SHOW BIZ

HOLLY Willoughby has poked fun at the moment she appeared to be shoved aside by Kim Kardashian at the Monaco Grand Prix, sharing a series of behind-the-scenes snaps.

The TV favourite appeared to see the funny side of the viral moment as she gave fans a glimpse into her glamorous race weekend.

Holly shared a collection of videos from the star-studded event on Instagram, including several behind-the-scenes candid moments from the famous race.

She even addressed that awkward moment she got caught up in Kim Kardashian’s huge entourage during a live interview with pal Michael McIntyre.

They were being interviewed by Sky Sports presenter Natalie Pinkham when Holly said: “We are so lucky to be here.”

Shortly after, they were swept away by security guards.

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Michael said: “It’s a wave! It’s the Kardashians! I’m joining them!”

He followed them, leaving Holly behind. But then he returned, joking that he sustained an injury, saying: “We’ve got a live update. I’ve just been hit by like a wave.

“You know when you’re on holiday and a wave hits you and it’s like “that’s actually quite dangerous”. We’ve been Kardashian waved.”

Holly added: “That was ridiculous.”

Michael added: “My back’s gone. I think something belonging to Kim, I’m not mentioning anything, may have struck me in my lower back earlier. And I gotta tell you, it hurt!”

Referencing the now-viral encounter, the presenter jokingly hinted that she had survived the “wave” as fans flooded the comments with laughing emojis and support.

She captioned the post: What a weekend! Monaco you didn’t disappoint… @williamsf1team @jv.f1 thank you for having us, hard to pick a highlight, grid walks, hot laps (I will post this later, safe to say I wasn’t built for speed 😵‍💫) all topped off by getting caught up in a @kimkardashian fly past 🤣

“Also Barry and Daimo thankyou for your hospitality… that’s one weekend that I’ll never forget 🏎️🏁❤️ ✨“.

One fan commented: “Amazing!!!! Saw you and Michael McIntyre nearing taken out by the KimK team 😂. Looked incredible!”

Another added: “@michaelmcintyre on the grid walk with the Kardashians was a highlight 😂“.

A third penned: “@michaelmcintyre was mint!!!!! Surprised though he wasn’t tackled to the ground by her security! 😂“

A fourth said: “The kardashian wave was the funniest thing ive seen in a long time 😂 @hollywilloughby”.

For the glamorous weekend, Holly dressed to impress in a series of chic outfits, stepping out in a stylish blue playsuit on one day and a sleek black sleeveless dress on another.

The presenter completed both looks with understated accessories and effortless styling as she mingled with fellow celebrities and Formula One guests in Monaco.

Meanwhile, Kim Kardashian made her F1 trackside debut to support her Ferrari driver boyfriend Lewis Hamilton.

She arrived with her sister Khloe Kardashian as well as a huge entourage.

Kim wore a stunning cream one-shoulder maxi dress, while Khloe opted for a satin plunge midi dress also in cream.

Kim watched the race and Lewis narrowly miss out on winning.

Kimi Antonelli became the youngest winner at 19 years old. 

Despite the loss, Lewis appeared in high spirits as he blew Kim a kiss and sprayed her with champagne as he celebrated on the podium.

Kim and Lewis have been friends for over a decade.

They were first spotted getting cosy on New Year’s Eve in Aspen. 

They went public with their romance at the Super Bowl in February.

Just last week, they took a huge step in their relationship as he was seen with her four children for the first time.

A source previously said that the couple have an “intense” relationship and Kardashian’s family absolutely “adores” him.

After stops in Dallas-Ft. Worth and the Bay Area, FuelFest, a global car-enthusiast festival, will cruise into the OC Fair & Event Center in Costa Mesa on June 13.

Those in attendance will get to watch the rubber hit the road on a drift course, gawk at more than 700 performance-built cars on display and behold some of the vehicles that introduced Japanese tuner cars to the American market in “Fast and Furious.”

“FuelFest is where good people, car-culture people, come to meet one another because they share a common interest, a common passion,” said Cody Walker, founder of FuelFest and the brother of late actor Paul Walker, who was known for his role in Universal Studio’s “Fast and Furious” franchise.

Audience members get to ride in the passenger seat of a professional driver’s drift car.

(FuelFest)

Organizers expect thousands of people to flock to the OC Fair & Event Center for FuelFest, moved not just by the sight and sounds of muscle cars, but by what surprises are in store to celebrate the 25th anniversary of the first “Fast and Furious” movie.

“This is a love letter to the city of Los Angeles and Orange County,” “Fast and Furious” actor Tyrese Gibson, a co-sponsor of the event, said on a recent video call about FuelFest.

The event will be something of a homecoming for Walker, Gibson and the “Fast” franchise. Walker, raised in the Sunland-Tujunga area, said the event will include tributes to cars made popular by the seminal Southern California car scene, including a lowrider and exotic car display.

Of course, FuelFest is also a tribute to Paul Walker. To continue his brother’s legacy, Cody Walker quit his job as a paramedic and took charge of Reach Out Worldwide, a disaster-relief charity founded by Paul in 2010, and he created FuelFest as a means to raise money for his brother’s initiatives.

“[Paul] was 40 years old, and we thought he had about 70 to go,” Walker said on a video call, referring to his brother’s fatal car crash in 2013. “He didn’t care about being this significant person; he didn’t see himself that way. The charity is the kind of stuff he cared about.”

As for this edition of FuelFest, Walker and Gibson said they didn’t want to spoil all of the surprises, but here are six things to know before you head to the event.

1. ‘Fast and Furious’ cars will be on display

Some of the Japanese Domestic Market and American muscle staples seen in the “Fast and Furious” films will be at FuelFest.

Gibson might not know specs like RPMs or cylinders, but he said he appreciates the “Fast and Furious” characters’ gorgeous cars, including Dominic Toretto’s 1970 Dodge Charger and Brian O’Connor’s late ’90s Mitsubishi Eclipse. Those cars and other iconic “Fast” wheels will be at the fest.

“It was because of these films that people in the United States became familiar with the tuner culture of Japan, which was super niche up until that point,” Walker said. “We’re talking about 25 years. There’s iconic cars from the franchise, from a bunch of the movies that will be there.”

2. Children age 12 and under get free admission

As children, Cody and Paul Walker were practically programmed to love cars. Their maternal grandfather was a race-car driver and mechanic, and their father was a photographer for Street Chopper Magazine. An event like FuelFest, Walker said, can be formative in fostering a lifelong passion and creative outlet for car-curious children.

Gibson said organizers wanted to make tickets free for children so that entire neighborhoods in the Los Angeles and Orange County areas could have a low-cost day out. Therefore, a general admission ticket for SoCal FuelFest costs $58.24 including tax and fees, but children age 12 and under get in free with a ticketed adult.

“If you’re a single mother and you have three kids all under 12 and you want to bring your friends in the neighborhood with you, whether they’re you’re kids or your neighbors, they’re getting in for free,” Gibson said.

If you want to splurge, there’s a meet-and-greet with Gibson plus VIP Platinum admission for $739.38, including tax and fees.

At FuelFest, a global car-enthusiast festival, more than 700 cars will be on display.

(FuelFest)

3. Performances by DJ Quik, Flesh-n-Bone and more

In addition to DJ sets and live performances, ’90s rap legends DJ Quik and Flesh-n-Bone will host an evening concert on the festival stage.

Walker and Gibson are mum about who else might show up during the concert, but they promised that audiences driving in from L.A. will find the trip down to Orange County worth it.

“There are no limits to the West Coast friends that DJ Quik has,” Gibson said.

During FuelFest, ’90s rap legends DJ Quik and Flesh-n-Bone will host an evening concert on the festival stage.

(FuelFest)

4. A Lucha Libre sideshow

If that’s not enough, there will also be a Lucha Libre show with, according to Walker, a “full-blown” story that has extended across FuelFest locations.

Lucha Libre Voz, an independent professional wrestling company based in California and Arizona, will host its worldwide championship match between Tigre Uno and Septimo Dragon.

“It’s gonna be insane,” Walker said. “Best show of the year.”

5. Ride passenger in a drift car (with a helmet)

After signing a waiver, strapping on a helmet and paying a $30 fee, audience members can ride along in the passenger seat of a professional driver’s drift car. Walker calls it: A “full-blown throttle therapy session.”

Reservations for the drift car ride-along will be handled on-site. Pro tip: Get there early to beat the lines.

6. Reach Out Worldwide’s event goal

A portion of the revenue from the event, mostly from on-site activities such as the drift car ride-along, will go to charitable efforts at Reach Out Worldwide, which has assisted with cleanup, repair and resource efforts for victims of natural disasters, including Hurricane Melissa in Jamaica and the Los Angeles County fires in 2025.

FuelFest has raised about $1 million for Reach Out Worldwide since the charity resumed in 2024, more than a decade after Paul Walker’s death paused the group’s work. Cody Walker predicts the revenue from the SoCal show will help Reach Out Worldwide pass the $1-million milestone.

“I gave up everything to make sure that Reach Out Worldwide could function,” Walker said. “FuelFest started as this simple idea, but now we’ve held over 30 events and we’re in 11 markets. … Paul would be very happy with where this has all gone.”

It’s not often that I remark on a casting announcement, much less one about “Scooby-Doo,” but the second I opened an email from Netflix, my jaw dropped.

A chocolate brown Great Dane puppy with blue eyes and a teal collar sitting on a tile floor gazed at me from my computer screen — I squealed. I mean, look at him. His floppy ears, grumpy little face and paws you just want to shake hands with. He’s perfect.

“Scooby-Doo: Origins” is the streamer’s upcoming live-action series, slated for release in 2027, featuring this mystery-solving pup. It marks the first time a real dog has played Scooby-Doo. For many viewers, their first exposure to Scooby and his gang was via the ‘70s Hanna-Barbera animated version, which aired on Cartoon Network in reruns in the ‘90s and early aughts, or the reboots on ABC and the WB, now the CW, more recently. Several live-action theatrical and TV films have been made over the years, but they’ve always featured a computer-generated dog. Yes, that means it took nearly six decades to have a real-life Scooby.

The previously announced cast includes key players in the Scooby gang: Mckenna Grace as Daphne Blake, Tanner Hagen as Shaggy Rogers, Abby Ryder Fortson as Velma Dinkley and Maxwell Jenkins as Fred Jones. Paul Walter Hauser is also slated to appear as a series regular in an unnamed role. Showrunners Josh Appelbaum and Scott Rosenberg helm the series.

According to the show’s logline, it’s a “modern reimagining of the iconic mystery-solving group of teens and their very special dog” that takes place at summer camp. Said dog may have been witness to a supernatural murder, leading the group of teens to set out to solve the case. It’s an origin story for Scooby and his gang.

While I wouldn’t consider myself a “Scooby-Doo” superfan, I am a fan of very cute dogs. I’ll have my Scooby snacks ready in case we ever cross paths.

SUGABABES singer Keisha Buchanan has revealed that she was KIDNAPPED from school – shortly before achieving her first hit with the band.

The 41-year-old singer first joined the group at the tender age of 13 and they signed their first record contract in 1998.

But the singer has now revealed how she was kidnapped in 2000 – shortly before the band’s debut single Overload hit the UK top 10.

Keisha revealed that she was taken by a man from school for several hours before she was returned home.

The scary incident caused her parents to decide it was no longer safe for the star to go to school, resulting in her missing her GCSEs.

Keisha, who won The Masked Singer earlier this year, made the confession on the Live, Laugh, Luke podcast.

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The Push The Button hitmaker said: “I had like this incident right before my GCSEs where I was kidnapped.

“So, because it was quite a traumatic experience, my parents were, like, ‘yeah, so we’re going to do a different type of education.’

“So I kind of finished like my education, but I just couldn’t do my GCSEs.”

Keisha had been preparing to debut with the Sugababes at the time and had already left school to focus on music but had briefly returned in order to sit her GCSEs just before they released their first single at the time of the incident.

In the interview, she revealed that she wasn’t able to share more details of the scary incident as she planned to tell the full story in her impending autobiography.

Keisha did add: “I was basically taken after school by someone.

“I think I just sort of blocked it and then had to just get back into, you know, promotion of our first single.”

Keisha revealed how she was held captive for a number of hours – an experience that left her seeking therapy from the age of 16.

The Sugababes – which also comprised of Mutya Buena and Siobhan Donaghy – released their first song Overload in early September 2000 with Keisha having been expected to sit her GCSEs in May and June of the same year.

Elsewhere, she confessed that only Siobhan ultimately ended up being accepted back into school for the exams after all three originally left in order to record their debut album, One Touch, over the course of two years.

Despite at first claiming her parents pulled her out of school as a result of the terrifying kidnapping incident, Keisha then appeared to suggest the school had refused to re-enroll her for examinations anyway.

She said: “We ended up leaving school. Siobhan went back to school to take her GCSEs and they accepted her back.

“When Mutya and I tried to get back, they were so rude.

“They were like, ‘Oh no, no, no, you’re not coming back. Like you guys thought you were going to be these pop stars. Let’s see what’s going to happen.’

“So they wouldn’t accept us back.”

Keisha further stated that she discussed the kidnapping ordeal in very early promotional interviews for their debut single but has since kept it out of public view and intends to tell the lengthy story in her own memoir.

The popstar is the longest serving member of the band and has been involved in nearly all of their musical releases.

She was famously sacked from the group in 2009 amid disagreements between the members at the time.

Original stars Siobhan and Mutya had both previously left in 2001 and 2005.

They were replaced by Heidi Range and Amelle Berrebah who worked with Keisha until September 2009.

Their record label that opted to replace her with Eurovision star Jade Ewen for their 2010 album, Sweet 7.

Jade re-recorded Keisha’s parts for the record but the final line-up formation ended up splitting after their flop 2011 single, Freedom.

Keisha then reunited with Siobhan and Mutya in 2012 and released their first single as a reunited trio in 2013, Flatline.

Amid a legal war, they eventually gained back the rights to using the name Sugababes in 2019 with the original trio having been performing ever since including a sell-out arena tour, countless festival appearances and two well-received Glastonbury sets.

They released three new singles last year – Jungle, Weeds and Shook – amid a rumoured new album expected later this year.

Emmerdale’s Charity Dingle made the brave decision to report her abuser to the police in powerful scenes, after Dr Todd’s disgusting assault left fans sickened on Sunday

Charity Dingle vowed to stop Emmerdale villain Dr Todd in powerful and moving scenes on Monday.

This article contains details from the latest episode now available on ITVX, while it airs on ITV1 on Monday at 8PM. The character had been subjected to a horrific sexual assault moments earlier by the former doctor. After Todd continued to blackmail Charity for money over her baby lie, Charity spiralled.

After getting drunk she confronted Todd, and was cruelly made to believe they had come to a truce. Todd had comemnted on why she was really targeting Charity, while Charity passed out on the sofa.

It’s then that in dark scenes, Todd took advantage of Charity while she was out of it, and after hurling insults at her she sexually assauted her. Charity realised what was happening and woke up, left numb as Todd smirked before leaving the room.

During Monday’s episode, Charity was visibly distraught by her ordeal, and sat in silence. As her family and friends continued celebrating her granddaughter Sarah’s birthday at the pub, Charity soon decided to join them.

Saying nothing about what had happened, she put on a brave face and joined her loved ones. She made her excuses and left, and we saw her approaching the outside of Vanessa Woodfield’s house, where Todd is staying.

But Charity didn’t enter the house, and instead she made the brave decision to report Todd to the police. A shaken Charity confirmed she was there to report a crime, before she was led into a room by a detective.

As Charity relived the horrifying assault that had just happened, she was told she would need to give full details and a statement, as well as undergo a full medical examination. The detective said they believed her, and they needed to gather as much evidence as possible.

They also revealed they would need to arrest and question Dr Todd about Charity’s accusations, and it would later be determined if there was enough evidence for Todd to be charged. As Charity returned home alone, she broke down in tears.

Emotional viewers praised Charity’s bravery, and shared they were glad the soap had taken this route. One fan said on social media: “Very glad #emmerdale went in the direction they did with Charity immediately going to the police.”

Another fan posted: “Charity went to the police that was unexpected,” as a third added: “I did a little cheer when Charity went to the police station, and when they said they believed her.” A fan then replied: “Yeah I did a little cheer as well!”

A final comment read: “I was surprised Charity went to the Police at this stage but definitely the correct way for the show to go.”

* If you’ve been the victim of sexual assault, you can access help and resources via www.rapecrisis.org.uk or calling the national telephone helpline on 0808 802 9999

Emmerdale airs weeknights at 8pm on ITV1 and ITVX. * Follow Mirror Celebs and TV on TikTok , Snapchat , Instagram , Twitter , Facebook , YouTube and Threads .

The 79th Tony Awards went off without a hitch at Radio City Music Hall, Sunday. The show, hosted by Pink, ran just over three hours and was relatively unsurprising when it came to the wins it delivered. Although each year it seems more marquee film and television stars appear in the audience as celebrities of a certain caliber continue to flock to the stage in search of a more authentic—and immediate—connection to their audience.

This year viewers could see Adrien Brody, John Lithgow, Laurie Metcalf, Rose Byrne, Daniel Radcliffe, Nathan Lane, Alden Ehrenreich and more. Despite, or perhaps because of the star power, the show stuck to its expected script with “Schmigadoon!” winning best musical, “Ragtime” best musical revival, “Liberation” best play and “Death of a Salesman” best revival.

Still, the night had enough laughs, groans and tender moments to keep things interesting. Here are seven of our favorites.

Vampires as metaphor for what ails America

Ali Louis Bourzgui used vampires as a metaphor for American folly in his acceptance speech for performance by an actor in a featured role in a musical at the 2026 Tony Awards.

(Theo Wargo / Getty Images for Tony Awards Productions)

Who knew vampires made such a good metaphor for America’s worst excesses? When 26-year-old Ali Louis Bourzgui took to the stage at Radio City Music Hall after an upset win for performance by an actor in a featured role in a musical, he used the undead to poignantly describe the country’s biggest sociopolitical challenges.

“Vampires represent those who have shunned their own humanity in order to achieve a nonexistent sense of superiority. The billionaires will never find happiness from their money. The colonizers will never find fulfillment from the land and lives they steal. The fascists will never find meaning from their conformity, not in this lifetime or eternity,” said Bourzgui, who originated the role of David in the musical adaptation of the cult vampire horror film “The Lost Boys.”

—Jessica Gelt

A Tony trifecta for John Lithgow and Laurie Metcalf

John Lithgow won the third Tony Award of his career at the 2026 Tony Awards at Radio City Music Hall.

(Theo Wargo / Getty Images for Tony Awards Productions)

It’s always a good feeling when actors we have known and love get rewarded by a well-deserved win, and so it was on Sunday night when John Lithgow and Laurie Metcalf took back-to-back wins early in the show. The former for performance by an actor in a leading role in a play for his portrayal of the controversial, beloved British author Roald Dahl in Mark Rosenblatt’s drama “Giant.” The latter for featured actress for her portrayal of Willy Loman’s protective wife, Linda, in “Death of a Salesman.” The plays were quite different, but the winners shared a very specific honor: the night marked the third Tony win for each actor.

Lithgow won his previous trophies in 1972 and 2002, and Metcalf in 2017 and 2018.

—Jessica Gelt

Nathan Lane is an ‘American theatrical treasure’

Nathan Lane accepts the best revival of a play award for “Death of a Salesman” at the 2026 Tony Awards.

(Theo Wargo / Getty Images for Tony Awards Productions)

Unless Nathan Lane gets a crack at playing King Lear, his Willy Loman in Joe Mantello’s production of Arthur Miller’s “Death of a Salesman” will go down as one of the peak challenges of his acting career. Not winning the Tony for his indefatigable performance must sting, but John Lithgow was favored to win for his brave turn as the baleful Roald Dahl of Mark Rosenblatt’s “Giant.” Lane had to have been prepared but a subtle wince of disappointment could be detected when the camera pryingly caught his immediate reaction.

So it was gratifying to see Lane receive his due from Mantello, who upon accepting his award for directing credited Lane with being the inspiration for the production. And when “Salesman” won for best revival, it was only fitting that Lane accepted the award on behalf of the company about a play that, ultimately, he pointed out, is about a family.

It was a point that Laurie Metcalf, who won for her featured performance as Linda Loman, also raised when she thanked Lane, Christopher Abbott (who played Biff) and Ben Ahlers (who played Happy) —her ferocious Loman family— for making her better.

A three-time Tony-winner already, Lane doesn’t need another trophy to assure him that he’s an American theatrical treasure. But this wasn’t just another Broadway outing for him. This was Miller’s masterwork in a production that will be remembered long after the tally of this year’s Tony Awards are long forgotten.

—Charles McNulty

Joshua Henry is a good person, a great actor and everybody loves him

Joshua Henry won a Tony Award for performance by an actor in a leading role in a musical at the 79th Annual Tony Awards, earning perhaps the most rousing standing ovation of the night.

(Theo Wargo / Getty Images for Tony Awards Productions)

The biggest standing ovation of the night came when Joshua Henry won the award for performance by an actor in a leading role in a musical for his critically acclaimed portrayal of Coalhouse Walker Jr. in the revival of “Ragtime.” Wearing a show-stopping black suit with golden flowers, Henry rushed to the stage as the star-studded crowd leapt to its feet to deliver a rousing standing ovation.

Henry first came to the full attention of fans playing Aaron Burr in the 2017 national tour of “Hamilton,” and has since gone on to distinguish himself as one of Broadway’s most charming and relatable stars. His optimism and kindness shine through, as does his fierce love of his art form, which was apparent as he gave his acceptance speech, thanking — in particular — his first vocal coach for believing in him. He also gave a poignant shout-out to the show’s original cast members Brian Stokes Mitchell and Audra McDonald, and sent all the love to his three young sons.

—Jessica Gelt

Pink had fun, but didn’t seem to know why she was there

Neil Patrick Harris and Pink perform during The 79th Annual Tony Awards at Radio City Music Hall.

(Jenny Anderson / Getty Images for Tony Awards Productions)

Pop star Pink kicked off the show with a wink and a nod to her hit “Lady Marmalade,” and went on to wow the audience with an action-packed opener filled with more than 150 performers and riffs from every Broadway show imaginable, plus a spirited appearance by Megan Thee Stallion. But the line that resonated most came early on when she spun hopelessly on a rope above the stage dressed as Peter Pan and a worried Neil Patrick Harris appeared to ask why she was performing in such an old-fashioned show.

“I just want to show how much I love theater even though I’ve never been on Broadway,” Pink said, still dangling, but nailing a few tricks. “I’m just concerned people might be like, ‘Why’s Pink hosting the Tonys?’”

That wasn’t the first time she seemed to be apologizing to the audience for being there.

—Jessica Gelt

Darren Criss gives happy endings

Darren Criss and Nicole Scherzinger joked it up during the 79th Annual Tony Awards at Radio City Music Hall.

(Theo Wargo / Getty Images for Tony Awards Productions)

Darren Criss is a Broadway superstar who consistently delivers “Happy endings,” according to co-presenter Nicole Scherzinger.

In what might have been the show’s most racy and deliciously groan-worthy joke, Scherzinger, stood side-by-side with the “Maybe Happy Endings” star to deliver the penultimate awards of the night, and noted, “You gave the world happy endings.”

“I did?” asked Criss, feigning innocence.

“You’re a giver,” said Scherzinger.

The pair took a beat through bubbling titters from the audience before knowingly yelling, “Happy Pride everyone!”

—Jessica Gelt

Leslie Odom Jr. delivers a moving in memoriam

Leslie Odom Jr. performs the In Memorium tribute during The 79th Annual Tony Awards at Radio City Music Hall.

(Theo Wargo / Getty Images for Tony Awards Productions)

Tony Award winner Leslie Odom Jr. sang a soulful rendition of “Without You” from “Rent” during the ceremony’s In Memoriam segment, which honored artists who died in 2025 and 2026, including Diane Keaton and Robert Redford. These annual segments are mournful — and tricky — and the “Hamilton” star managed to create an understated atmosphere that set the perfect tone for the somber projection of recently lost greats such as Robert Duvall, Tom Stoppard and Carmen de Lavallade.

—Jessica Gelt

Emmerdale has had plenty of dark moments, but fans have now called the most latest storyline involving Charity and Dr Todd ‘abhorrent’ and have said the soap has gone too far

Emmerdale has aired some shocking storylines since it first began in 1972, but perhaps none so dark as its most recent, which fans have said went too far.

In Sunday night’s episode, airing on 7 June, longtime favourite Charity Dingle (Emma Atkins) became the victim of a “horrendous” sexual assault at the hands of Caitlin Todd (Caroline Harker). Dr Todd had been blackmailing Charity over the true parentage of the baby she gave her granddaughter but after Charity fought back, the villainous doctor tried to kiss her. Though she was rejected, when a drunk Charity fell asleep, Dr Todd assaulted her.

Fans were furious with the storyline. One called it “disturbing”: “The SA scene in #Emmerdale is horrendous, please take care of yourselves, very difficult watch. Charity [crying emoji].I can’t post the clip its so disturbing.”

Another added that they felt “physically sick” and hoped that the soap would be fined for the latest storyline: “I hope #Emmerdale gets a fine and or massive warning, there’s doing a storyline and there is a storyline that makes many women feel physically sick and shaking, disgusting behaviour from TV.”

Finally, another implied that the actors should be “ashamed” for agreeing to film the scenes and said they would not be watching. But this is not the first time Emmerdale has aired a deeply dark storyline. From serial killers to a modern slavery plot, here are the darkest storylines on Emmerdale.

Serial killer Meena

Nurse Meena Jutla (Paige Sandhu) arrived in Emmerdale in 2020. Meena did many villainous things whilst on Emmerdale, inclduing pretending to be Ethan Anderson’s (Emile John) estranged mum and taking Rishi Sharma’s (Bhasker Patel) medication so that she could later save him.

But things soon got worse for the Emmerdale residents, when Meena started killing. Offscreen, she murdered both her own father and her former best friend Nadine, while onscreen, she killed Leanna Cavanagh (Mimi Slinger), Andrea Tate (Anna Nightingale) and Ben Tucker (Simon Lennon). She seemed completely unaffected by her crimes, often singing and dancing to pop music before committing them and involving herself in the lives of those mourning her victims afterwards.

Several of Meena’s scenes were brutal and vicious. Some fans said they were left “traumatised” and “horrified” by the violent way she murdered Andrea and Ofcom received several complaints about Ben’s death.

Cameron killing Gennie

Cameron Murray (Dominic Power) was another Emmerdale killer. He killed three people – Carl King (Tom Lister), ALex Moss (Kurtis Stacey) and Gennie Walker (Sian Reese-Williams) – between 2012 and 2013.

Cameron was later sent to prison after his girlfriend Debbie Dingle (Charley Webb) turned on him. But, still believing that Debbie loved him, he escaped prison and took the patrons in The Woolpack hostage. Everyone managed to escape except Cameron, who was electrocuted in the cellar.

Though he killed several people, the way he killed Gennie was deeply disturbing. After seeing Gennie leave their house, Cameron and Debbie realised she must have overheard Cameron confess to killing Carl and chased her down in their car. Gennie’s car spun out of control and crashed – while Debbie called the police, hoping someone could save Gennie, Cameron got her out of the car and suffocated her without Debbie seeing.

Bear’s modern slavery story

At the end of last year, Bear Wolf (Joshua Richards) faced a modern slavery ordeal. The character had disappeared earlier that year and was believed to be in Ireland, but it was later revealed that he was living in a barn and being controlled by the barn’s owners, who forced him to work their farm.

Those captors were Ray and Celia (Joe Absolom and Jaye Griffiths), who also manipulated April and Dylan (Amelia Flanagan and Fred Kettle) into working for them too and transporting drugs across county lines.

Fans said the storyline was “too dark” but Joshua Richards said before the storyline aired: “It may surprise many people, but slavery is alive and well, indeed prospering in the modern world. Not only in obscure countries and cultures that we know little about, and not just the exploitation of migrants by criminal gangs of which some of us are aware. It is happening under our very own noses.”

He continued: “The disadvantaged, dispossessed, those with mental health issues or disabilities, the old, lonely and vulnerable people that our society neglect are the perfect prey for grooming by unscrupulous criminal agencies. I’m very excited and honoured to be taking part in this to hopefully educate and highlight this abominable trade of human bondage.”

John Sugden’s hero syndrome

John Sugden (Oliver Farnworth) appeared to suffer from hero syndrome in 2024. The paramedic would put people in danger and then use his skills to save them.

He injected Nate Robinson (Jurell Carter) with an unknown substance and planned to save him but was too late and Nate died. He also swapped Jacob Gallagher’s (Joe Warren Plant) coffee with an almond milk latte, knowing Jacob was allergic, swapped Chas Dingle’s (Lucy Pargeter) pain killers with a stringer dose so that she would overdose, whacked Liam Cavanagh (Jonny McPherson)over the head and did much more to others, all so that he could later save them.

Jackson’s assisted suicide

In controversial scenes in 2011, Aaron Livesy (Danny Miller) helped his partner Jackson Walsh (Marc Silcock) die. Jackson was tetraplegic, which is where someone is unable to move the upper and lower parts of their body.

Viewers watched in shock as Aaron helped to end Jackson’s life by helping him drink a lethal cocktail of drugs. Emmerdale was criticised for the story line and an Ofcom investigation was launched after several complaints were made.

Pierce assaults Rhona

In 2017, viewers watched as Pierce Harris (Jonathan Wrather) assaulted and manipulated his partner Rhona Goskirk (Zoe Henry). Fans were terrified for Rhona when she agreed to marry Pierce, and rightly so, as he raped her on their wedding day.

Emmerdale again received complaints for the graphic nature of the scenes that were broadcast, but ultimately stood by its decision for airing the episode, claiming it complied with Ofcom’s vigorous guidelines.

If you’ve been the victim of sexual assault, you can access help and resources via www.rapecrisis.org.uk or calling the national telephone helpline on 0808 802 9999

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

TWILIGHT star Taylor Lautner has revealed the gender of his unborn baby in a sweet video with his wife Taylor.

The couple, who are expecting their first child together, took to Instagram to share the exciting news with their fans.

In the video, the pair are seen covering their eyes while finding out the gender on a laptop in front of them.

They scream in excitement as the word ‘Girl’ flashes on screen in pink.

She begins crying as he puts his arms around her to console her.

He looks at her and says: “We did it,” as they both wipe away tears from their faces.

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They captioned it: “Our little secret is now yours,” with pink and blue heart emojis.

Their fans flocked to the comments section to share their well-wishes for the soon-to-be-parents.

One person gushed: “I will forever be watching this on repeat. It’s a girl! I guessed right! I’m so excited for you guys!”

Another social media user commented: “I love how intimate this moment was for you both.”

Somebody else enthused: “Congratulations to a beautiful couple that will be the best parents in the world.”

Yet another wrote: “It’s so nice and wholesome to see a man so excited to have a girl!

“Congratulations guys, this beautiful angel is lucky to have such wonderful humans as her parents.”

While a fifth added: “My kids are obsessed with Shark Boy and Lava Girl and watch it about five times a week and now shark boy is having a baby?! Congratulations!”

The couple revealed they were expecting their first child in March.

The actor, 34, shared a sweet snap of him planting a kiss on his wife’s blossoming baby bump.

The glowing couple also posted a baby scan in an adorable family photo.

Taylor cheekily captioned the post: “What’s better than two Taylor Lautners?” – a nod to the fact his wife shares his first name and surname.

The image was the first in a series shot by snapper Chanelle Sekas-Whitacre showing the couple dressed in white in a countryside setting.

The husband and wife revealed last year on their podcast The Squeeze that they had been exploring their fertility as they planned to start a family.

Taylor’s wife bravely opened up about her fertility concerns, recalling a chat with her doctor about whether she’d have enough eggs.

“My doctor was a little concerned for me because I’ve been on birth control for 10 years and never taken a break.

“And she was like, you could, like, not have any eggs right now,” she said, adding: “We’re in the clear. I got a lot of eggs.”

The two tied the knot in a lavish November 2022 wedding.

The new season of Clarkson’s Farm revealed the Top Gear star is losing money from his Diddly Squat project, but how much did he pay for it initially?

He famously only made £144 profit in his first year of farming.

Jeremy Clarkson is back on screens with a fifth season of Clarkson’s Farm, which premiered last week and will return with two more episodes on Wednesday, 10th June.

In the latest instalment of Prime Video’s hit series, Jeremy takes farming to the next level with an awe-inspiring self-driving tractor which even Kaleb Cooper reluctantly admitted was rather impressive.

However, despite his pub The Farmer’s Dog being fully booked every day, Jeremy is still struggling to turn a profit and recorded a loss of more than £8000.

But how much money is the entire project bringing in and how much did Jeremy pay for the farm initially?

Let’s take a look at fans’ burning financial questions ahead of Clarkson’s Farm returning for episodes five and six later this week.

How much did Jeremy Clarkson pay for Diddly Squat?

Although the series started in 2021, Jeremy has actually owned Diddly Squat Farm since 2008.

According to the Daily Mail, he bought it for an eye-watering sum of £4.45 million.

The 1000-acre Cotswolds farm was originally known as Curdle Hill Farm before Jeremy renamed it to reflect his prediction for how much his latest project would earn.

He told The Times about his surprising purchase: “Land is a better investment than any bank can offer. The Government doesn’t get any of my money when I die. And the price of the food that I grow can only go up.”

Jeremy didn’t go full-time on the farm until 2019, however, after former manager Howard Pauling had retired.

How much is Diddly Squat worth now?

Diddly Squat Farm has steadily increased in value since its original purchase in 2008, partly thanks to the luxurious six-bedroom mansion built on the site of the demolished previous home.

All in all, the farm is currently estimated to be worth a staggering £12.5 million, which also includes the land, the farm shop and the café.

Meanwhile, The Farmer’s Dog pub was bought by Jeremy in 2023 for £1 million.

Although it’s unclear how much Jeremy’s refurbishments have increased the pub’s worth, they sadly reported a loss of £8,486 in its first four months of trading.

Jeremy and the cast and crew earn most of their money from their salaries for producing the show, which are kept under wraps.

Reports from 2024 indicated the farm’s assets are worth around £1.43 million, though its profits are usually in the low hundreds if they make any at all.

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“I could sell the farm and earn far more from the interest than I do from growing bread and beer and vegetable oil,” Jeremy admitted.

“But I like having it and for very good reasons, there are no death duties on farmland. So my children like me having it too.”

Clarkson’s Farm season 5 continues Wednesday on Prime Video.

The 79th Tony Awards telecast kicked off with a bang by giving out two major awards in the first 30 minutes — and before viewers could blink both John Lithgow and Laurie Metcalf had each won the third Tony Award of their careers.

Lithgow won best performance by an actor in a leading role in a play for his portrayal of the controversial, beloved British author Roald Dahl in Mark Rosenblatt’s poignant drama “Giant,” directed by Nicholas Hytner. Times theater critic Charles McNulty called Lithgow’s performance “at once terrifying and never anything less than human,” and “one of the bravest” of the Broadway season.

Lithogow’s win, however, was far from assured. He was in the running against Nathan Lane in the season’s most talk-about show’s “Death of a Salesman,” and many bets were surely placed on the latter to sweep.

Lithogow is among a cadre of accomplished film and television actors who have a deep love of the stage. His first Tony win came for best featured actor in a play for his 1972 Broadway debut in “The Changing Room.” His second came 30 years later in 2002 when he he won for best actor in a musical for “Sweet Smell of Success.”

Metcalf won best featured actress for her portrayal of Willie Loman’s protective wife, Linda Loman, in “Death of a Salesman.” This is Metcalf’s third win in less than a decade, and was not a surprise as she has inherited “Helen Hayes’ mantle of First Lady of the American Theater,” according to McNulty.

Perhaps that explains her perfunctory, somewhat rote speech — which still didn’t detract from the joy of her win. Viewers know a towering talent when they see one.

Lithgow, to the contrary, was clearly stunned — and deeply honored.

“I’ve had dozens and dozens of static, ecstatic moments on stage, but I have to tell you right now, this moment has got to be one of the best,” he said as he held his award.

MEGAN Thee Stallion nearly blew the roof off Radio City Music Hall after gracing the 2026 Tony Awards stage in barely-there lingerie during the ceremony’s wild opening number.

The rapper bent over in a Moulin Rouge-inspired look and showed off her signature twerking skills before dropping an F-bomb during the live awards show that was televised on CBS and Paramount+ on Sunday night. 

Megan, 31, made a surprise appearance during host Pink’s massive Broadway-themed opener on Sunday night, instantly becoming one of the most talked-about moments of the 79th Annual Tony Awards.

The music superstar strutted onto the stage in a sparkling black corset bodysuit complete with fishnet tights, dramatic garters, sequined detailing and towering heels.

She channeled full Parisian cabaret energy inspired by her recent run in Moulin Rouge! The Musical on Broadway.

The Grammy winner joined Pink during a remixed performance of Lady Marmalade, the signature Moulin Rouge anthem, as dancers swarmed the stage in feathered costumes and red velvet-inspired looks.

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At several points during the performance, Megan dropped into twerk breaks – which resulted in roaring applause from the crowd.

At another point, the camera cut to stunned audience members cheering and laughing as the Houston-born rapper was bleeped after dropping an F-bomb.

The over-the-top opening number featured more than 170 Broadway performers and included tributes to Moulin Rouge!, Chicago, Rent, A Chorus Line and several of the night’s biggest nominated productions.

Pink, who is hosting the Tonys for the first time ever, kicked things off flying over the audience in a Peter Pan costume and harness before launching into a theatrical mashup packed with celebrity cameos.

Mormon Wives breakout Whitney Leavitt also popped up during the opening dressed in her Roxie Hart costume from Chicago, while Lea Michele belted out surprise vocals during the sprawling musical performance.

Fans immediately flooded social media praising the campy energy of the opener – and Megan quickly emerged as the breakout star of the night.

“One thing Megan Thee Stallion is gonna do is commit to the performance,” one fan wrote on X alongside fire emoji’s.

Another viewer posted: “Megan twerking at the Tony Awards was NOT on my bingo card but she ate.”

A third fan joked: “Broadway just became the Hot Girl Theater.”

Others praised Pink for embracing the over-the-top antics of the Tonys opener, with one viewer calling it “the most fun opening number in years.”

Megan’s appearance comes just weeks after wrapping her history-making stint in Moulin Rouge! The Musical, where she became the first female-identifying performer ever to play the role of Zidler in any production of the show worldwide.

The 2026 Tony Awards aired live on CBS and Paramount+ from New York City’s Radio City Music Hall.

The show that has had everyone clamoring for tickets this spring, Joe Mantello’s cobweb-clearing production of Arthur Miller’s “Death of a Salesman,” won, as expected, for best revival.

Mantello, who received a Tony for his direction (his third such award), swept away the cliches that have accumulated around this American classic to reveal a “Salesman” like none we’ve experienced before. The Loman family home isn’t depicted in a literal fashion but instead fluidly suggested in a warehouse space that allows the actors to move unfetteredly between past and present. (The physical production was honored with awards for Mikaal Sulaiman’s sound design, Jack Knowles’ lighting and Chloe Lamford’s scenic design.)

Laurie Metcalf, confirming her standing as the First Lady of the American Theater, won for her portrayal of Linda Loman, a more formidable than usual interpretation of Willy’s stalwart wife. Metcalf, who endowed her characterization with a sharp-edged autonomy and transfixing gravitas, added another Tony to her two previous acting wins (“Three Tall Women,” “A Doll’s House, Part II”).

Joe Mantello wins the Tony for his direction of “Death of a Salesman.”

(Evelyn Freja / For The Times)

Nathan Lane was in a tight race with John Lithgow, who won for his ruthlessly uncompromising portrayal of a wrathful and dyspeptic Roald Dahl in Mark Rosenblatt’s “Giant.” Lane’s Willy leaves a lasting memory in “Salesman,” but it would be hard to imagine “Giant” having the same impact without Lithgow, who provides a terrifying human foundation to this explosive play about a writer’s political commitments tipping over into toxic antisemitism. (The performance slips into a sinkhole of animus in the uncanny way of one of Dahl’s recognizably terrifying, psychologically plausible stories.) In his almost but not quite valedictory acceptance speech, the 80-year-old Lithgow acknowledged that this Tony win, his third, comes 53 years after his first — and feels every bit as satisfying.

Aya Cash and John Lithgow in “Giant.”

(Joan Marcus)

Rather than a slight to Lane, Lithgow’s win is a sign of the dramatic depth that characterized this otherwise squirrely season. Indeed, Lithgow’s performance was as thrilling to experience as that of British powerhouse Lesley Manville, who won for her portrayal of Jocasta in Robert Icke’s modern reworking of “Oedipus.” The play was categorized by the Tony committee as a revival, but it’s really an original drama — one that gave rise to one of the most enthralling productions of the year.

In a season lifted up by Bess Wohl’s magnificent “Liberation” and capacious enough to include a first-rate “Salesman,” a searing “Oedipus” and a smartly contentious “Giant,” it should be no surprise that there were more great performances than statuettes to dole out.

It was a strange year on Broadway, but then it’s been strange everywhere. Our world at times seems downright unrecognizable, with politicians acting like mob bosses, AI transforming not just the internet but potentially the entire economy, the cost of living leaving only the super rich able to keep up, and I won’t even mention the climate crisis, but the forecast calls for more doom and gloom.

Good work, however, won’t be denied, even if Broadway producers have perhaps overlearned the lesson of last year’s sleeper, Cole Escola’s “Oh, Mary!” Parody with a heavy dose of camp has become all the rage in a theatrical season in which the best musical winner, “Schmigadoon!,” is an affectionate sendup of golden age classics by Rodgers and Hammerstein, Lerner and Loewe and their inspired descendants.

If Broadway is changing faster than the old guard can keep pace, the same is true for the culture in general. The economics of producing have scrambled the old playbooks. Unusual risk has occasionally brought unexpected rewards. “Schmigadoon!” fended off the competition to take the night’s top prize along with awards for both its book and score by Cinco Paul.

Michael Arden’s spectacular production of “The Lost Boys” — the staging won awards for Dane Laffrey’s scenic design and Jen Schriever and Arden’s lighting — enriched the 1980s cult film on which the show is based with human substance and high-flying showmanship. Shoshana Bean’s win for her featured performance as a persevering single mom, is a testament to the musical’s capacious heart. Ali Louis Bourzgui’s somewhat unexpected yet eminently worthy triumph for his featured performance as the vampire with front-man magnetism, catalyzed the production’s thrilling virtuosity. But few would describe this year’s ragtag selection of new musicals as robust.

The only overriding lesson may be that there are no overriding lessons. Two-time Oscar winner Adrien Brody made his Broadway debut in “The Fear of 13,” reprising his acclaimed Olivier-nominated London performance. But he didn’t even receive a nomination for his work — a snub that I found unaccountable.

Spoofs like best musical nominee “Titanique,” a zany burlesque of James Cameron’s “Titanic” and all things Celine Dion, found new respectability on Broadway. And “Two Strangers (Carry a Cake Across New York”), the two-person British musical by Jim Barne and Kit Buchan, endeared itself to audiences (if not so much to Tony voters) with its rom-com appeal. But what does it say about a season in which musical revivals upstaged new work?

“Ragtime,” the Lincoln Center Theatre production directed by Lear deBessonet that originated at New York City Center, was not only the most operatic offering of the season but was all the most emotionally stirring and dramatically ambitious. The show, which justly received the Tony for best musical revival contained perhaps the season’s most seismic tour de force. Joshua Henry’s Tony-winning lead performance as Coalhouse Walker Jr., the path-breaking pianist tragically ahead of his time, was astonishing in both its theatrical might and its generosity, which allowed everyone around him to shine, especially Caissie Levy, who picked up a Tony for her lead performance as a white matriarch whose political consciousness courageously awakens.

“Cats: The Jellicle Ball” pulled off the seemingly impossible by making Andrew Lloyd Webber’s megamusical look cool on Broadway. The production’s radical concept brings the queer audacity of Harlem Ballroom culture to these feline proceedings. For their imaginative daring, co-directors Zhailon Levingston and Bill Rauch were justly honored as were costume designer Qween Jean and choreographers Omari Wiles and Arturo Lyons, among the production’s notable awards.

“Chess,” which was strangely overlooked in the best musical revival category (“The Rocky Horror Show” strutted in instead), may not have managed to overcome the challenge of this over-elaborate geopolitical tale, even with a puckish new book. But the production made Nicholas Christopher a likely future Tony winner star.

What was old was new again on Broadway, but let’s hope that producers can still believe that the best is ahead of us.

LUKE Evans caused the Tony Awards audience to blush and sent social media spiraling after performing in a scandalously skimpy Frank-N-Furter costume live on CBS.

The Beauty and the Beast actor left little to the imagination, wearing just a tiny black jockstrap, a leather corset and sky-high heels for Sunday night’s Rocky Horror Show performance. 

During the 79th Tony Awards held at Radio City Music Hall in New York City, the ceremony paid tribute to the hit Broadway revival of The Rocky Horror Show. 

Luke, 47, emerged through a cloud of smoke to perform his starring role as the iconic Dr. Frank-N-Furter with glam-rock chaos in full force.

He completed the sexy look with fishnet stockings, elbow-length gloves, dramatic stage makeup and the crystal-covered corset before launching into a raunchy rendition of the track Sweet Transvestite alongside the cast.

At one point during the performance, the Welsh actor spun around to flash the crowd in the barely-there costume while grinding across the stage and dramatically whipping off a velvet cape to reveal the jockstrap underneath.

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The raunchy performance instantly sent social media into a meltdown as viewers praised Luke for fully committing to the campy cult-classic character.

“Luke Evans shaking his d**k and a** on stage at the Tony Awards while wearing his slutty Rocky Horror Frank-N-Furter costume…this is what Pride Month is all about!” one fan wrote on X.

Another viewer joked: “I did NOT expect Luke Evans in six-inch heels and a corset at the Tonys but now I never want him to take it off.”

A third person posted: “Broadway Luke Evans might be his most powerful form yet.”

Luke has been starring as Frank-N-Furter in the Broadway revival of The Rocky Horror Show since previews began earlier this spring, with the production officially having its opening back in April at the Hudson Theatre.

The actor previously admitted he spent months preparing physically for the demanding role, which includes elaborate choreography, live vocals and multiple quick-change costume moments throughout the show.

Frank-N-Furter, the provocative alien scientist at the center of Rocky Horror, was originally made famous by Tim Curry in the 1975 cult-classic film adaptation.

Now, Luke has made it his own, putting a darker and more seductive spin on the iconic role.

While Luke may be stirring up conversation on Broadway these days, the actor has spent years building an impressive resume across film, television and theater.

Many fans recognize the star as the villainous Gaston in Disney’s 2017 live-action Beauty and the Beast opposite Emma Watson, where his booming musical vocals and cocky swagger made him a standout.

He also starred as Bard the Bowman in The Hobbit trilogy and played the sinister Owen Shaw in Fast & Furious 6 before later reprising the role in the franchise’s spinoff projects.

On television, Luke has taken on darker dramatic roles in projects including The Alienist, Nine Perfect Strangers and Hulu’s true-crime miniseries Nine Bodies in a Mexican Morgue.

Broadway audiences, meanwhile, have long known Luke for his powerhouse stage vocals. 

Before his Hollywood breakthrough, he starred in major London West End productions including Rent, Miss Saigon, Avenue Q and Piaf.

His turn as Frank-N-Furter in The Rocky Horror Show marks Luke’s splashiest return to the stage in years – and judging by the positive Tony Awards reaction, audiences are fully embracing his comeback.

The actor’s Tony Awards appearance quickly became one of the night’s most viral moments alongside Megan Thee Stallion’s Moulin Rouge-inspired twerking performance and host Pink’s over-the-top opening number.

The 79th Annual Tony Awards aired live Sunday night from Radio City Music Hall in New York City.

Ali Louis Bourzgui scored an upset win for performance by an actor in a featured role in a musical for originating the role of David in the musical adaptation of the cult vampire horror film, “The Lost Boys.”

As viewers scrambled to keep their score cards straight — André De Shields was favored to take the trophy for his work in “Cats: The Jellicle Ball” — the 26-year-old Bourzgui went on to deliver the night’s most impassioned, and pointedly political speech.

He began by noting that, “Vampires represent those who have shunned their own humanity in order to achieve a non-existent sense of superiority. The billionaires will never find happiness from their money. The colonizers will never find fulfillment from the land and lives they steal. The fascists will never find meaning from their conformity, not in this lifetime or eternity.”

Through the cheers of an invigorated audience, Bourzgui went on to talk about how “theater is one of the last places people can come to worship the power of true collective human presence.”

At its best, he said, theater helps us see ourselves in a stranger’s story.

“This is dedicated to the beautiful tapestry of immigrant families who make this country really special. May you one day not have to audition for the empathy that should be freely given by this country that benefits from your beauty, for the queer and trans communities who will exist, no matter what people in power try to take away from them.”

Bourzgui, whose father immigrated to America from Morocco, went on to pay tribute to Palestine and his own Arab heritage.

“For the people of Palestine, who deserve a free life, a full life without occupation, for Arabs and their makers and artists, may we continue to tell our stories and show our faces. Our humanity becomes undeniable, and our families can no longer be written off as merely collateral damage, may they know the beauty of our kisses upon his cheek and the romance of a language rooted in passion for love and life itself.”

He wrapped up this speech with a plea for love and empathy.

“If there’s one thing we can learn from vampires, it’s that life is short, but that’s it’s a gift. Find beauty in the ephemeral and gratitude in what is not promised, and always invest in the people that want to see you blossom into your truest self, and hold that space for them in return.”

Countryfile presenter Matt Baker and his wife Nicola have opened up about how they manage time apart due to his filming commitments

Matt Baker shared a rare insight into his marriage.

In a previous interview on ITV’s Lorraine, broadcast last year, Matt Baker and his wife offered candid insight into how they keep their relationship thriving despite lengthy stretches apart owing to Matt’s filming schedule.

As the conversation turned to Matt’s TV series and Nicola’s book, host Lorraine Kelly quizzed the couple on how they first met.

With a cheeky grin, she asked: “Now, you two met when you were babies, right? Teenagers. Nicola, were you into farming? Were you a farm girl?”

“No, I wasn’t a farm girl,” Nicola replied warmly. “I loved being outdoors. I loved just the outdoor life. But farming was something that came to me when we met.”

Lorraine then turned her attention to how the couple copes with prolonged time apart, particularly when Matt heads off to film Countryfile and other projects. She probed: “Obviously, you know, you go off and do your own thing writing the books, and you go off and do your own thing around Britain,” reports the Express.

She continued thoughtfully: “So there are times when you’re apart, but you don’t think sometimes that works. It just does. You know, you’ve always got something to talk about.”

“We are such do-ers, really,” Matt chipped in, adding: “We are so supportive of what each other wants to do.”

He concluded: “But yeah, we’ve just sort of found our way through because we sort of focus on what we’re passionate about.” Nicola offered her take on their situation: “And then we make the most of the time when we have together, you sort of prioritise that and make the most of that.”

When Matt isn’t busy filming, he often keeps his Instagram followers updated with his day-to-day life. In one of his most recent posts, the Countryfile presenter shared the heartbreaking news that his dog had died.

In an emotional social media post, Matt confirmed the loss of his cherished companion, writing: “R.I.P Bob”.

He wrote alongside the post: “It’s with a very heavy heart that I’m letting you know our wonderful Bob is no longer with us.

“He’s been gone a while, but I haven’t been able to talk about it as I’ve been finding it so incredibly sad. Bob was a brilliant dog. He was there for me with his gentle soul as the ultimate companion through some of the greatest chapters of my life, from raising our kids to all the changes we made on our family farm.”

He continued, “It’s broken my heart, but I feel hugely grateful to have had him in our lives, and I thank him from the bottom of my heart for everything he’s taught me and brought to our family.

“I’m sure all you dog lovers will agree the reason we love our dogs so much is because the only time they break our hearts is when they leave us. RIP Bob X.”

Lorraine airs weekdays at 9.30am on ITV and Countryfile airs on Sunday on BBC One.

BROADWAY’S biggest night turned into a full-blown fashion parade as Hollywood heavyweights, theater legends and music royalty stormed the 2026 Tony Awards red carpet in jaw-dropping style.

From Rose Byrne serving her signature sleek sophistication to Sarah Paulson embracing bolder glam, Sunday night’s carpet outside New York City’s iconic Radio City Music Hall was packed with headline-making looks.

The 79th Annual Tony Awards, hosted for the first time by pop superstar Pink, celebrated the best of Broadway while also doubling as one of the year’s flashiest celebrity fashion events.

Pink arrived ready to command the stage in a dramatic black gown featuring oversized petal-inspired ruffles and a blue floral hairpiece.

The host brought along husband Carey Hart and their children for her major Tony debut.

Meanwhile, Rose Byrne, who is nominated this year for her Broadway debut in Fallen Angels, stunned in a monochromatic coordinated look alongside longtime partner Bobby Cannavale.

The Bridesmaids star’s polished ensemble leaned classic Old Hollywood while still keeping things modern and sharp.

Sarah Paulson also turned heads with a colorful fashion-forward ensemble that instantly became one the favorites from fans. 

But one of the biggest buzz moments came courtesy of Aubrey Plaza, who officially debuted her pregnancy on the red carpet while attending with her partner, Christopher Abbott. 

The White Lotus alum showed off her baby bump in a black-and-white striped gown while Chris kept things classic in a velvet black suit.

Elsewhere on the carpet, stars including Julia Louis-Dreyfus, Queen Latifah, Leslie Odom Jr., Adrien Brody, Maya Rudolph and Bernadette Peters all brought Broadway-worthy glamour to the arrivals line.

Rachel Zegler also made a dramatic entrance ahead of her upcoming Broadway run in Evita, rocking a daring plunging brown gown that quickly lit up social media.

Julianne Hough floated onto the carpet in a draped white gown that hugged her frame before cascading into a Grecian-inspired silhouette.

The DWTS host completed the ethereal look with sleek black heels and a sharp bob.

Maya Rudolph embraced glamour in a flowing dark ensemble with dramatic tailoring following her record-breaking run as Mary Todd Lincoln in the critically acclaimed Oh, Mary! 

Drew Barrymore brought classic movie-star energy to Broadway’s biggest night, dazzling in a whimsical gown complete with soft waves and sparkling jewels. 

Cole Escola, who is never one to play it safe, once again stole the show in hot pink balloon-style jumpsuit that felt ripped straight from an avant-garde stage production.

Secret Lives of Mormon Wives star Whitney Leavitt, who was also part of the night’s Chicago anniversary tribute lineup, sparkled in a shimmering silver look with sheer detailing. 

Live with Kelly and Mark hosts, Kelly Ripa and Mark Consuelos, stepped out for a date night as they were both dressed to the nines to support this years’ Tony nominees.

Broadway darling Lea Michele looked stunning in a multi-colored dress with a white top and sequin-black skirt.

This year’s ceremony honored the best productions from the 2025-26 Broadway season, with musicals The Lost Boys and Schmigadoon! leading the pack with 12 nominations each. 

The revival of Ragtime also emerged as a major contender, while Death of a Salesman dominated the play categories with nine nominations.

Big acting nominees this year included Rose Byrne for Fallen Angels, Daniel Radcliffe for Every Brilliant Thing, Carrie Coon for Bug and Christopher Abbott for Death of a Salesman.

The awards ceremony aired live on CBS and streamed on Paramount+, with Pink opening the show in an elaborate musical performance featuring more than 170 Broadway performers.

EXCLUSIVE: Scott Mills was axed from the BBC earlier this year after new evidence came to light about a historical alleged sexual offences – but this might not be the end of the former radio DJ

Axed star Scott Mills has seen a flurry of support this week as his husband Sam Vaughan returned to Instagram to mark their two-year anniversary.

In his first post since the DJ’s shock sacking, Sam posted a sweet picture of him and his husband from their wedding day, captioning the post with a white heart emoji and the words “2 years.”

Stars including Zoe Ball, Rylan Clark and Sara Cox reacted to the post, with former colleauge Zoe writing: “Love you,” in the comments, followed by four red heart emoji’s. Rylan and Sarah also posted hearts in the comments section.

It comes as the Mirror exclusively revealed that Scott is set to sue the BBC for unfair dismissal after his surprise sacking. The DJ has enlisted top lawyers to lodge a case against the BBC. It’s understood he will claim that he disclosed the full details of the cop probe – including the accuser’s age – to BBC Radio 1 bosses at the time.

The BBC has previously said that they knew about the investigation but that “new information” came to light which sources claim was the fact the accuser was under 16. But it’s understood Mills will argue that this was all raised at the time to Radio 1. A source said: “It’s going to get very messy indeed.”

Mills was interviewed by police in 2018 under caution after being accused of serious sexual offences against a boy under the age of 16. A full file was sent to the CPS, who said there was not enough evidence to charge him.

In April, Mills released a statement through his lawyers claiming he had been the subject of “rumour and speculation” since his sacking and that he had “co-operated fully” with the police investigation into the allegations.

As Scott gears up for a battle with the Beeb and his partner returns to social media, questions have been raised on when the DJ could make a career return. “I think Scott Mills’ route back into the spotlight will depend on whether the public see his departure as a temporary setback or as a sign that his broadcasting career has reached a crossroads,” Mayah Riaz, a PR to the stars, tells the Mirror.

“Historically, we have seen that established presenters who have a strong personal brands and years of goodwill behind them are often afforded a second act. This is especially true when they have built up a loyal audience and have industry support over many years,” she said.

The expert noted the significance of the public show of support towards Scott’s husband Sam as it highlights that the star still has a network of influential friends and colleagues who are willing to publicly stand by him. She said this can help “soften the narrative” and “remind people of the affection that exists for a personality.”

The DJ has lost a number of gigs since being axed by the BBC, including podcast roles on Race Across the World and Pop Top 10 with Rylan Clark. Mills was also dropped as a patron of children’s cancer charity Neuroblastoma UK and “stepped back” from his role as an ambassador for the MS Society UK.

His regular panto work, which reportedly made him £600,000 in the last three years, has also been cut. Imagine Theatre, which got Scott involved in Jack And The Beanstalk shows, said there are no plans to work with the presenter for the 2026/2027 season. It said the decision was taken before he was fired by the BBC.

If Scott was to make a comeback, Mayah suggests it won’t be through a “grand relaunch”. Instead, it could be through a project that reminds his audience why they connected with him in the first place.

She explained: “Talent and familiarity remain powerful currencies in broadcasting. It goes without saying that authenticity will be key. The public are increasingly sceptical of overly polished comeback campaigns and media-managed statements.”

Mayah says the public respond “far more positively to resilience, humility and genuine passion for the work” and the biggest mistake Scott Mills could make is to come across “desperate to reclaim the spotlight”. She added: “The strongest celebrity comebacks are those that give people something new to talk about.”

Mills previously issued a statement via lawyers thanking his well-wishers. He said: “I wish to thank from the bottom of my heart all those who have reached out to me with kindness, my former colleagues, and my beloved listeners, who I greatly miss.”

On the police probe, he said: “The recent announcement that I am no longer contracted to the BBC has led to the publication of rumour and speculation. In response to this the Metropolitan Police has made a statement, which I confirm relates to me.

“An allegation was made against me in 2016 of a historic sexual offence, which was the subject of a police investigation in which I fully co-operated and responded to in 2018.” He added: “Since the investigation related to an allegation that dates back nearly 30 years and the police investigation was closed seven years ago, I hope that the public and the media will understand and respect my wish not to make any further public comment on this matter.”

At the recent glitzy PEN America Literary Gala at the Natural History Museum in New York City the evening’s MC, B.J. Novak, declared that the crowd was there to celebrate more than just freedom of speech — they were there for “literary glamour.”

“Writing is glamorous,” he declared. “Reading is glamorous.”

For Novak, bestselling novelist Ann Patchett — who has also worked tirelessly on behalf of independent booksellers and in support of her fellow writers, and was one of the event’s honored guests — epitomizes that allure. “I think it’s great that Ann Patchett is a smoke show. She doesn’t have to be,” he quipped. “It’s just cool that she is.”

With “Whistler,” Patchett’s 10th novel, she definitively proves that the “smoke show” moniker, if at all relevant, is icing on the cake. This exquisite writer has once again delivered an incandescent work of fiction — sweet, but never sentimental, infinitely wise and suffused with love. It’s also an ode to New York City itself.

“Whistler” is narrated by protagonist Daphne Fuller, a 54-year-old English teacher married to Jonathan, a restlessly retired doctor and hospital administrator who dotes on his wife and whom he regards as “extraordinary.” When we first encounter the couple, they’re roaming the Metropolitan Museum of Art — which, one gets the sense, they know by heart. As Daphne ponders the sculpture “Two Horses,” by Charles Ray, Jonathan spots an elderly stranger eyeing his wife, casting glances in her direction. The stranger follows them from room to room fixated on Daphne. Jonathan’s curiosity is piqued, and he slips away from his wife’s side to get to the bottom of why they’re being followed — which is revealed to be the novel’s inciting incident.

Turns out that stranger is no stranger at all. He is Eddie Triplett, a long-lost stepfather whose divorce from Daphne’s mother, Abigail, remains an unhealed wound. Running into Eddie now for the first time in more than four decades, Daphne is startled by the rush of emotion she feels: “I hadn’t known there was something in me to break,” she reflects, “but there it was and break it did. I stepped into an open crack in time and fell backwards.”

Eddie, as it happens, is but one of Daphne and her sister, Leda’s, three dads. By the time Abigail marries her third husband, mild-mannered Lucas, and the couple go on to have three sons, Daphne has grown a protective shell. These facts are narrated with detachment by the protagonist herself. As she and Eddie gently unspool their memories and together fill in the blanks, their bond deepens. The “falling backwards” Daphne experiences in Eddie’s company — traversing time — soothes, softens and delights her.

As the novel unfolds, what becomes ever clearer is that Daphne and her author are undeniably similar, though Patchett has observed: “I am normally careful to make sure there is a big wall between my life and my fiction.” In “Whistler,” she throws that caution to the wind. Easter eggs are scattered throughout. Like Daphne, Patchett is married to an older man — also a doctor — whom she adores. She too had three dads, as she chronicled in a 2020 New Yorker piece aptly titled “My Three Fathers.” Patchett and her heroine also appear to share this enviable trait: They navigate life with grace, generosity and utter competence. IRL, Patchett returns emails on the day she receives them, is an outspoken advocate for free expression, is generally renowned for her good deeds. She’s also widely known for her many devoted friendships, though she doesn’t suffer fools. You’d want to be her ride or die. As you would … Daphne’s.

In an interview 10 years ago, Patchett observed that it wasn’t until she read a piece by Jonathan Franzen, “in which he insisted that the novelist had to do what scares him most, and for him, that had been writing about his family,” that she considered following that path in her fiction. “I thought ‘oh nothing would scare me more. I would happily ride down the Amazon in a canoe and deal with snakes’ ” (as she did for “State of Wonder”) “ ‘than face my family.’ ” In 2016 she wrote “Commonwealth,” which drew on her personal experience of divorce and dysfunction, themes she revisits in “Whistler.” But in “Whistler,” it’s as if Patchett herself is in the reader’s ear. (And, by the way, should you pick up the audio version of the book, she narrates and is literally in your ear.)

Patchett has said she had an ulterior motive for writing “Whistler.” She’d been in the midst of writing a different book, a novel about a Wyoming rancher and her horse, Whistler, but it wasn’t clicking. As she pressed on over the better part of a year, a second idea came to her “like a fever dream.” She immediately filed away the messy work-in-progress and began writing a fictional ode to a cherished friend, former publishing executive Jim Fox, to whom “Whistler” is dedicated. Fox had died two years before, on his 85th birthday, and Patchett was still grieving. Her aim, with “Whistler,” she has said, is to put down on paper how much they loved each other. Fox is reborn as Eddie Triplett in the book, a charming and erudite book editor who radiates joie de vivre and is among the loves of his stepdaughter Daphne’s life.

Patchett’s literary style isn’t of the show-offy variety packed with dazzling sentences and edge-of-your-seat cliffhangers. The drama is quiet. Her words accrue and gain power through their spareness and clarity, and a level of character development that forges an easy intimacy with the reader. There’s also a sly wit and sagacity that have become Patchett signatures, honed to perfection in “Whistler,” whether wrestling with the legacy of family trauma, or the human struggle to accept the transitory nature of it all. Or, as Patchett’s mother once admonished after the failure of her daughter’s first marriage: “Stop trying to make everything permanent. It doesn’t work.”

While Patchett has clearly drawn on actual events and individuals to produce this luminous work, she exhibits the expert novelist’s knack for following a plot where the imagination takes it. I don’t recommend consuming “Whistler” in one enormous gulp. I dipped in and out, savoring scenes, reflecting on them, occasionally shedding a tear. In other words, I didn’t want it to end.

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

Actor-comedian Elon Gold and pro-Israel influencer Lizzy Savetsky are facing backlash after making an “offensive” joke in an interview on the red carpet for “The Wedding Entertainer (The Tale of Moishe Badhan)” at the Tribeca Festival.

In the interview, Gold said the film was shot in Israel. “I was only raped by two Israeli dogs,” he said.

“I thought they only rape Palestinians,” Savetsky replied, to which he said: “No, I got also a dog.”

The clip spread widely on social media and drew outrage. In a statement posted on social media, the Tribeca Festival called the remarks “offensive and unacceptable.”

“Sexual violence and human suffering should never be mocked or minimized,” the statement said. “The comments do not reflect the Tribeca Festival’s values, and we regret the hurt and offense they have caused.”

The statement said the festival had not been able to reach the filmmakers. A Tribeca spokesperson said Savetsky was not in the film and was not credentialed by the festival, but was invited to the premiere by the film team.

Gold’s manager did not immediately respond to a request for comment. In a video statement posted to social media, Savetsky said the remarks were in reference to a “ridiculous claim” in the New York Times that Israeli officials trained dogs to rape Palestinians.

The paper “published this piece with zero evidence. And we’re all just supposed to sit here with a straight face and take it like it is some sort of truth.”

She added that the film festival is a “forum that is meant to spark dialogue” and that Jewish comedians throughout history have used humor as a way to cope with anti-Semitism.

“The Wedding Entertainer” tells the story of a disgraced Hasidic comedian who is looking to book one last gig to raise the $20,000 he needs to marry off his daughter. He convinces his childhood best friend to let him co-host his son’s wedding alongside a “younger and flashier” wedding MC — played by Gold —who had already been hired. Gold is also an executive producer.

Forty-eight days, 16 hours, 57 minutes and 12 seconds after a virus transforms humanity into a blissful symbiotic horde, one of its survivors, Carol (Rhea Seehorn), treats a rooftop as a personal driving range — the golf balls shattering a neighboring building’s windows. “If you’re alone for 40 days, you’re going to go a bit crazy and be lonely,” says “Pluribus” cinematographer Paul Donachie of the series’ aesthetic, which finds surreal beauty in bland desert urbanism emptied of people. “We searched Albuquerque to find the right kind of rooftop and building to frame her in light, but with darkness around her,” he says. “We’re putting her in this box before revealing what she’s aiming at.” Along with a looser framing, shadow and contrast highlight loneliness and emotional ambiguity. As another survivor (Carlos-Manuel Vesga) makes the long journey in search of Carol, “what was interesting about this particular episode was there was no dialogue and we’re telling two little stories of what’s going on emotionally with each person,” Donachie notes. “She is trying to enjoy it and take her mind off it. But I think there’s frustration not knowing what the hell is going on in the world.”