but also for singular storytelling — he decided to do rock ’n’ roll in the year 2025. Some basic building blocks, we need songs. So with [composer and songwriter] Daniel Hart, we bring him into the [writers’] room because it’s not only writing songs, but writing the context about when and where he’s [Reid] singing them. He has to be aware of what we’re doing in the room. We also have to be able to pivot when he has pure inspiration; he can come in with something we’ve never talked about, and go “Boom!” And it’s OK, now what do we do with this song? And quite often this year we restructured episodes because the song was beating our episode. [We had to] hire actors who can play or musicians that can act — and that’s not everybody, so that shrinks that down. Make sure when you’re in the club, or whether you’re singing the song in rehearsal, let us uglify it, embrace the mistake, make it a little dirty. We have a song this year that has some of the most beautiful orchestrations, but because of where it landed in the season and what it talked about, we ended up going with the most stripped down, bare version of it. Don’t worry, you’ll get to hear these beautiful orchestrations [at some point]. [It’s also thinking about] how do you carve out the time you need to shoot it and the playback elements of it, and what sacrifices you have to make on other set pieces that you would normally put in is a lot. But everything from the beginning was with one thing in mind: Do not suck. How can we suck less? Let’s not suck. And we just kept going over and over again with that.

At the end of the first episode we see Lestat reunited with his undead mom, Gabriella, who he has, I think it’s fair to say, an oddly intimate relationship with —

Multifaceted.

And obviously the Louis-Lestat romance is far from being over. What are you interested in exploring within those two dynamics, in particular, moving forward since they’re so central to Lestat?

It becomes immediately about him going, “Let me try to explain this … I might have just repelled 80% of you.” I’m really interested in the viewers who are really off-put by it. I want to see where they’re at by the end of Episode 7, if they trust us. And see what they’re feeling. I guess [some people feel], “Oh, you’re not allowed to do this in the TV world unless you got f— dragons and s—, but all the things that you would have thought [that the network might say], “Don’t do this,” we didn’t really have a lot of those obstacles. There was a lot of trust. The thing with the Lestat character is like it’s probably harder to cuddle up to him like you could Louis. Louis is a Faustian tale; here it’s like a Faustian tale but Elton John’s at the center of it. There’s a series of questions like “Why do you keep doing this to yourself? Why do you keep get trapped into these things?” It’s like going on odyssey, or as Jacob called it, an idiocy, with a character that is exotic and eccentric and contradictory. For us going forward, as we wrote it, every time we fell into the something that felt well-made or cool on a twist or turn level, we found we were very suspicious of it, and we were trying to make alien TV as best we could. So, what do I want? It’s less about exploring those two dynamics, although they’re richly part of this fabric. It was, how can you take them on a magic carpet ride, a very difficult one? The idea is to actually have, by the end, every single person recognize that part of themselves in him. And how can you normalize him over seven episodes? How can you deliver that to an audience?

I know you’ve been super–busy, but what’s the last thing you watched that you found yourself recommending to everyone or something that you were obsessed with right now?

A TV show I’m watching, one that I’m enjoying right now, is “Widow’s Bay” [Apple TV]— that has been very enjoyable. It’s so much fun.

Matthew Rhys’ facial expressions are so good.

Oh, he’s great, and that show just really knows what it is, and is joyfully silly, and has a great atmosphere. It’s one of the most beautifully shot things I’ve seen in a while. I’m not finished yet.

OK, before I let you go, I hope we get a concert out in L.A. at some point.

Wouldn’t that be nice? Where would you put it up? Echoplex?

Maybe the Troubadour.

What about the Greek? That would be nice.

ICYMI

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DAVID Beckham has snapped “That’s a private matter’ as he shut down any questions on his son Brooklyn amid their ongoing family rift.

The soccer legend was being interviewed ahead of receiving a star on the Hollywood Walk of Fame.

The Beckhams have been embroiled in an ugly fallout with Brooklyn, 27, and his wife Nicola Peltz, 31, for months, with things coming to a head in when Brooklyn posted an explosive statement about the row. 

However, David wasn’t happy when asked what toll the media coverage on the fallout had on him.

He replied: “To be honest, I’m sorry to stop you there, but that’s a private matter. That’s the one thing that I don’t want to talk about.”

However, he did open up about the key to his 26-year marriage with Victoria and creating their “four incredible kids.”

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David told Variety: ‘We’ve got four incredible kids. We’ve got businesses that we work hard on.

“But we always make time for each other, and we always have. I want Victoria to be the best version of herself, and vice versa. 

“And as busy as we are, our family always comes first.

“That’s our priority, and that’s what makes it work when you’ve been together for so long. Our priority will always be our family.”

David grafted for his star under the category of Sport Entertainment after becoming the UK’s first billionaire sportsman.

Singer-turned-fashion-designer Victoria Beckham will of course be on hand during the ceremony as she’s poised to share her support for David.

Former Spice Girl Victoria is said to be showing up for her man by speaking at the event alongside their pal Hollywood actor Tom Cruise.

But it is thought Brooklyn is unlikely to attend, despite living just a short distance away in Los Angeles.

The star will be located less than five miles from the Beverly Hills mansion Brooklyn shares with Nicola.

A source previously told The Sun: “Brooklyn snubbing David’s special day will be a very public humiliation as he lives in Hollywood.

“Of course, David is hopeful the family will have mended their relations by then, especially after he has offered an olive branch to Brooklyn.

“The rift has been a great cause of heartache.”

Harry Redknapp has revealed his plans to quit Soccer Aid after almost 20 years, noting that he would rather “bow out” when things are going well rather than waiting for his team to lose

Harry Redknapp has revealed his plans to quit Soccer Aid after almost 20 years. The sports star, 79, has been involved with the annual charity event, which has raised millions for UNICEF UK, since 2008 and after recently leading England to victory against Soccer Aid World XI, has admitted he will take a step back from it all sooner rather than later.

The former I’m A Celebrity…Get Me Out Of Here! star has acted as Manager and Coach for various teams made up of former players and celebrities over the years but would rather quit amid a rather successful period instead of waiting until things start to go wrong for his team.

He told The Sun: “I think I’ll probably retire myself off. I think I’d better get rid of me now, yeah. We won this year so you know, that might be it for me. I’ll bow out. Best to go out at the top rather than being booted out for getting beat again or something.”

This year, Harry, who has managed Tottenham, West Ham, QPR and Birmingham during his mammoth career as a football manager, teamed up with The Chase star Bradley Walsh to choose the England squad, which was eventually made up of actors Chris O’Dowd and Damson Idris along with former England striker Jermain Defoe amongst a host of others.

Speaking about working with Bradley, who has become one of the UK’s most famous television presenters after appearing in Coronation Street in the early 2000s, Harry was full of praise but joked he would have rather been on the inside when it came to the World Cup.

He said: “Me and Bradley were like a dream team. We picked the winning team between us. Bradley was fantastic and just having a few days with Bradley was worth all the money. It would be lovely to be in on the action for the World Cup, but I had Soccer Aid instead!”

This year, the annual charity football match raised a staggering £16.5million for the children’s aid organisation. The match, which was created by Robbie Williams and Jonathan Wilkes in 2006 , aims to raise millions for UNICEF every year but has never raised as much as it did this year. By raising over £16m, the celebs taking part have increased the total ever raised from the event to £137million.

The grand total was revealed in the last few moments before Soccer Aid went off air, in an announcement made by Robbie, who also performed his song Feel for the halftime performance.

Over £1million of the total amount was raised by Olly Murs. The singer had taken on a mammoth challenge that involved cycling, rowing and running the 400km distance from Old Trafford to the London Stadium. Prior to the match beginning, Tom Hiddleston revealed on air that Olly had raised £1,342,214 for the total pot.

The rest of the funds were raised throughout the event, including the build up to kick off. Tom Hanks and Tim Allen came out to the pitch to deliver the football and revealed that before play had even begun, the event had raised over £4.6million. Tim delighted fans as he said his Toy Story character Buzz Lightyear’s catchphrase: “To infinity and beyond!”

Roughly 15 minutes before the teams headed out, GK Barry caught up with Tom Hanks and Tim Allen with the latter catching many off guard courtesy of his comments.

While stood in the tunnel, upon GK Barry asking for their attention, the latter stated: “I’m just just b****ing about penalty shots.” The comment went unacknowledged by ITV, despite airing pre-watershed.

As Americans, the pair aren’t used to European football. Tim continued to say he was going to “try to work out how you win or lose a game on a penalty shot”. Tom, who said he did have some knowledge of the UK game, jokingly hit back: “You cannot use your hands.”

Soccer Aid celebrated its 20th anniversary with a massive showdown at the London Stadium. The fixture occurs every year and its mission is to raise vital funds for UNICEF while bringing together a unique mix of world-class football legends and beloved celebrities.

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THE Ibiza Final Boss piqued the interest of the masses after he was spotted boozing it up on the party isle last August.

While most Ibiza goers like to indulge in the lifestyle Jack Kay found viral fame for his trancelike dance moves and good old-fashioned bowl haircut.

He was spotted vibing in multiple clubs on the island last summer and fans became obsessed with how well summed up the clientele.

Jack, 26, who was seen donning a vest, shades, and a blingy chain, was famed for perfectly round trim, which became the subject of thousands of comments.

The former builder has now opened up on the hefty amount he’s insured his hair for – and it’s seven figures.

He claimed: “Obviously it’s my USP so I have been looking to get it insured and I’ve insured it for a million pound.”

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Celebs often get parts of their bodies insured if it’s a huge money maker for them.

While the Ibiza Final Boss’ life turned on its head over night, he told The Sun he’s not worried about “staying relevant.”

For influencers and viral internet stars overnight fame doesn’t usually last long with some desperate to stay in the spotlight.

But Jack, from Newcastle, would be “happy,” if it all ended tomorrow.

Jack said: “I’m not worried about staying relevant.

“I’ve signed a multi-fight deal, my agents got big things happening for us like end of this year starting next year as well. So I’m not worried about that.

“Even if it all ends tomorrow, which it won’t but if it was I’m happy with that I’ve made a killing do you know what I mean I’ve smashed it.”

He acknowledged that his time in the public eye won’t last forever but he’ll certainly be making the most of it two stepping across Ibiza this summer.

Jack added: “Listen nothing lasts forever does it so you’ve just gotta strike while the iron’s hot and make the most of it.”

Ahead of his first Misfits boxing match on Saturday he told us he’s spent two months clean and sober in preparation.

He said: “It’s been what, seven, eight weeks now. I’m itching for one [a drink]!”

Jack will return to the Spanish island – where it all began – later this year and he’s insisted he will be “well looked after,” by club owners.

“Places will offer free drinks, free tables, they offer me free hotels and stuff, yeah. That’s a bit of a privilege, being me now,” he admitted.

His stardom is not over yet as it was revealed earlier this year that he’ll be part of the cast for the upcoming season of Celebrity SAS.

HOLLY Hagan says she has been left in ‘excruciating pain’ while attempting to breastfeed her newborn daughter.

The Geordie Shore star, who gave birth last weekend, told fans that part of her nipple had ‘fallen off’ after spending 12 hours feeding the newborn.

Taking to her Instagram Stories, Holly opened up about struggling to breastfeed, admitting there was something stopping her from being able to feed comfortably.

Sharing how it currently feels like ‘glass’ going through her breasts, the reality star said she had been through a night from hell with daughter Madison-Darci.

The mum-of-two, who also shares son Alpha-Jax with her husband Jacob Blyth, wrote to the platform “Apologies for the lack of update but we had a BADDD night.

“Little missy awake for like 5 hours 3-8, nothing would settle her, she’d just fall asleep and wake up again.

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“My nipples honestly feel like they have glass running through them. I worked out I fed her 18 times for an average of 40 minutes that’s 12 hours of my day sat feeding! I have zero time to think about eating which is WILD for me I think about food 24/7.

“My bum hurts so much from constantly sitting down, my body hurts so much from being so tense when she feeds through the excruciating pain.”

Holly continued that Madison-Darci – who is sweetly named after her late sister – has been checked by doctors, who have confirmed there is no issue with her.

“Yes she’s been checked twice for a tongue tie. It’s not her latch that’s actually so strong, it’s my anatomy.

“It’s still excruciating with a nipple shield, still can’t get any more of my nipple in her mouth after expressing a bit off. Thank god I’d caught quite a bit of milk and stored it in the fridge so Jacob could take her this morning.

“But wow hats off to anyone who breast feeds it is more than a full time job!”

Despite the agonising pain, Holly, who didn’t breastfeed the first time around, said she is going to keep trying in the hopes it will get easier.

She ended the story: “I thought I wouldn’t care about adding formula especially since I only did formula with AJ but I REALLY want to breast feed this time!

“Not going to give up just yet, trying some bigger shields and seeing if my nipples toughen up.. a physical piece of my nipple fell off today LOL”.

David Hockney, the innovative and prolific British artist who arrived in Los Angeles in 1964, soon celebrating its sun-drenched life and landscapes in colorful, wildly popular paintings, has died.

He was 88.

Calling himself “an English Los Angeleno,” Hockney immortalized the city’s sparkling swimming pools, palm trees and beautiful young men, then went on to experiment with intricate photo collages, portrait suites, painted and filmed images of Yorkshire landscapes, iPad drawings and more.

Since his Pop Art paintings in the early ‘60s at London’s Royal College of Art, Hockney was rarely out of the limelight and, more important, rarely out of fresh ideas for how to draw, paint, film, print, photograph or otherwise express his creativity. The David Hockney Foundation owns more than 8,000 of his works, including about 200 sketchbooks, more than 230 self-portraits, opera designs and portraits of family and friends.

Hockney loved Hollywood — the people and the place — and liked to say he was brought up in England and Hollywood because of the time he spent at the movies. His peroxide blonde hair reportedly was inspired when he was a student and saw Clairol TV ads claiming “blondes have more fun.” But it was his interest in everything from Elvis Presley to the Hubble Space Telescope and his sense of humor that set him apart. Time Magazine art critic Robert Hughes once called him “the Cole Porter of modern art.”

He was open about being gay, even when homosexuality was outlawed in Britain. His early love affair with artist Peter Schlesinger, a younger man he met when teaching a summer drawing class at UCLA in 1966, inspired Hockney’s monumental 1972 painting “Portrait of an Artist (Pool with Two Figures),” a centerpiece of Jack Hazan’s 1974 film “A Bigger Splash.” The painting’s 2018 auction at Christie’s drew a record $90 million for a living artist.

He was a dedicated reader and student of art, paying homage in his work to Picasso and Cubism as well as to Monet, Matisse, Van Gogh and Cezanne. A lover of opera, he often had it playing loudly in the studio and enjoyed taking visitors on curated car trips through the Hollywood Hills or Malibu while listening to Wagner. He designed sets for major companies in Los Angeles, Chicago, New York, London and elsewhere over the years, and some of his set models were later shown in museums.

David Hockney’s work “Gregory in the Pool (Paper Pool 4)” is part of his solo exhibition “David Hockney: Perspective Should Be Reversed” at the Palm Springs Art Museum in Palm Springs. (Courtesy of the Palm Springs Art Museum)

(Courtesy of the Palm Springs Art Museum)

His solo shows drew enormous crowds to the Los Angeles County Museum of Art as early as 1988. In 2017 a major retrospective of his work, keyed to his 80^th birthday, was presented at New York’s Metropolitan Museum of Art, Paris’ Centre Pompidou and London’s Tate Modern. Chronicling Hockney’s arrival as an important artist in the “ravishing” Met retrospective, the New Yorker writer Andrea K. Scott called it “a revelation.” It was, she wrote, “a retort to all the eye-rollers,” including herself, who dismissed his work “as, at best, a guilty pleasure.”

In 2012 he received the coveted Order of Merit, which Queen Elizabeth II presented to him at Buckingham Palace.

David Hockney was born the fourth of five children to a working-class family in Bradford, Yorkshire, on July 9, 1937. He has said he started “making marks on paper” at 8 and received private painting lessons before moving on to Bradford School of Art in 1953. The first painting he sold was a portrait of his father in 1955. He attended the Royal College of Art in London from 1959 until his graduation in 1962 and received the school’s Gold Medal.

After college he did not slack off, noted his biographer Christopher Simon Sykes. In his 2014 book, “Hockney: The Biography,” Sykes pointed out that the artist’s first flat had a chest of drawers near the bed on which he had painted, in large capital letters, the words “get up and work immediately.”

David Hockney in 2017.

(Catherine Opie, Courtesy of Regen Projects, Los Angeles and Lehmann Maupin, New York, Hong Kong and Seoul.)

Hockney lived by that command for the rest of his life, turning out canvas after canvas, photo after photo. In the ‘80s came his extraordinary multi-image photographic collages of friends including writer Christopher Isherwood and artist Don Bachardy and such landmarks as the Brooklyn Bridge, Grand Canyon and Pearblossom Highway.

“The Polaroids started oddly enough when I’d just finished a long period of work in the theater, which is of course playing with perspective and illusion,” he once told The Times. “People say, ‘You are a painter, and photography is a sideline.’ But nothing is a sideline for me.”

That included his continuing fascination with technology. The artist’s long career swept in artworks made not only on cameras and canvases, but on such things as fax machines and photocopiers. Hockney liked to experiment, whether it was with state-of-the-art printing devices or centuries old painting techniques. He went several times to a show of portraits by Jean Auguste Dominique Ingres at London’s National Gallery in 1999 and was greatly taken with the photographic’ quality of Ingres’ 19th century drawings. Certain that Ingres had used something optical to achieve that quality, Hockney bought himself a camera lucida, a small device that works like a prism. He then applied Ingres’ methods–as Hockney imagined them–to his own portraits of friends and family, and in 2001, he published “Secret Knowledge,” exploring his theories on early artistic uses of optical devices.

His death was confirmed by the Associated Press and New York Times.

Isenberg is a former Times staff writer

CELEBRITIES are turning up in droves for Jake Hall‘s funeral this afternoon.

Boxer Derek Chisora is among the celebrities arriving at Grade-I church St Mary the Virgin, in Wanstead, London, for the service.

Cops found the 35-year-old former reality show star in a pool of blood after he ran through a single-glazed glass door.

He was found dead at a Spanish holiday villa with head injuries after a night out partying on May 6.

Officers were called to the rented house in Santa Margalida in the north of the holiday island at around 7.30am.

Police quizzed four men and two women staying at the house.

They reportedly told officers that they had been out in the evening and continued partying after returning to the property in the early hours.

Authorities have not released the nationalities of the others who were at the property.

The Guardia Civil confirmed there was no “criminal activity”.

Hours before he died, he shared a last post on Instagram vowing to “remember the good things”.

Set to the Rolling Stones’ classic Beast of Burden, it showed him enjoying painting, Spanish scenery and fashion.

It was captioned: “Life is bollocks sometimes but I’m gonna try remember the good things – ️ looking through things – I’m just making art – in many forms.”

Footballer and model Jake leaves behind the mother of his child, Misse Beqiri, who he had an on-off relationship with since 2016.

The couple share a daughter, River, who was born in November 2017.

Misse posted an emotional tribute, writing: “There was no way you were ever supposed to go. My heart is shattered, and so is our daughter’s.

“You lit up every room you walked into – your smile, your charm, your energy filled the air.”

She then paid tribute to his love of music and creativity, as well as how many people really loved him.

Chloe Lewis also posted a tribute to her “first love” at the time of his death,

Chloe, who began a 10 year relationship with Jake when she was 16, shared a collection of photos on Instagram from their time together and wrote heartbreaking words that moved celeb pals including Michelle Keegan and Ferne McCann.

“My first love, my childhood sweetheart,” began Chloe. “A love that taught me so much about life and myself, and even more so now your presence is no longer here.”

In their early 20s Towie turned them into stars, but fame had a detrimental impact on their relationship.

Chloe said neither of them wanted to be in the public eye and the pressures of the show put a strain on their romance.

Leading tributes to the star at the time of his death was legendary DJ Fat Tony, who shared an image of the star and captioned it: “Devastating news we Love you such an awful loss to the world you beautiful man x.”

Blue’s Antony Costa wrote: “So sad, what a lovely bloke you were mate R.I.P.”

Love Island’s Jack Fincham wrote on a picture of the pair posted on Instagram: “Cannot believe what I have just read. Condolences to Jake’s family a very sad day. Rest in perfect peace mate.”

Jake first shot to fame on The Only Way Is Essex in 2015, where he famously dated Chloe Lewis before quitting the show in 2024.

FATBOY Slim has opened up about the ‘awkwardness’ he felt with ex Zoe Ball after their divorce, shortly after they reunited to take some new family snaps.

The couple tied the knot in 1999 but their romance wasn’t all smooth sailing, with Zoe admitting to having an affair with DJ Daniel Peppe.

After briefly separating the duo got together again three months later up until their divorce in 2016.

Speaking to Davina McCall on her Begin Again podcast about it Fatboy Slim, real name Norman Cook, shared how ‘awkward’ he felt with Zoe initially after the split as they attempted to co-parent their children Woody and Nelly.

Though overall the star praised the dynamic him and Zoe hold today, saying it might even be better now than when they were a couple.

He said: “Our triumph is to remain really good friends and parents, even though we’re not a couple anymore… 

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“It was a bit awkward at first, but then we got this rhythm where… we’re probably actually better than we were when we were a couple.

“You sign on to be parents, that’s for life. 

“You can sign up for marriage and you can get divorced. But you can never stop being parents.”

Norman also praised Zoe for being really good at keeping him “grounded”, noting: “Going through it together was great because, Zoe is a really good teacher, she was really good, really measured and she’s kept me really grounded to earth…”

The podcast chat comes a week after Norman and Zoe reunited to attend a friends wedding over the weekend.

Their daughter Nelly was a bridesmaid at the stunning event that took place at Parnham Park in Dorset.

Zoe posted a series of sweet clips and snaps from the day to her Instagram account.

She wore a cream dress with a slit covered in ruffles, while Norman opted for a handsome grey suit.

In the post’s caption, Zoe penned: “Congratulations Eva & James & Willow

“We love you so much. The most perfect wedding celebration for our dear magic friends.

“Groomsmen, Bridesmaids & a few close folk to celebrate the Wedding.”

MARGARET Kerry, the actress and dancer who helped bring Disney’s iconic Tinker Bell to life, has died aged 97.

The star, whose movements inspired Disney’s mischievous fairy in the 1953 classic Peter Pan, passed away after a battle with lung cancer.

Kerry died peacefully on June 11 in North Carolina surrounded by her children, according to her family.

In a statement, they said: “It is with profound sadness that we share news of the passing of Margaret Kerry (Boeke), our beloved Tinker Bell.

“Margaret passed peacefully into the arms of Jesus on June 11, 2026, in Wilmington, North Carolina.

“Her three adoring children, Ellen, Christina and Eric, were with her as she lost her courageous battle with lung cancer at the age of ninety-seven.”

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The tribute added: “And remember, on any given night, look up into the night sky and search for that ‘Second Star to the Right’. Upon closer look, you might just notice that star shining a little brighter in Margaret’s honor.”

Kerry became immortalised in Disney history when she was chosen to model the movements of Tinker Bell for Peter Pan.

Standing just 5ft 2in tall, she spent months on a vast Disney soundstage acting out scenes for animators, wearing a swimsuit and imagining interactions with characters who weren’t really there, according to The Hollywood Reporter.

Recalling her unusual audition, she said in a 2003 interview: “They were looking for a young girl who was comfortable with dance movement.”

After choreographing and performing a mime routine to music, she landed the role and became the inspiration behind one of Disney’s most recognizable characters.

This is a breaking news story. More to follow…

An HBO miniseries has been hailed as the ‘best of the best’ by fans, who say no show or film compares – and it’s streaming on Amazon Prime and NOW

TV fans have lauded a gripping war drama, calling it “the best of the best” and insisting no other show or film matches it. The series proves perfect for admirers of the popular 2001 American war drama miniseries, Band of Brothers.

So, what’s the show? It’s the seven-part television miniseries Generation Kill, which was produced by HBO and originally broadcast from July 13 to August 24 2008.

It was adapted from Evan Wright’s 2004 book sharing of the same name, which documented his experiences as an embedded reporter accompanying the US Marine Corps’ 1st Reconnaissance Battalion throughout the 2003 invasion of Iraq.

The extensive ensemble cast includes Alexander Skarsgård, Jon Huertas, James Ransone, Lee Tergesen – playing Wright, though characters only address him using nicknames – alongside many others.

The series earned recognition for its authenticity and emphasis on the bizarre circumstances facing Marines navigating prolonged boredom and volatile combat while dealing with questionable administrative decisions from senior command.

These often incompetent decisions – coupled with inadequate communication – result in troops experiencing frustration and confusion, while simultaneously managing constant equipment shortages.

The miniseries additionally captures the camaraderie among Marines and the gallows humour they employed as a survival strategy during such challenging, intense and unpredictable circumstances.

Generation Kill was created by The Wire’s David Simon and Ed Burns and is renowned for its unflinching use of authentic military terminology, while depicting the Marines as genuine, imperfect people rather than the steadfastly patriotic heroes typically portrayed in war films.

Though it originally broadcast on HBO in 2008, the miniseries is now accessible to stream on platforms such as NOW and Amazon Prime, although subscription add-ons are necessary to view through Prime.

Generation Kill continues to receive regular praise from TV fans and holds an impressive 86% rating on popular review-aggregation site Rotten Tomatoes.

One viewer said: “Right up there with Band of Brothers, Peaky Blinders, and The Pacific. The best of the best. First watched this over 12 years ago when it was new, and it’s still the greatest to this day.”

Another agreed: “It’s Band of Brothers during the 2003 Iraq invasion. Great writing and remarkable acting make this one a must watch TV show.”

A third wrote: “The action is a little over-the-top, but the characters, the dialogue and the attitudes all pretty perfectly capture 21st century military life. This is one of HBO’s truly great pieces of art.”

While a fourth said: “The more you watch it, the better it gets. It’s difficult for me to put into words, but to this day I still have not watched any show or even movie as good as this.”

Another shared: “One of my favourite HBO offerings!”

Generation Kill is streaming on Amazon Prime and NOW.

Embattled reality TV personalities Todd and Julie Chrisley are suing an Atlanta law firm and one of its attorneys, alleging that legal mistakes led to the couple’s conviction.

The lawsuit, filed June 5 in U.S. District Court for the Northern District of Georgia, alleges that Atlanta-based Balch & Bingham LLP and attorney Chris Anulewicz “put their own interests ahead of their clients’ lives” by taking on the couple’s case and appointing Anulewicz as the lead, which they say meant “money, publicity, and the kind of high-profile notoriety that brings in business.”

According to the Chrisleys, Anulewicz “had no meaningful criminal defense experience,” and “Balch knew this — or should have.” They also claim that while representing them, Anulewicz steered them into a $75,000 investment in his brother-in-law’s food truck business.

The lawsuit claims that the couple’s conviction and subsequent federal prison sentence were the result of an “unlawful, warrantless search of the Chrisleys’ warehouse” by the Georgia Department of Revenue, and that Anulewicz missed a deadline to suppress derivative evidence that was ultimately used as the foundation of the prosecution’s case.

“That illegal search launched the entire federal case,” reads the lawsuit. “The district court agreed the search was illegal and suppressed the physical documents. But Anulewicz — operating without supervision from Balch — never moved to suppress the derivative evidence: the emails, bank records, and financial documents that federal agents obtained because of what they learned from the illegal search.”

The couple is seeking $25 million in damages, claiming that because their team didn’t have the documents suppressed, they were convicted on every count.

“They served time in federal prison,” reads the suit. “They were separated from each other and from their children. They lost their television show and endorsement deals, costing them more than $25 million in income. Their reputations were destroyed. They have spent millions more in appeals and post-conviction proceedings, all of it an attempt to undo harm that a single timely motion would have prevented.”

In 2022, an Atlanta court found the “Chrisley Knows Best” couple guilty on charges of conspiracy to commit bank fraud, bank fraud, conspiracy to defraud the United States and tax fraud. Julie Chrisley was also charged with wire fraud and obstruction of justice.

Todd Chrisley received a 12-year sentence, along with 16 months’ probation, while his wife was sentenced to seven years in prison and 16 months’ probation.

In 2024, the Chrisleys’ daughter, Savannah, appealed to President Trump to free her mom and dad. During the Republican National Convention, she gave a speech about the “rogue prosecutors” who locked up her parents.

Last year, Trump granted the reality stars a full pardon.

Jay V. Surgent, an attorney who represents Todd and Julie Chrisley, said in a statement to The Times that the reality stars “have correctly been pardoned by President Trump.” He alleged that Georgia officials violated the “Chrisley Knows Best” stars’ constitutional rights due to their notoriety and criticized local authorities’ “improper seizure of evidence.”

Times staff writer Alexandra Del Rosario contributed to this report.

Ariana Grande was crystal clear in the White House’s comments section on TikTok.

The “We Can’t Be Friends” hitmaker didn’t mince words on Thursday when she commented on a White House TikTok: “Please do not ever use my music in relation to this barbaric, inhumane, heinous nonsense. F— ice,” she wrote in her comment.

The TikTok in question, posted by the White House on Tuesday, promoted the administration’s crackdown on immigration and featured Immigration and Customs Enforcement officers handcuffing various people to the tune of the Grammy-winner’s song “Bye.”

“Bye-bye 👋 President Trump has delivered the most secure border in history,” the caption on the video read. Grande’s comment has since been deleted or hidden from the video’s replies, and the sound on the TikTok has been disabled.

White House spokeswoman Abigail Jackson responded to Grande’s comment in an emailed statement to The Times, writing, “We’ll say this one last time: what’s actually barbaric, inhumane, and heinous are the criminal illegal aliens who have injured and murdered innocent American citizens.”

Grande joins a slew of prominent musicians and artists who have told the Trump administration to cease using their tunes to promote his agenda.

On the 2024 presidential campaign trail, Beyoncé endorsed former Vice President Kamala Harris, who used Queen Bey’s song “Freedom” as a rally anthem. When a spokesman for Trump used the same song in a social media post, the mega star’s team responded swiftly with a cease-and-desist.

During a 2024 Montana rally, Trump’s team played a video clip using “My Heart Will Go On,” the theme song from the 1997 film “Titanic.” Celine Dion’s management team and record label responded with a statement shooting down the song’s use: “In no way is this use authorized, and Celine Dion does not endorse this or any similar use. … And really, THAT song?”

And then, of course, when Trump used Bruce Springsteen’s “Born in the U.S.A.” on the 2016 campaign trail without the artist’s permission, the American rocker responded by endorsing Hillary Clinton and calling Trump a “moron.”

Add to the list Nancy Sinatra, who posted that Trump’s nod to Frank Sinatra’s song “My Way” was “sacrilege”; the Smiths’ former guitarist Johnny Marr, who said, “Consider this s— shut right down right now,” when the band’s song was used at a 2023 Trump rally; Sabrina Carpenter, who slammed the use of her song in a video, calling it “evil”; and many, many, many more.

What to do after writing some of this century’s most devastating songs about the torment of breaking up? Write some of this century’s most devastating songs about the ecstasy of getting together.

With her first two albums — 2021’s Grammy-winning “Sour” and 2023’s triple-platinum “Guts” — Olivia Rodrigo proved herself to be perhaps the most gifted of the many chroniclers of Gen Z romance to emerge in Taylor Swift’s wake. She could convey the hot sting of betrayal, as in her smash debut single, “Drivers License”; she could channel the injustice of watching an ex somehow carry on, as in “Good 4 U”; she could deliver a sick burn like somebody handing out Halloween candy, as in “Get Him Back!” (Because it deserves remembering: “He had an ego and a temper and a wandering eye / He said he’s six-foot-two, and I’m like, ‘Dude, nice try.’”)

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Yet on her thrilling third LP, “You Seem Pretty Sad for a Girl So in Love,” Rodrigo, 23, turns to the pleasure that comes before the pain — and, in a feat very few in pop music are ever able to pull off, ends up with a number of first-flush-of-love songs as potent as any breakup tune.

She opens the album with “Drop Dead,” in which she compares a guy in line for the bathroom at a bar to an “angel on the walls of Versailles” — an early sign of how high the emotional ceiling is here. In “Stupid Song” she cycles through a series of metaphors to describe her lovesickness — she’s a car without a brake, she’s a heart made of melting wax — before finding a simpler but infinitely more vivid way of getting her point across: “You should feel how I feel when somebody says your name.” (Chills.)

“Maggots for Brains” is a song about how useless she becomes “when my baby goes away,” and let’s just take a second to savor the fact that Rodrigo is putting that title into the world less than four years after she was still a working Disney kid. The album’s next tune, “U + Me = <3,” is its high point: a euphoric promise of devotion that sounds like Sixpence None the Richer reborn as a Midwestern emo band. It’s got two young lovers carving their names into car seat leather, and it’s got a girl trying to impress her boyfriend’s older sister with her cynical humor and her taste in yacht rock.

More important, it’s got these lines of pure poetry: “They say modern love’s a cruel endeavor / And to that I say, F— it, whatever.” Kurt Cobain would be proud.

Working with her longtime producer, Dan Nigro, Rodrigo has expanded her stylistic palette to accommodate these new emotions; “You Seem Pretty Sad” pulls in chiming folk-rock and synthed-up new wave and even has a gorgeous wine-bar piano ballad, “Less,” that might put the scare in Rodrigo’s pal Laufey.

The cover of Olivia Rodrigo’s new album.

(Geffen Records)

The album is structured to trace the arc of a relationship, which means that the second half dips into the heartbreak we’re used to getting from Rodrigo. But she’s writing about familiar scenarios with new wisdom, drawing sophisticated conclusions about why people in love do the things they do (and don’t do the things they don’t).

In “The Cure,” which rides a strummed acoustic-guitar pattern that strongly recalls Smashing Pumpkins’ “Disarm,” she realizes a boyfriend can’t fix what’s broken inside her; “Begged” examines the limits of one partner’s willingness to look past the failings of the other. After hearing these songs, the happier ones at the beginning of the album reveal bits of shadow that Rodrigo has built into them to presage what’s to come — to presage what always comes.

It’s fitting, then, that Robert Smith of the Cure — perhaps pop’s most jubilant gloommeister — hovers over this LP like a patron saint: nodded to in “The Cure,” of course, but also “Drop Dead,” where Rodrigo name-checks the Cure’s classic “Just Like Heaven.” Smith himself turns up in “What’s Wrong With Me” for a duet with Rodrigo in which the two learn to accept that love, in the end, might be what kills them.

“My head is spinning and my stomach is sick,” they sing, and neither sounds like they’d have it any other way.

“I’M still the same person as the 15-year-old me,” decides Blur guitarist Graham Coxon.

“Still a romantic idiot, still reasonably innocent — and I think that’s a healthy way to be,” he continues.

“I don’t want to be a cynical old bastard, so I’m lucky I still have a magical outlook on life.”

I’m talking to Coxon, 57, about his “lost” solo album, Castle Park, which is finally set to come blinking into the sunlight.

The product of sessions which took place in the winter of 2011, it is named after his teenage stomping ground in the centre of Colchester — an affirmation of that younger “same person” self.

In a wider sense, it serves as a nod to his Essex hometown — a city since 2022 — where he attended Stanway School, met Damon Albarn and where, in 1988, they formed Blur with Dave Rowntree and Alex James.

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It was there, too, that his band leader and clarinet-playing dad introduced him to music, namely, “the Bs — Beethoven and The Beatles”.

The album cover resembles a classic picture postcard, divided into quarters and depicting scenes from the park with its vast Norman castle and an ornate Victorian bandstand.

Coxon says: “There were a few occasions when me and a group of friends would stay in the park rather too long, get locked in and have to climb over the fence.

“I remember being slightly inebriated and dancing around the bandstand — and then, of course, there was the statue.”

He’s referring to the imposing bronze Angel Of Victory which stands atop the Colchester War Memorial at the southern entrance to Castle Park.

“I had some dangerous moments when I climbed up and gave that statue a kiss,” he admits. “I used to do it regularly — she was very beautiful.”

If that fearless act of youthful exuberance was an example of Coxon’s romantic nature, it’s clear that he carried it forward to the album that was shelved until now.

“It comes through,” he agrees, “even though there are songs about getting dumped.

“There’s a lot of processing my own romanticism on that album, but not in a heavy way.

“It’s reasonably light-hearted for the first half at least, even if it takes a tumble down to the most depressing song I’ve ever written [album closer All The Rage]. But that’s life, isn’t it?”

Looking back at ten tracks of “romance, break-ups, heartache and alienation”, he says: “When I was writing them, I was in a very problematic situation emotionally. Somehow, songs have a way of describing your situation more succinctly than whatever is going through your mind.”

In 2026, I’m happy to report that Coxon is in a much better place. It’s 10am when I’m connected via video call to the home he shares with partner and bandmate in The Waeve, Rose Elinor Dougall, and their daughter.

“You’ve got me before my brains kick in,” he warns me, but he soon warms to the task of talking about his music outside of Blur.

Aside from the imminent release of Castle Park, this year sees reissues of Coxon’s back catalogue, beginning with his debut album The Sky Is Too High (1998) and its follow-up, The Golden D (2000).

He’s also working on the third Waeve album with Rose, which he describes as “a lot less hard-edged” than 2024’s City Lights.

“It’s more floaty and summery,” he reveals, before reaffirming his romantic credentials.

“Lyrically, there’s a lot more affection. Rose and I go through life together and, sometimes, saying things in lyrics is the nicest way to show affection away from our normal hectic lives.”

But it is his “lost” Castle Park, with lyricism and songcraft as assured as anything in his solo repertoire, that we are focusing on. So, how come the album joined a legendary list that includes The Who’s Lifehouse and The Beach Boys’ Smile by lying dormant for years?

Coxon casts his mind back to 2011 when he headed to The Pool studios in Bermondsey with Ben Hillier, co-producer of Blur’s 2003 album Think Tank (made without Graham except for one track) and engineer on The Golden D.

He says: “It was really odd because I recorded 20 songs and ten of them became A&E [released in 2012], which was based around improvised bass lines.

“The other ten were weirdly different — more trad indie, jingle-jangly, with a bit of Sixties influence.”

Those songs, you may have guessed, were earmarked for Castle Park.

Speaking of parks, Coxon had form thanks to Parklife, Blur’s immortal hit with lyrics by Damon Albarn and music by the whole band, not to mention a vocal masterclass from Phil Daniels.

Despite a widely held belief, the song wasn’t inspired by Castle Park but, as Albarn once explained, by London’s Hyde Park where he used “to watch people and pigeons”.

It seems as if the Britpop icons’ 2012 reunion, which included a momentous Hyde Park show to mark the end of the Olympics, is the chief reason why Coxon’s next album didn’t appear.

That rapturously received performance led to Blur’s run of festival shows in 2013 and a new album in 2015, The Magic Whip.

Then Coxon moved on to mastermind soundtracks for Channel Four comedy drama The End Of The F***ing World as well as embarking on a sci-fi music/graphic novel project in 2021 called Superstate.

He founded The Waeve with partner Rose and, of course, reunited with Blur for their 2023 album The Ballad Of Darren and a tour including two barnstorming nights at Wembley Stadium.

In other words, while Castle Park gathered dust, Coxon kept himself busy.

He says: “I’m really not sure what happened. Maybe it was lack of confidence. Maybe I thought these songs weren’t fashionable and who would give a s**t?”

Over the years, however, his theory didn’t stand up as fans would repeatedly ask him to release Castle Park. “They even knew the name of the album.”

The clamour heightened when Coxon broke out some of the songs during live shows.

These include opening track Billy Says, a spiky three-minute slice of mod-pop, which finds him channelling his heroes, The Kinks and The Jam.

He says: “Ray Davies is the best songwriter we ever had, followed closely by Paul McCartney, and The Jam was a huge band for me. I thought that being a Jam fan elevated me as a person.”

Other tracks to receive a live airing were Alright, with its pithy putdowns of a love rival, a playful duet with Lucy Parnell called There’s A Little House, and gorgeous acoustic guitar-led Easy.

Of all the Castle Park songs, there’s one which Coxon is most proud of, the poised, richly atmospheric Isn’t It Funny.

“It came to me in the dream,” he says. “I had the chords and half of the chorus, I heard some words — and then I woke up. I thought, ‘My gosh, I need to make a quick note of this.’”

Isn’t It Funny contains the lines: “The sun made black her hair and the river her eyes. She needs no man, no sea, nor heather. She’ll change your mind and slip away.”

By way of explanation, Coxon says: “I realise that there’s always been this elusive feminine spirit or a goddess of nature in my work.

“I don’t write songs about this entity for my own excitement. They just come out.”

Then there’s the sublime Mélodie Pour Christine, a lyric-free classical piece for harp and strings with Lucy Parnell’s vocals serving as another instrument.

“That piece was important to me,” he says. “I devoted it to a French friend of mine — a wonderful person who I loved very much and is no longer with us.”

Another song that hits the mark is bleak All The Rage, which, he says, “communicates one’s despondency around the creative life — and that has got even worse 15 years later!”

If most of Castle Park is filled with distinctly English sensibilities, American influences arrive with a cover of When You Find Out by short-lived Seventies punk-pop trio The Nerves.

“It’s a great song, even Blondie would go, ‘Hey, this is a good one’. I just made it slightly less than perfect,” laughs Coxon.

Then there’s “an attempt at soul” with Forget Today which finds him employing his considerable saxophone skills and Ben Hillier providing Hammond organ. (Worth noting that Coxon played sax on Parklife.)

Dripping Soul ventures into territory occupied by Ennio Morricone’s spaghetti western soundtracks, “so it’s not exclusively weird south-east of England s**t”.

“I love westerns, particularly Sergio Leone films. A Fistful Of Dollars and all that,” says Coxon.

In the song, he is peering “beyond the veil” at the “souls of those cowboys who came from a place where life is cheap and death is taken for granted”.

With its galloping guitars, Coxon realised he couldn’t turn Dripping Soul into “a hanging out in Camden sort of thing”.

But he does believe that the house he shares with Rose in London is populated by the souls of dead people.

“I don’t even believe in ghosts, but I’ve seen them,” he reports. “So that’s a bit of a quandary.”

Coxon says he still likes to talk to dear departed loved ones: His mum, Christine, drummer Graham Fox, the Irish journalist who first wrote about Blur, Leo Finlay, and the head of Food Records, Andy Ross.

“I don’t really see them as gone,” he says. “I can still talk to them — they may have disappeared but they’re still fully alive in my mind.”

With that said, we return to 1998 when all those people were still with us — to the making of Coxon’s debut solo album The Sky Is Too High.

It was an unvarnished, largely acoustic affair featuring his own artwork and, as he explains: “It was recorded through really good gear but approach was quite raw.”

Sandwiched between Blur’s self-titled fifth album and its follow-up, 13, “It was done in a bit of a hurry — I wasn’t f***ing about.”

The project had begun when a neighbour asked Coxon to write a couple of songs for a film about Victorian bare-knuckle fighter Tom Sayers — setting wheels in motion that are still spinning.

He says: “That request turned into an addiction to writing songs and releasing them.”

So, how did his solo endeavours affect his relationship with his Blur bandmates. “They didn’t talk about it,” replies Coxon, “Though I did once catch Damon singing R U Lonely? He said, ‘That’s quite a catchy little tune’.

“Attempting to develop as a songwriter when Damon Albarn is your best mate is hard work. I mean, he’d already written some bloody good songs by then.”

Released in 2000, Coxon’s second effort, The Golden D, is very different — heavier, more abrasive and driven by searing electric guitars.

The mood changes with the funky Oochy Woochy, which tapped into Coxon’s fascination with Nineties’ fusion of hip-hop and jazz — a style developed by American rapper Guru called Jazzmatazz.

He says: “I’ve always liked that skinny beat stuff with James Brown loops or similar. Stuff like Public Enemy and 3rd Bass. Oochy Woochy is not a mickey take but a go at that.”

With physical releases of Coxon’s other albums still to come this year, there’s plenty more scope to revisit his solo journey.

Then, in November, he’s hitting the road for a UK tour, bringing the songs back to life still further.

Looking back on his output, Coxon says: “I think it has had a lot to do with my development as a person.

“You know, that anxiety-ridden creative weirdo who puts all this stuff out there.

“I guess that’s why I like Castle Park coming out — because now there are no secrets. You’ve got it all.”

GRAHAM COXON

Castle Park

4.5 STARS

• Also released: The Sky Is Too High and The Golden D

An EastEnders star is set for the exit less than a year after bursting onto the Albert Square cobbles, but they look to be heading out with a gripping story line

An EastEnders star is set to say goodbye to Walford following a shocking story line. After signing as a high-profile star on the BBC soap last year, Ronni Ancona is set to bow out of her role in dramatic fashion.

The comedian and impressionist set foot in Albert Square as Linda Carter’s old school friend Bea Pollard. She was first seen on screen in January, but now, less than a year later, her time is said to be up.

After being outed as a villain and a thief, Ronni’s character is ready to bow out in another shocking twist. A source said that the character shone but is now ready to leave.

Speaking to The Sun, the insider said: “She came in for a six month stint but there was talk of it being extended if everyone agreed. Sadly, that won’t be happening and Ronni will be leaving.”

A spokeswoman for EastEnders said: “As we previously announced, Ronni Ancona joined EastEnders for a short stint, which was then extended, for a very dramatic storyline which will unfold over the next few weeks”

Last month things came to blows for Bea. She had had been telling people how besotted she was with Ian Beale, unaware that just days before, he had passionately kissed Elaine after he won the local councillor elections.

While Bea had believed their love was blossoming, Ian clearly didn’t have the same thoughts – and made his feelings very clear.

After the local newspaper branded the duo Mr and Mrs Beale, he was fuming and thought that Bea may have been behind it, as she was a huge driving force in his campaigning.

Raging, Ian Billy and Honey’s to confront Bea. He fumed that she had been “overenthusiastic”, but she didn’t take the signals and explained she was excited for their future, attending fancy dinners and events as the partner of a local politician.

Bea later confirmed that, along with the libellous video she shared of Elaine, she had also purchased more social media followers for Ian in a bid to make him look “more popular”.

She told Ian: “”I do have feelings for you, Ian,” before adding that she didn’t want to jinx anything. But Ian rebuffed her offering and fired back: “I don’t have feelings for you.”

He then told her she lived in “cloud cuckoo land”, adding she was a “deluded, needy fantasist, trying to live her life through other people.”

Bea saw red and instantly marched Ian out of the flat. Grabbing him in an arm lock she then threw him on the street. But as time went on, Ian headed home to pack away his election campaign materials, including posters. But as he was doing so, he noticed something confusing – invoices made out to Susan Mitchell, Honey’s real name.

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Stacey Solomon and her Sort Your Life Out team left an East Sussex family in tears with a heartfelt tribute to their late grandmother

BBC Sort Your Life Out viewers were moved to tears by a heartwarming tribute to a beloved late family member.

Host Stacey Solomon and her dedicated team descended on a family in East Sussex to help transform their bursting-at-the-seams converted bungalow.

The household was headed up by single mum Nadine, who had called the property home since her teenage years, sharing it with her own mother.

Having brought up her four daughters there while also caring for her late mum, three generations of the Jamieson women had amassed mountains of DVDs, clothing and fine China for Stacey to work through.

Buried amongst the clutter, she uncovered 106 animal ornaments, 87 board games and over 1,000 pieces of Nadine’s China, reports Kent Live.

Reflecting on the belongings filling her home and how cluttered it had become, Nadine became emotional as she explained: “I’ve lived in this house since 1988 and it’s pretty much still in the condition it was in 1988.”

Her eldest daughter Merle chipped in: “It was a small crowded house but it wasn’t cluttered back then.”

Former NHS nurse Nadine tearfully continued: “Mum was the second parent. She was our rock and she was just our rock and made it so special for the girls.

“She started to need care in the last four years of her life, and I became full time carer. And that’s when I think it started to change.

“I didn’t have the time or energy to focus on the house because I had to focus on so many people.”

She added: “I need to have a home again and start living again.”

She heartbreakingly went on: “It’s a place I don’t want to be in. There’s no joy to come home to because you know what’s surrounding you.”

After the challenge of letting go of 40 years’ worth of possessions and memories, the family were left touched by a special tribute to Nadine’s mum.

Coming back home after Stacey and her team, including guest star Zoe Sugg, worked their magic, they saw a special memory of Nadine’s mum.

Nadine had earlier explained how her mum’s chair held its place of honour in the living room, with her old combs and hairbands still on it.

Instead of having the objects still there, Stacey, having transformed the living room to a brighter, emptier space, decided to embroider Nadine’s mum’s comb and headband and radio onto a little cushion.

She said: “I know how important Nan’s comb and headband and radio were to you, so instead of having them sat precariously on top of the chair, ready to fall at any minute, I thought, we could put it into the pillow, and then you could always look at her favourite things but keep her actual favourite things safe away.”

“It’s absolutely beautiful,” Nadine’s daughter Merle commented. Breaking down into tears as she saw the cushion, she added: “That is too much.”

“It’s making you emotional,” Stacey replied, as Nadine’s daughter Beth also wiped back tears.

After seeing the response the family had to their new home, Stacey shared: “I think that might have been one of my favourite reactions ever.

“Nadine has, for the last 20-something years, just been looking after everyone around her.

“She’s been raising her kids, looking after her mum, putting all of her energy into everybody else.

“And now finally, she can bring some of that energy back to her, and she just deserves this so much.”

Nadine emotionally added: “Dreams come true.”

Sort Your Life Out is available to watch on BBC iPlayer.

The Ellison family-controlled Harbor Lights Entertainment has sold its Showcase Cinemas theater chain to a major European cinema group in a $30-million deal.

Belgium-based Kinepolis will soon operate 13 cinemas across the United States. Seven are in Massachusetts, four in New York, one in Ohio and one in Rhode Island.

David Ellison, who is now in charge of Paramount Skydance, acquired National Amusements last year from the Redstone family. He renamed the company Harbor Lights. National Amusements was the start of Redstone’s media empire, which at one point included control of CBS, Paramount and Viacom.

Paramount is in the process of acquiring Warner Bros. Discovery in a $111-billion deal. Under the proposal, Ellison has said the two studios will release 30 films per year. But he and his team would also have to make $6 billion in cuts and take on $79 billion in deal debt.

The deal is awaiting regulatory approval, but officials in several state states recently announced plans to try to block the merger. The potential lawsuit would seek to challenge the proposed merger on antitrust grounds, arguing it would decrease competition, lower wages and lead to widespread job losses.

With the sale of the theaters, Kinepolis will add 164 screens to its portfolio. The company was formed in 1997 and currently operates 63 cinemas in Europe and nearly 60 theaters in the U.S. and Canada.

The newly acquired theaters welcomed about 4 million visitors and generated more than $90 million in revenue last year.

“This acquisition allows us to expand our market position in the U.S. from Michigan to the East Coast with an asset and a team that enable us to implement Kinepolis’ operational model and corporate strategy, ultimately enhancing the experience for moviegoers in these markets,” Eddy Duquenne, Kinepolis’s chief executive, said in a statement.

The company said Showcase Cinemas would retain its name. It expects the acquisition to be complete by the end of the summer.

Times staff writer Wendy Lee contributed to this report.

Love Island viewers were gripped as tension spread throughout the villa as the bombshells made moves and a fiery challenge divided the group

Love Island viewers were left fuming after an islander branded another a “liar”. Ope suggested his former villa partner, Angelista, was a “liar” as the pair argued over her terrace antics.

Despite moving slowly with Ope, she wasted no time in kissing bombshell Simba. But while Ope was less than impressed, viewers at home were quick to call him out.

One user on X, formerly known as Twitter, said: “So Ope’s calling Angelista a liar and saying she didn’t care about his feelings when HE was the one who lied to her about being ok with the slow place and HE was the one who was rude about her on the dates. She had every right to get with Simba.”

Another added: “Ope said Angelista is a liar, does he not know what he has been doing in the villa?” And a third said: “Ope talks fast and breathes heavily, like a liar.”

Despite online users calling him out, Shakira came to his defence in Love Island: The Debrief. She said the moment was “humiliating” for Ope.

After Ope and Simba came to blows over Angelista, Priya received a text that sent shockwaves through the group. They were told that a challenge was ready to “test the waters” in a game of It’s Not That Deep.

The challenge saw the Islanders take on a slippery mini-slide, and after landing in a pool, they must grab a drink and uncover a juicy secret about one of their fellow Islanders of the opposite sex.

When they made their pick, they must swill the islander they believed the comment was about. With revelations like This boy has slept with 11 girls but can only recall 3 of their names, and ‘This boy’s friends would describe him as having a wandering eye, tension is quick to enter the villa.

And the spicy comments also come back as the boys learn more about the girls in the villa. Some of the boys become frustrated by some of the girls’ commentary around their guesses, with some calling out the “hypocrisy” on show.

Aidan was quick to pick up on the tension and told the group the atmosphere was frosty. And his thoughts were correct as the rift between the boys and the girls became increasingly apparent.

“The girls have no idea,” Sam said before Aidan said they were simply trying to “brush it off”. The group tried to put a block on the issue, but when Ope referred to some of the girls’ comments during the challenge, he said: “I feel like there’s some things that people said that don’t align with what we thought you aligned with.”

Aidan agreed, calling out the wandering eye comment. With tension rising, Yasmin and Jasmine decide to walk away from the conversation.

Love Island continues tomorrow at 9pm on ITV2 and ITVX

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WHEN his relationship with pop star Sabrina Carpenter imploded 18 months ago, Barry Keoghan’s life was left in tatters amid allegations he cheated.

The award-winning actor, who is playing Ringo Starr in the hotly anticipated Beatles biopics, disappeared from public life after being relentlessly attacked online by Sabrina’s fans.

But last week, Dublin-born Barry stepped back into the limelight with a new woman on his arm.

And far from being a global superstar, she’s a down-to-earth Brit.

“Barry’s new girlfriend is Danica Hall,” a friend tells The Sun. ­“Compared to Sabrina she couldn’t be more low key.

“She was born in Staffordshire and moved to London a few years ago. She was working for a cosmetic surgery company on Harley Street.

“Danica — or Neeka as her mates call her — is well-connected through her work. She met Barry through mates and they started talking. It evolved into a romance and they’ve both been totally smitten.”

Saltburn and Peaky Blinders star Barry, 33, and Danica, 29, were photographed together for the first time last week. They were seen ­kissing while picking up coffees on a relaxed holiday in Barcelona.

Friends say the pair have been together officially for weeks, with those close to Barry telling The Sun that Neeka reminds them of Alyson Kierans, the mother of his three-year-old son Brando.

The 39-year-old dated Barry from 2021 to July 2023, five months before he was first linked to Sabrina.

“Alyson was a dental nurse when she met Barry,” a pal explains.

“She didn’t court the spotlight then and she certainly doesn’t now.

“Her relationship with Barry may be over but they will share their son forever. She is a devoted mother and caring for Brando is her priority.

“That is something Barry really values in a partner. That sense of ‘normalness’ he had with Alyson, who wasn’t bothered about living a public life, is what his friends think he has found again in Neeka.”

Barry’s new romance is a stark contrast to the one he had with American singer Sabrina, 27.

They became one of 2024’s biggest It couples, with loved-up appearances at Coachella and the Met Gala.

Barry was even rolled out as part of Sabrina’s album campaign for Short N’ Sweet, appearing in the music video for her single Please, Please, Please.

“Neeka is totally in sync with Barry,” a friend explains. “When their relationship got more serious, she deleted all of her social media profiles, even her LinkedIn.

“She gets that he wants to live a quiet life and she is totally down with that.”

Those close to Barry also say that he has never been happier.

A pal adds: “Career- wise, Barry is going from strength to strength.

“The Beatles biopics will be intense from next year, with promotion all over the globe and Barry knows his feet won’t touch the ground.

“With Neeka, he’s been able to spend time doing things he loves. Working hard, living a quiet life and hanging out with his mates.”

When Barry split from Sabrina after a year, a source cited their busy workloads. But then all hell broke loose.

Social media trolls and hardline Sabrina fans accused him of cheating.

The unfounded claims were fuelled further by a TikTok personality called Breckie Hill, who was linked to Barry on a gossip website. In a statement posted just days after his split was made public, Barry wrote: “I can only sit and take so much. I deactivated my account because I can no longer let this stuff distract from my family and my work.

“The messages I have received — no person should ever have to read them.

“Absolute lies, hatred, disgusting commentary about my appearance, character, how I am as a parent and every other inhumane thing you can imagine.”

Those close to Barry said it was comments about his late mother, who died of a heroin overdose when he was 12, that hurt the most.

The star, who spent his formative years in and out of the care system in Ireland, said of his background: “She was just unable to look after us.

“My father wasn’t there and so we got taken into care.

“That kind of thing still haunts me. You don’t forget waiting on the social worker’s steps and waiting for a new family to come and play with you. You ask: why you?”

In his heartfelt statement announcing he was leaving social media, Barry also described the messages sent to him.

He wrote: “Talking about how I was a heroin baby and how I grew up, and dragging my dear mother into it. Knocking on my granny’s door. Sitting outside my baby boy’s house intimidating them. That’s crossing a line.”

But just four months after he bid a public retreat, Barry was unveiled as one of the new Fab Four for Sam Mendes’ Beatles biopics.

Insiders revealed that he threw himself into the work alongside Paul Mescal, Harris Dickinson and Joseph Quinn ahead of filming, which started production earlier this year.

He was rarely seen or gave ­interviews, and kept a low profile.

But last August, he hit the headlines again after Sabrina dropped her album Man’s Best Friend, which once again led to frenzied speculation that some of the songs were about him.

She even remade the video for Please, Please, Please, with the new version showing Barry’s character tied up in the boot of her car.

Sabrina refused to shut down allegations of cheating and said of her album: “I write songs about exactly how I feel, so I guess I can’t be surprised that people are interested in who and what those songs are about.”

In March this year, Barry told how he was still getting abuse online. He said: “There’s a lot of hate online. There’s a lot of abuse of how I look, and it’s kind of past the point of, ‘Everyone goes through that’.

“And everyone does, but it’s made me shy away.

“It’s made me really go inside myself, not want to attend places, not want to go outside.

“And I say this being absolute pure and honest to you. It’s becoming a problem.”

The following month he addressed the backlash around Sabrina, saying: “There was a narrative out there that was never really sort of even spoken on — a narrative that’s not true — and I never confirmed or said anything about it. And I just disappeared.

“I’m not asking for people to become my fans and like me because that’s not normal.

“I’m asking for people to stop assuming and also stop jumping on this narrative and attacking me and dragging me down in any way you can. I’m not saying this for pity. Why is it cool to hop on and beat someone up?”

Now, those close to Barry insist he will not be hard-launching his romance with Danica.

A friend added: “He has been through a high- profile romance, he’s not in a hurry to go back.

Coronation Street fans are worried that actress Sydney Martin is about to leave her role as Betsy Swain on the ITV soap after two years of melodramatic twists and turns

Coronation Street fans are worried that Betsy Swain is about to leave the ITV soap. The Speed Daal waitress, who has been played by Sydney Martin since 2024, has been through an awful lot during her two years in Weatherfield.

Just over a year ago, Betsy lost boyfriend Mason in a knife attack, was then shot by her own mother DS Lisa Swain, who faced no consequences for her actions, and was landed in a freak situation when her other mother Becky came back from the dead, having faked it as part of a corrupt police coverup.

Following on from all that drama , Betsy recently discovered a dead body that turned out to be that of Theo Silverton (James Cartwright) at the end of the much-hyped Murder Week.

In scenes set to air in the coming days, Betsy confides in best friend Laure (Cait Fitton) that she’s been offered a place at the London College of Fashion but she’s worried about leaving Dylan. It’s yet to be seen just how Dylan will react and, on top of that, Betsy explains that she is yet to inform her mother.

Fans of the world’s longest-running TV soap have instantly started to speculate that Sydney, who appeared in Assassin’s Guild before joining Coronation Street, is set to make a dramatic exit from the ITV soap.

Taking to X, one fan said: “betsy off to london? [sad face emoji],” whilst another posted a picture of Carla, Lisa and Betsy and said: “Don’t spilt them up please #corrie I think Lisa will take this hard and Carla will help both Betsy and Lisa to see it from each others perspective.

Another said: “You can just imagine Carla saying something like oh you’ll be fine Betsy in London I could tell you stories about what me and Michelle got up to, and Betsy saying something like and even to this day they involve the police.”

Another wondered if this meant some sort of spin-off was on the cards. In the past, the programme has done various spin-offs such as Just Rosie, which followed Rosie Webster (Helen Flanagan) on her quest for a modelling career, whilst a string of DVD releases like A Knight’s Tale and Out Of Africa were issued in the late 2000s.

Posing the theory, the fan wrote on X: “Is there any indication that Betsy going to London could be a limited summer off-shoot series like Hollyoaks Later where all the teens shared a summer house (obviously without the serial killer). But it will be Betsy’s adventures in the big city?”

It all comes after actress Sydney Martin, 24, was revealed to have been cast in a short film titled Favourite earlier this year. Filmmaker Georgia Leigh-Taylor said: “I’m so thrilled to announce the incredible Sydney Martin and the brilliant Isabelle Smith will be playing Mel and Ashley in my upcoming short film called Favourite.

“After graduating from the same acting school, Sydney and Izzy have both been working professionally in television since 2024, building exciting careers for themselves, taking on powerful storylines, and earning well-deserved recognition.

“Favourite is a dual-timeline drama exploring the lives of best friends Mel and Ashley both as teenagers, and as adults.”

Coronation Street airs Monday to Friday at 8:30pm on ITV1 and is available to stream from 7am on ITV X.

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Obsession is maybe too hard-edged; interest too soft. But from “Close Encounters of the Third Kind” and “E.T” to his new sci-fi thriller “Disclosure Day,” Steven Spielberg has spent nearly the entire length of his career returning to the possibility that we are not alone in the universe. Even “Firelight,” the amateur movie he made as an Arizona teenager in 1964, revolved around extraterrestrial visitors.

That recurring fascination stands out partly because Spielberg has never been a filmmaker who stays in one lane. Across 36 features as a director, he has pivoted between science fiction, war films, historical dramas, adventure movies, thrillers, comedies and even a musical while somehow retaining the same famed Spielbergian sense of emotional wonder that defined his earliest work.

Which makes “Disclosure Day” — opening Friday and built around mysterious transmissions, buried government secrets and the possibility of alien contact — feel less like a detour than a return to one of Spielberg’s oldest creative preoccupations. Speaking about the film in March at SXSW, Spielberg admitted that while he has no special knowledge about extraterrestrial life, he nevertheless has “a very strong, sneaking suspicion that we are not alone here on Earth right now. And I made a movie about that.”

So with Spielberg once again looking skyward, we decided to revisit the director’s long cinematic relationship with aliens, as figures of astonishment, terror, transcendence and, occasionally, giant crystal skulls from another dimension.

Melinda Dillon and Cary Guffey in 1977’s “Close Encounters of the Third Kind.”

(Columbia Pictures)

Josh Rottenberg: I don’t really remember a world without Spielberg’s aliens. I was 6 when “Close Encounters of the Third Kind” arrived in 1977, not much older than the little boy played by Cary Guffey who is carried off by visitors from another world after his toys mysteriously come to life. Five years later, I was exactly Elliott’s age when “E.T. the Extra-Terrestrial” landed in theaters in 1982.

“Close Encounters” made aliens feel weirdly plausible, not just creatures in a “Star Wars” cantina or rubber-suited monsters from old sci-fi movies but something that might turn up in ordinary American life through blinking kitchen appliances, strange lights in the sky and suburban middle-class dads who can’t explain why they suddenly need to drive to Wyoming.

What surprises me now is how hopeful the movie feels. It came out of the post-Watergate ’70s, when distrust of institutions was running high, but Spielberg directed most of that suspicion toward the government, not the alien visitors. Richard Dreyfuss sculpting Devils Tower out of mashed potatoes should seem completely insane — and it kind of is. But Spielberg somehow makes you understand why Dreyfuss’ Roy Neary is willing to walk away from his entire life and family over something he can’t explain.

With “E.T.,” Spielberg scaled that cosmic yearning down to a California cul-de-sac. I recently watched the movie again at Hollywood Forever Cemetery with my wife and younger daughter, who’s in college now. I’d seen it several times since 1982 but not on a big screen, and I was startled by how much of it I still knew by heart: E.T. shuffling through the kitchen drinking cans of Coors, Elliott freeing the frogs in science class, Drew Barrymore introducing the alien to her dolls like he’s a new kid who just moved in next door. Somewhere along the way, “E.T.” became less a movie to me than part of the background texture of childhood itself.

Spielberg turned one of science fiction’s grandest ideas — first contact with alien life — into the story of a boy and his weird little space-faring goblin best friend. Mark, we’re of the same Gen X vintage. Did Spielberg permanently convince you that aliens were basically on our side?

A scene from the 1982 movie “E.T. the Extra-Terrestrial.”

(Universal Pictures / Photofest)

Mark Olsen: I didn’t see “Close Encounters” when it was first in theaters, but I remember any kid with a piano learning those five notes of John Williams’ alien theme music and then the movie becoming a staple rental of the early VHS era.

When I revisited the film for its 2017 re-release — an overwhelming experience in the sorely missed Cinerama Dome, where the movie also played when it first opened — I was struck by how homespun and handmade it felt, grounded in a naturalistic sense of realism. For as much as Spielberg may be fascinated by aliens and whatever could be out there, he always uses them as a way to reconsider what is going on down here: to reconnect with the elemental aspects of humanity and our common bonds.

I’ll be honest and say that “E.T.” is a movie I have always struggled with. I clearly remember seeing the movie when I was young and being very disturbed by the scene when the government arrives and drapes the family’s house in plastic sheets and tubing. I distinctly recall recognizing that the film itself wanted me to feel bad — I didn’t like that. (Perhaps thus was a young critic born.) Spielberg is often so proud of his mechanics, he lets them show, which is why even then I was resistant to moments when he wants the relationship between Elliott and his new friend to truly take flight.

Tom Cruise in Steven Spielberg’s 2005 sci-fi thriller “War of the Worlds.”

(Paramount Pictures)

Rottenberg: By 2005 and “War of the Worlds,” the wonderment was gone. Spielberg took H.G. Wells’ downbeat vision of extraterrestrials as exterminators and updated it for post-9/11 America: nightmarish scenes of alien tripods clawing their way up through the pavement, blaring air-raid horns, entire crowds vaporized into clouds of dust.

This time, nobody is trying to communicate through music or empathy. Tom Cruise spends the movie running through New Jersey with two terrified kids while ash drifts through the streets and giant alien war machines scoop humans into dangling metal cages. “E.T.” had turned aliens into plush toys and breakfast cereal. “War of the Worlds” turned them back into the menacing aggressors of 1950s sci-fi films like “Earth vs. the Flying Saucers” and “Invaders From Mars.”

Which made it all the more jarring when, three years later, Spielberg suddenly swerved back toward old-school flying-saucer mythology with 2008’s “Indiana Jones and the Kingdom of the Crystal Skull,” shoehorning an extraterrestrial plot into one of his most beloved series. Seeing Cate Blanchett march into a glowing alien chamber to commune with giant crystal skeletons from another dimension, I could understand why some fans reacted like they’d just watched someone spray-paint a UFO on the Ark of the Covenant.

But looking back, the inclusion seems almost inevitable. Spielberg keeps circling back to aliens no matter what genre or franchise he’s working in. Even 2001’s “A.I. Artificial Intelligence” eventually reveals itself as a kind of inverted first-contact story, with humanity becoming the vanished civilization studied by synthetic descendants of the machines.

Mark, were you able to roll with Indy suddenly colliding with Area 51 mythology, or did Spielberg lose you at that point?

Harrison Ford and Shia LaBeouf in the 2008 movie “Indiana Jones and the Kingdom of the Crystal Skull.”

(David James / Paramount Pictures / Lucasfilm)

Olsen: There was something so eye-rollingly whatever about the finale of “Kingdom of the Crystal Skull” that you couldn’t even really be mad about it. On a storytelling scale of Spielbergian preposterousness, the moment lands somewhere between the Wrath of God sequence in “Raiders of the Lost Ark” (totally legit) and the time traveling of “Dial of Destiny” (throws hands in the air).

“War of the Worlds” remains a fascinating film within the director’s space alien canon because it has an anxiety and uncertainty that isn’t often found elsewhere. Even his core interest in creatures, so often a well of amazement and positivity, couldn’t pull him up. Much has been made of the film as a response to the aftermath of 9/11 and Spielberg followed it up with the existential thriller “Munich,” a further exploration of the darker aspects of the national mood, before the year was even up.

This seemed to be a moment of malaise for Spielberg, one he worked his way out of with an unpredictably wide-ranging series of films including “Lincoln,” “Bridge of Spies” and “The Post.” It was as if he were left reeling from cynicism and was trying to reclaim some youthful confidence that he would eventually rediscover with the autobiographical “The Fabelmans.” Josh, do you feel that “Disclosure Day” serves as the final word on Spielberg’s alien interests?

Emily Blunt and Josh O’Connor in the movie “Disclosure Day.”

(Niko Tavernise / Universal Pictures)

Rottenberg: What makes “Disclosure Day” interesting to me — even though I wasn’t fully sold on it — is that Spielberg is returning to these ideas at a moment when UFO culture has already evolved far beyond him.

Screenwriter David Koepp has cited “Three Days of the Condor” as a touchstone, and for long and often gripping stretches, the movie really does play like a paranoid 1970s conspiracy thriller: cryptic transmissions, shadowy government programs, Josh O’Connor racing to expose buried secrets, Colin Firth strapped into a chair using alien technology to manipulate people from afar.

But while “Close Encounters” arrived at a time when UFOs still occupied this hazy space between science fiction, Cold War anxiety and New Age mysticism, “Disclosure Day” lands in a world where self-described UFO abductees have their own support groups and Congress has held multiple hearings about “unidentified anomalous phenomena.” Meanwhile, earlier this spring, the U.S. government declassified another batch of UFO files and the response was roughly equivalent to a collective shrug.

In recent interviews, Spielberg has said he now considers the circumstantial evidence for UFOs “overwhelming” and no longer views “Disclosure Day” as science fiction at all. In his earlier alien films, extraterrestrials represented mystery and escape. Here they feel more like vaguely benevolent interstellar therapists trying to help humanity get its act together. The film’s climax reaches for the same sense of civilizational awe as the mothership landing in “Close Encounters.” For me it didn’t quite get there.

But maybe that’s partly because it’s harder now to experience these ideas with the same innocence they carried in 1977 or 1982. Rewatching “E.T.” at the Hollywood Forever Cemetery, I still wanted to believe that an encounter with an alien intelligence could elevate us. But we’re a long way from Reese’s Pieces and flying bicycles. Mark, did “Disclosure Day” manage to pull you back into Spielberg’s orbit this time?

Olsen: I have to just get it out of the way that as someone from Kansas City, I will be eternally annoyed that Emily Blunt plays a TV weatherperson in KC and Spielberg did not actually shoot there. Having said that, for me the movie is at its best as a chase thriller — a sequence in which O’Connor escapes a remote farmhouse is particularly well-executed.

“Disclosure Day” is first and foremost just a lot of fun, a showcase for Spielberg’s gifts as a filmmaker and his longstanding collaborations with cinematographer Janusz Kaminski and composer John Williams. The film is deeply interested in who knows what. There are longtime tightly held secrets being kept from the rest of us for whatever reason. Though the film is framed as a conspiracy thriller, Spielberg’s essential goodheartedness continually peeks out, as if he can only play at being hard-bitten for so long.

Where the film becomes less sure-footed is when it grabs for its bigger meaning, attempting to render something deeper from Spielberg’s longstanding fascination with aliens and what they might have to teach us.

The real disclosure of “Disclosure Day” turns out to be our own inability to listen: how everyone gets so wrapped up in themselves they often miss the larger picture. But the idea that the entire world could latch onto something together feels too far-fetched in our own current fractured news environment. That is likely less the fault of Spielberg and more one of ourselves. His career-spanning interest in aliens always brings him back to trying to better understand us.

Shrek’s abs are more defined than some might expect. Or is it that the shade of his green skin makes them appear more chiseled under bright lights? Maybe it’s just disorienting because no one anticipated gawking at his torso inside the historic downtown Los Angeles venue founded by Hollywood legends Charlie Chaplin, Mary Pickford, Douglas Fairbanks and D.W. Griffith.

These are thoughts that swirl in one’s head while attending this year’s Las Culturistas Culture Awards ceremony, held on a recent Saturday night at the United Theater. An offshoot of the popular podcast that actor-comedians Matt Rogers and Bowen Yang have hosted since 2016, the award show aims to celebrate the year’s biggest pop culture moments and plays like a fever dream more dazzling and deliciously random than a late-night scroll session on TikTok.

After launching in 2022 as a live event outdoors at Lincoln Center, the guerrilla awards show reached TV screens for the first time last year. This year’s ceremony, which will air June 17 on Bravo and stream on Peacock, coincides with the podcast’s 10th anniversary and features a kaleidoscopic array of attendees, including screen veterans like Lisa Kudrow and Will Ferrell, reality TV favorites like “Summer House’s” Ciara Miller and “The Real Housewives of Dubai’s” Chanel Ayan, and anthropomorphic icons like Miss Piggy and a certain green ogre. And the prizes? It’s the only place you can find categories like “Real Housewives Award for Best Way to Start a Confrontation,” “Pornhub Category We Would Never Click On” and “Hilary Duff Award for Millennial Excellence.”

Over lunch at the NBCUniversal lot in Universal City, Rogers and Yang discussed the show’s evolution. These are edited excerpts from the conversation.

Matt Rogers, left foreground, and Bowen Yang perform a musical number inspired by “Heated Rivalry” during this year’s Las Culturistas Culture Awards.

(Monty Brinton / Bravo)

I will probably regret starting our conversation this way, but we all have our blind spots and, to thoroughly prepare for this interview, I watched “Shrek” for the first time last night.

Yang: Oh great! The first one?

Rogers: How’d you feel?

I get it now.

Rogers: Get what, that he is attractive or …?

I’m not quite there yet. You guys reference the film a lot on your podcast and Shrek has also been a figure on the awards show, including this year. I was hoping you’d explain Shrek as a heartthrob to me as if we’re in a pop culture class. When did this idea really take shape?

Yang: Over at least a couple years, to my knowledge, there’s been this online meme culture around Shrek, where it’s like, “Oh my God, Shrek is like a sex king,” but now it’s even spilled over into like dating life. I don’t know if you’ve heard of this, but there’s a verb called Shreking in dating, where it has to do with women dating a guy that’s below their league because he will be nice to them; he will be a Shrek to their Fiona. That’s an interesting thing — you date someone slightly in another zone than you, so that you can be like, “Well, that’s my Shrek,” but meanwhile, there’s the tension between that and Shrek being someone that people are actually attracted to. This just speaks to the enduring power of Shrek as a pop culture icon.

Rogers: I think what it is, is he has an amazing accent. It’s a very powerful thing. He’s independent, he’s self-sufficient, he’s a movie star.

Yang: He said it at the awards. I mean, he’s a rich celebrity.

Rogers: We saw the real Shrek at the awards and he looks pretty f—ing good to me.

Yang: He looked good to me. I don’t know what these Gen Zers are talking about with this Shrek being below your league.

What are the calls with publicists like now to get their clients to participate?

Yang: Last year was a communication puzzle to solve. We were like, “OK, we have to really convey this the right way.” We thought, perhaps naively, now that we’ve done it, now that there’s a proof of concept, it’s going to be much clearer. I think it was clearer, but there was still that degree of, “oh, this is …” — not to like give ourselves too much credit, but this is a concentric circle outside of what is very established in the form of an award show. You’ve got publicists who are like, “Well, we would love for our client to win an award.” And you’re like, “No, that’s not really the point.”

Rogers: Presenting is just as good as winning, just as good as performing. But I think it’s weird that we have been so late to stumble on what the show really is, which is it’s a variety show. And, so, in wrapping your head around it that way, it’s actually pretty easy to get across. It just has the drag of an award show, and that’s our way in.

But I do understand the publicist hesitation because I will say, in a world where it’s your job to protect your client, you’re putting them in a situation that is like, “OK, they’re going to an award show — that’s something this town takes very seriously.” So, it’s an ask to be like, “Hey, can you come take the piss out of this concept that you’re then probably gonna spend eight months of the year trying to actually achieve?” I would be lying if I said that we didn’t want one day to win one of those awards. It’s an acknowledgment of your work, but in that, Bowen and I think the No. 1 thing that’s the funniest thing in the world is people who take themselves that seriously. It’s a healthy mix of appreciation for this thing that was actually a big element of the culture that made us say culture was for us, which was watching award shows when we were kids, and also the reality that we now know as people that are in the industry of what they really are, which is they’re just shows. We’re not condemning them, we’re having fun with it.

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1. Scenes from the 2025 Las Culturistas Culture Awards: Jeff Goldblum, left, accepting the award for Most Amazing Impact in Film for his appearance in “Jurassic Park,” alongside presenter Patti Harrison. (Griffin Nagel / Bravo) 2. Allison Janney was a guest of honor, receiving the Lifetime of Culture award. (Jordan Strauss / Bravo)

Have you been asked to tweak the name of a category or punch it up even more?

Yang: Last week was the window when our producers could be very honest with us and say if something may not be working. Back to the Shrek [bit in this year’s show], actually, that ended up being much dirtier and bluer than it was on stage.

Really? I already knew I wouldn’t be able to include the award category because of Times standards. So the actual bit was raunchier?

Yang: It was even raunchier. It went for it.

Rogers: But it’s also a testament to how much freedom they give us to make our show. If they were concerned at all about us desecrating the image of Shrek, we certainly did not feel that way. I am really shocked and grateful that we get to do something that it feels like we’re getting away with something.

Take me back in time with young Bowen and young Matt. What do you remember about your enthusiasm for award shows growing up?

Yang: It was watching Billy Crystal at the Oscars do song and dance numbers, zing these things in for a laugh that we’re referencing the year, being in these video packages where he was in the movies. That it was live television and just this pageantry of people congratulating themselves, congratulating each other. I would tune in live every single year to all the award shows and I would follow the host changes. I remember Whoopi’s first year [hosting the Oscars]; I remember Ellen’s first year. I was really obsessive. It opened the door for all these things that I currently love, and that I’ve somehow had a fortunate experience in, which is live television, song and dance numbers — everything that Billy Crystal was doing. It keyed me in on how show business works, down to production elements and how filmmaking comes together.

Rogers: I just remember, I looked at the screen and I was like, “Oh, that’s where I belong. I belong with them. I don’t belong out here.” I was one of those Gold Derby kids — I would be on the forums; I still sometimes look at the odds and rankings and stuff. It was like gay sports, particularly with the best actress and best supporting actress races. And then obviously the Grammys, and all of that. One year I was watching, I think it was the People’s Choice Awards or the American Music Awards or something, and Shania Twain lost to LeAnn Rimes, and I cried for a day. I took it so seriously and my mother turned to me and said, “You need to stop.” But you couldn’t tell me it didn’t matter at the time. [Reporter’s note: Twain lost the favorite country new artist award to Rimes at the 1997 American Music Awards.]

As the profile of Bowen Yang and Matt Rogers’ variety-style award show has risen, getting stars on board is an interesting puzzle: “You’ve got publicists who are like, ‘Well, we would love for our client to win an award,’” Yang says. “And you’re like, ‘No, that’s not really the point.’”

(Jason Armond / Los Angeles Times)

What do you remember about your first experience at a major awards show?

Rogers: He was nominated as writer for “SNL” and took me as his date. We were sitting there — the “Queer Eye” guys were sitting like three rows behind us.

Yang: We watched Phoebe Waller-Bridge sweep with “Fleabag.”

Rogers: We watched Michelle Williams win for “Fosse/Verdon.” It was funny because we had gone to the bar and were double-fisting drinks back to the seats and I said to Bowen, “Oh my God, I’m like the Busy Philipps to your Michelle Williams.”

Yang: And who shows up behind us?

Rogers: Busy Philipps taps on our shoulders and goes, “You guys are killing it with those drinks.” And I’m like, she doesn’t even know I’m her. Cut to minutes later, Michelle walking up and giving a banger of a speech.

Yang: That was like our first brush with it. Even now we go to these, and we’re like, this is really something; it’s incredible. We were at the Oscars last year, front row, witnessing all of it go down, witnessing the moment where upsets would happen, feeling the vibe in the room shift. The benefit of our show is that the vibe is pretty high throughout; it does not decline as soon as there are losers in the room.

Las Culturistas Culture Awards took place in late May and is being telecast roughly two weeks later. Do you see it ever going the live route?

Yang: We don’t know. That is my not so secret dream, is to do it live one day. There’s just something about doing it live — and it occurs to me now that I’ve been very lucky and fortunate to have have my reps in. There’s just something so wonderful about it being this event where everyone is tuning in, enjoying it the same time you are. That is really something special.

Rogers: If he’s down, I’m down.

I’m sure this changes each year, but who’s your dream person to snag for an appearance?

Rogers: I would say the people that make it very apparent that they have sketch comedy and impression skills, and maybe you wouldn’t necessarily know that they do until they show that.

Yang: Ariana Grande.

Rogers: Our dream was for Ariana to come do an original character. We actually floated to her the idea — there was going to be like a Banksy reveal of MsMojo, and it was going to be revealed that it was Ariana Grande was MsMojo. But she actually was in rehearsals for the Eternal Sunshine World Tour. Little did we know she also was recording “Petal.” She was a bit too busy to play MsMojo, I guess, this time.

Yang: These two are forever paired in my head, but it’s because she’s another sketch performer: Cher. And sometimes the dream guests are not big names, it’s the people that we came up with in comedy. And actually one of the consumer research reports that we got back before we started writing this year’s show was that the thing that people loved about the Culture Awards was this crossover of reality talent, A-listers and Oscar winners, and comedy people — that mix, those three [types of] people mingling together is what the viewers want.

Rogers: I’m just so proud in every single way of the diverse array of talent that we were able to bring together. I looked out in the audience and it was just a party of so many friends and people we’ve met in the business — people that I didn’t even get to meet that night, but I was just gagged they’re there, especially in the edit, which you’ll see. This is Bowen’s first year in the edit, he had to miss it last year, but that’s what’s so cool about going through the footage, is you’re like, “Oh my God, there’s someone I’ve loved my entire life next to my cousin.” We were saying to each other that it ended up being like a weird love letter to our younger selves, having Mandy Moore and singing “Only Hope” with her and doing the “Pokémon” theme song and getting to hang out with Pikachu.

Do you worry about it ever getting too big?

Rogers: If it ever gets to a point where it couldn’t be funny, that wouldn’t work. We want it to always stay true to what it is, which is it’s our comedy special together. As long as it doesn’t feel like it’s selling out — and I can understand people watching it and being like, “Oh, they obviously had to have Nintendo characters because it’s NBCUniversal or obviously they had to include “Summer House” — none of that is true.

Yang: There’s no mandate.

Rogers: This is genuinely what we would want the show to be, and so as long as it’s that, we’re good.

So what’s your “I don’t think so, honey” on awards shows?

Rogers: I don’t think so, honey — 10 nominees for best picture at the Oscars. Why?

Yang: Totally. Tea.

Rogers: I actually think it helps things that are weirder win because it’s too many. And the way that they ranked choices. I’m a popular-vote person anyway.

Yang: I need us to really get on the same page about play-off music. Sometimes people are encouraged to go on, sometimes we turn against that. Let’s stop innovating, let’s stop trying to break the mold on them. Let’s just respect that as much as we can, unless it’s egregious.

And it’s always a bit within the show.

Yang: This is what I was about to get to. The hosts now are always trying to bitify that; it’s more of a practical thing to keep the show moving. Don’t try to put a hat on top of a hat by making it a comedic moment too. We’ve never really played with that trope, even though we could, and maybe should. For now, my attitude towards play-off music is, these people might not ever be on this stage again.

How soon do you start planning the next one?

Rogers: Hopefully, they give us the green light.

Ana Gasteyer, left, Jamie Lee Curtis and Patti Harrison at the 2025 Las Culturistas Culture Awards.

(Jordan Strauss / Bravo)

How did you go about deciding which categories would return this year and which you invent along the way?

Yang: We did an audit this year of all the categories from the last few years of doing this.

Rogers: Less made it back last year.

Yang: I think maybe about 30 max previous categories [returned] — that’s a decent ratio, 70-30 is nice. From there, we just kind of molded the clay on the table a little bit. We have the benefit of making this a recursive reinvented show every year; the categories itself are the premise, it’s the micro-premise within the segment or the element. The jokes are the nominees. Why not create new opportunities at every turn.

“Las Culturistas” expanded into a video podcast last year. How do you feel about this evolution we’re seeing to the format?

Rogers: It’s not that when I’m on camera with Bowen doing the podcast, like, “Oh, I wish I could be more relaxed,” I just wish the whole industry hadn’t gone this way because I feel like when you’re on camera, you can’t help but be a little bit more self-conscious, and that is going to come through in the podcast product. If I had my druthers, none of them would be on film. I can understand that it helps a lot and I can note a marked difference in the amount of times I get recognized now that we are on social media. It absolutely “helped” our podcast get bigger. That being said, I don’t think it was a good thing for podcasting that they all became TV shows.

Yang: It changes the register and the tone by nature. You cannot help but be motivated by different things, by the appearance of it, by the presentation of it, beyond what it was, which is just radio, which is a really important American form.

As two people who grew up being connoisseurs of pop culture, what is it like to be on the other side of it, to feel the intensity of it — I’m talking about what happened with the Jasmine Crockett comments — to become part of the conversation? What lesson came from that?

Yang: We are experiencing something in an acute way that I think everyone is experiencing, which is we are seeing ourselves in the third person. Everyone is kind of modulating their behavior based on how they are appearing out of body. It’s the way we all move through the world now, which can be snapshot and projected very widely out into the world for whatever reason.

Rogers: When you’re talking candidly, you can never know what piece of what you’re saying is going to be the piece that gets scrutinized again and again and again and again by what feels like the entire internet. And if you did, you would, of course, be more specific, and you would be able to really clearly say why you are saying what you are saying. We have had learning experiences with that, and so what we can do going forward is be more clear about the things that we do believe and stand by. That is something that even 10 years in the game we are learning how to do.

Yang: And I think on a very large scale, what is going to happen is that we are all going to adjust for the fact that we have behaviorally changed because of this idea that we’re seeing ourselves in the third person constantly. For me, personally, I’ve had to wrestle with this idea after being on “SNL” for seven years and having to evaluate myself and having an audience evaluate me every week. I’ve changed behaviorally; I need to get over this fear of being seen. I need to get better about listening to my own voice.

Rogers: The internet is a very weird place and the thing is, it deliberately ignores nuance. It willfully tries to make something seem lowest common denominator, so that there can be a community based around that thing. And that is not good for the world. It’s not good for discourse. It’s not good for our politics. It’s really bad for our politics. Until we can all get on the same page about the ways in which we are willfully misunderstanding each other and calling it discourse, it won’t get better.

Yang: The misunderstandings are about people’s tones, and not necessarily about the things that people are pointing toward.