SHOW BIZ

There goes West Canaan High School’s hero.

“Varsity Blues” actor James Van Der Beek donned a familiar uniform to toss around a pigskin amid his cancer battle in an Instagram video shared Monday, and his wife Kimberly was in the comments to cheer him on.

“You’re a Wizard. Bouncing back baby!!” she wrote in response to the post. Her comment was accompanied by three heart-eyes emoji. Van Der Beek revealed last year that he had been diagnosed with Stage 3 colorectal cancer.

In the short clip, Van Der Beek wears a white football jersey with the number 4 and the name Moxon on the back. He played backup quarterback Jonathan “Mox” Moxon in the Texas-set 1999 coming-of-age film.

“Maybe it was all fun plays we got run in the football sequences for the away games… but I always loved putting on the varsity whites,” Van Der Beek wrote in the caption of the video featuring his “favorite jersey.” He also shared that limited quantities of the commemorative jersey are available for fans to purchase with or without his autograph. The actor sold a similar offering last year. The proceeds will “go directly to families undergoing cancer treatment,” according to his website.

Van Der Beek went on to thank his fans for their outpouring of support since he shared his diagnosis.

“Last year when I released the Blues jersey, I was blown away by the love and support I received from all of you,” he wrote. “It has meant more than I can ever express. … Thank you — for the love, the prayers, the support, and for making this jersey mean something far bigger than a movie. Endlessly grateful for all of you.”

Earlier this month, the “Dawson’s Creek” actor announced that he is also auctioning off memorabilia from his personal collection to help pay for his cancer treatments.

EastEnders’ Sam Mitchell actress Kim Medcalf has discussed her return to the BBC soap, involving a worrying new health storyline and a long-awaited reunion with Zoe Slater

It’s been almost two years since Sam Mitchell last graced our screens, fleeing EastEnders after severing ties with brother Phil and the Mitchell clan. But Sam may need her family now more than ever, when she returns to Albert Square as part of an important and emotional new storyline.

Sam faces a breast cancer scare after she discovers a lump. It’s her late mother Peggy Mitchell’s own battle with the disease, and her death in 2016, that leaves Sam convinced it’s serious.

Actress Kim Medcalf shared: “This is the second time Sam has found a lump in her breast and 20 years ago, she felt very lucky that it wasn’t anything serious. This time Sam assumes it’s going to be a different outcome because of Peggy’s history. Sam feels like the same thing is going to happen to her and so she’s putting her head in the sand.”

Hiding her turmoil from her loved ones and refusing to be checked by a doctor, Sam instead begs her brother Phil for money. Viewers will recall that the pair aren’t currently on good terms, given last year her dramatic exit saw her expose his affair with Emma Harding to the entire Square.

READ MORE: BBC EastEnders’ Barry Evans ‘back from dead’ as he returns after two decadesREAD MORE: EastEnders star Pat Butcher ‘back from the dead’ in time for Christmas

“She’s nervous, especially how things were left with Phil!” Kim revealed. “But then again, Sam’s not the kind of person who spends a lot of time thinking about the past, she lives in the moment.”

Kim teased that Nigel Bates, who revealed his devastating dementia diagnosis earlier this year, soon gets caught up in Sam’s scheming too. As Sam attempts to steal money from Phil’s safe, Nigel lets her, after sadly mistaking her for his daughter Clare.

Of course scheming Sam avoids correcting him, but it’s not long before her brother realises the truth. Sam will attempt to flee once more with the cash, before confiding in former flame Jack Branning, son Ricky’s dad, about her health secret.

Kim hopes this will lead to Sam seeking help, as she shares the importance of getting checked early. “We all need to encourage each other to regularly check our breasts because if you can catch breast cancer early enough, it can make a big difference to the prognosis and treatment,” Kim said. “To be given a storyline where I can play a small part in raising awareness is a real privilege. As a woman in my 50s, it’s something me and my friends talk about because we all know people affected by breast cancer and it feels very relevant and important.”

Of course Sam’s long-awaited return to the soap will also see an exciting reunion fans have been desperate for, between herself and Zoe Slater. The last time they were onscreen together back in 2005, the pair, joined by Chrissie Watts, were involved in the brutal murder of Dirty Den, who was buried under the floor of The Queen Vic.

Sam was sent to prison over the death, while the pair believed Zoe killed Den during their violent showdown. She was soon released though when Chrissie’s guilt was unearthed, while Zoe fled Albert Square until her own comeback earlier this year.

It’s safe to say Sam isn’t thrilled by the reunion, and it will open up some old wounds for both characters that they would rather remain closed. Kim explained: “Coming face-to-face with Zoe is triggering for Sam and brings up a whole series of memories that she’d much rather forget.”

It leads to Zoe wondering if Sam is behind her ongoing stalker ordeal, and a showdown ensues. “You can’t blame Zoe for suspecting Sam, they’ve got history!” admitted Kim. “They both shared this terrible experience that traumatised them in their own different ways.”

Kim confirms though that her character has nothing to do with Zoe’s torment. “Sam is adamant that she’s got her mind on other, far more important things. I think Zoe is convinced by Sam’s protests, but Kat isn’t quite so sure about her.”

Kim has loved the chance to work with Michelle Ryan, who plays Zoe, again two decades on from their iconic plot. “It has had us taking a trip down memory lane to remember where our characters were when we were last in the show, and what was going on in our lives in Walford,” Kim shared. “Having this chance to reminisce together has been lovely.”

EastEnders airs Mondays to Thursdays at 7:30pm on BBC One and BBC iPlayer. * Follow Mirror Celebs and TV on TikTok , Snapchat , Instagram , Twitter , Facebook , YouTube and Threads .

KELLY Osbourne has shared a heartbreaking clip of dad Ozzy as he missed out on festive family tradition. 

Ozzy sadly passed away aged 76 on July 22, with the cause of death later revealed to be a cardiac arrest.  

And Kelly, 41, revealed The Osbourne’s festive tradition of putting up the Christmas tree together was missing the unmistakable presence of Ozzy this year.

The mum took to Instagram to share a sweet video of her late father detangling Christmas lights. 

The scene shows the musician comically swearing as he struggles to undo a string of lights for the Christmas tree. 

Ozzy eventually shouts up to his beloved wife Sharon, 73, for help as he walks away.

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Kelly reposted the video from another online user adding an emotional caption over the top.

She penned: “We are meant to be putting up the Christmas tree today! It won’t be the same (crying emoji)”

The mom-of-one will be heartbroken to be spending her first Christmas without her father alongside the rest of the Osbourne clan.

Kelly has been supporting her mother through their loss, previously revealing she slept in her parents’ bed for two months after Ozzy passed away.

In a special episode of their family podcast titled Remembering Ozzy, Sharon confessed she “hates” going to bed at night.

Kelly said: “I mean, I slept with you for the first two months so that you weren’t on your own.

“But then I felt like you needed some space.”

Kelly and Sharon will also be missing son and brother Jack, 40, over the beginning of the Christmas period as he is currently taking part in I’m A Celebrity.

Jack recently left fans concerned as he ended up in tears while discussing Ozzy.

During a discussion with Eddie Kadi, Jack was asked what he missed most about Ozzy.

As he attempted to answer the question, Jack became overcome with emotion as he tried to compose himself.

“I’m sorry, I didn’t mean to bring it out like that,” Eddie expressed as Jack said: “No it’s fine.”

“I haven’t experienced what you’ve experienced,” he told the grief-stricken star before asking him: “What do you miss most about your pops?”

Again, Jack was unable to answer the question as he held his face into his hands and sobbed.

He finally expressed: “Just his energy. He had this force, so hard to describe. But he had this energy.”

With Thanksgiving in the rearview mirror we are now hurtling toward Christmas, Hanukkah, Kwanzaa and the New Year. December can bring stress, but it also brings the feel-good holiday shows, including “Tinselcolor,” which opens Dec. 2 at CineVita, a 15,000-square-foot double-decker Belgian spiegeltent operated by For the Record, which stages live musical revues of well-known film soundtracks.

Joey McIntyre — the youngest member of the ultra ‘90s boy band, New Kids on the Block — signed on as host of the candy-colored world-premiere extravaganza, which features an eight-piece band and 14 singers performing holiday movie music from 25 film scores including “Home Alone,” “National Lampoon’s Christmas Vacation” and “White Christmas.”

For the Record has been putting on shows for more than 15 years, starting in a small bar and restaurant in Los Feliz and moving up to bigger venues leading to CineVita. Over the years, the company became known for attracting celebrity clientele. Quentin Tarantino and Rosario Dawson attended a performance based on Tarantino’s film scores, and Demi Moore’s daughter, Rumer Willis, once joined the troupe. Moore is now an investor.

In an email, McIntyre wrote that he saw the Tarantino show years ago and loved it.

“I knew the caliber of talent and production that this company puts up, and then I stepped foot into this unparalleled space and almost verbatim said ‘sign me up,’” he wrote. “I’m a theater kid. The venue was like Jessica Rabbit calling me in.”

The unparalleled space McIntyre is referring to contains 3,000 hand-beveled mirrors, hand-cut stained glass windows and carved wood ornamentation. It will be decorated with outsized holiday flair for “Tinselcolor,” but it will also feel cozy.

“The theater holds about 700, but it is so warm and intimate, like you’re in my living room for the holidays,” McIntyre wrote. “Our guests are going to feel that. Our director, Anderson Davis, and the creative team have been super open to making it feel authentic to me and showcasing what I bring to the table.”

Performers joining McIntyre onstage include Brian Justin Crum, who recently played the role of Annas alongside Cynthia Erivo and Adam Lambert in the Hollywood Bowl’s electrifying “Jesus Christ Superstar”; Vintage Trouble frontman Ty Taylor; Cheyenne Isabel Wells, who starred in “Grease: Rise of the Pink Ladies” on Paramount+; and Dionne Gipson from “Found” on NBC and “Haus of Vicious” on BET.

McIntyre noted that he gets to sing the Andy Williams classic, “It’s the Most Wonderful Time of the Year” in full holiday regalia. His favorite holiday movie song of all time, however, is not in the show. That would be “A Brand New Christmas,” which he co-wrote for last year’s Roku Original “Jingle Bell Love.”

His favorite Christmas carol of all time? “O Holy Night.”

“It sits right in my wheelhouse vocally, and it checks all the boxes: heartfelt, classic melody with a pop bluesy accessibility. And you get to ‘fall on your knees’ when you’re performing it,” he wrote.

“Tinselcolor” runs through Dec. 30. After that, McIntyre will head back to Las Vegas to continue the New Kids on the Block residency at Dolby Live at Park MGM, which was extended through 2026 due to high demand.

“We just announced 3 more stints for 2026. We are a blessed bunch of guys. We’ve been able to keep it fresh and exciting over all these years, and the fact that we still had Vegas on the table was something we have really taken advantage of,” McIntyre wrote about the residency. “Our diehards are genuinely blown away, and Vegas is yet another hook for folks who haven’t seen us in a while. And those newbies are loving it too. It feels like a slam dunk all around.”

I’m arts and culture writer Jessica Gelt wishing you a very happy holiday season filled with love, kindness, health and hope. Here’s your arts and culture news for the week.

On our radar

Clockwise from bottom left: Grand Kiev Ballet, American Ballet Theatre and Inland Pacific Ballet.

(Los Angeles Times photo collage; illustrations by Katie Smith / For The Times; photographs from Grand Kyiv Ballet, Cheryl Mann and Marsha McNeely Photography)

Nutcracker roundup
The season of Sugar Plum Fairies is upon us. In last weekend’s holiday preview, Ashley Lee did the legwork gathering intel on productions of the holiday perennial that will be dancing their way across Southern California stages in the coming weeks. From downtown L.A. to the South Bay, Orange County and the Inland Empire, the variety of imaginative interpretations offer something for almost everybody. This week alone sees the openings of Anaheim Ballet’s “Nutcracker” (Friday and Saturday. City National Grove of Anaheim, 2200 E. Katella Ave. anaheimballet.org); American Contemporary Ballet’s “The Nutcracker Suite” (Saturday through Dec. 24. Bank of America Plaza, 333 S. Hope St., downtown L.A. acbdances.com); “Bob Baker’s Nutcracker,” a marionette version of the show (Saturday through Jan. 4. Sierra Madre Playhouse, 87 W. Sierra Madre Blvd. sierramadreplayhouse.org); and Debbie Allen Dance Academy’s “The Hot Chocolate Nutcracker,” which subs Mariah Carey and other contemporary artists for Tchaikovsky (Thursday through Dec. 14. Redondo Beach Performing Arts Center, 1935 Manhattan Beach Blvd. debbieallendanceacademy.com).

What the Dickens!

The cast of “A Christmas Carol” at A Noise Within.

(Craig Schwartz)

Like “The Nutcracker,” the holidays are heavy with varied interpretations of Charles Dickens’ “A Christmas Carol.” Friday night in Anaheim, Chance Theater opens Leslie Bricusse’s “Scrooge! The Musical” (Through Dec. 21. Bette Aitken Theater Arts Center, 5522 E. La Palma Ave. chancetheater.com). Saturday night, two long-standing productions of “A Christmas Carol” make their traditional returns. In Pasadena, Geoff Elliott (who also adapted and co-directs with Julia Rodriguez-Elliott) once again steps into Ebenezer’s slippers for a night of ghostly visitations (Through Dec. 4. A Noise Within, 3352 E. Foothill Blvd. anoisewithin.org).

Richard Doyle in “A Christmas Carol” at South Coast Repertory.

(Robert Huskey)

Meanwhile, down in Orange County, South Coast Repertory celebrates the 45th anniversary of resident dramaturg Jerry Patch’s adaptation (Through Dec. 28. Emmes/Benson Theatre Center, 655 Town Center Drive, Costa Mesa. scr.org). And on Dec. 5, Independent Shakespeare Co.‘s David Melville plays not Scrooge, but the author himself in “A Christmas Carol With Charles Dickens,” a solo storytelling tour-de-force (Through Dec. 22. ISC Studio, Atwater Crossing, 3191 Casitas Ave., Suite 130, Atwater Village. iscla.org).

The week ahead: A curated calendar

FRIDAY
Heisenberg
Paul Eiding and Juls Hoover star in Simon Stephens’ drama about a middle-woman and an older man who meet in a London railway station. Directed by Cameron Watson.
8 p.m. Friday and Saturday; 2 p.m. Sunday, through Dec. 22. Additional show 8 p.m. Dec. 18. Skylight Theatre, 1816 1/2 N. Vermont Ave., Los Feliz. skylighttheatre.org

SATURDAY

Artist Drew Struzan signs his Oscar poster in 2008.

(Mark Mainz / Getty Images)

Drew Struzan Tribute
The American Cinematheque salutes the artist, illustrator and designer who died in October with a triple-feature of films for which he designed the posters: “Back to the Future,” “The Goonies” and “E.T.” Struzan also designed iconic one-sheets for such films as “Star Wars,” “Raiders of the Lost Ark” and “Blade Runner.”
11 a.m. Saturday. Egyptian Theatre, 6712 Hollywood Blvd. americancinematheque.com

TUESDAY

Tom Morello at South by Southwest in Austin in 2025.

(Jack Plunkett / Invision / Associated Press)

The REVOLUTION(S) will be Amplified
Musician/activist Tom Morello joins curator Douglas Fogle for a discussion about art, activism, creativity and resistance on the occasion of the exhibition “Corita Kent: The Sorcery of Images.”
7 p.m. Marciano Art Foundation, 4357 Wilshire Blvd. marcianoartfoundation.org

THURSDAY
Children of the Winter Kingdom
Orphaned twins escape a circus and encounter a king and his dragon, a wild girl, a crow, a sorceress and an ice spider in a holiday adventure filled with music and puppetry. Written by Adam Dugas & Mary Eileen O’Donnell, directed by Adam Dugas.
8 p.m. Thursdays, Fridays and Saturdays; 2 p.m. Sundays, through Dec. 20. The Actors’ Gang at the Ivy Substation, 9070 Venice Blvd., Culver City. theactorsgang.com

‘Die Heart’
Yippee-ki-yay, Heart lovers! Troubadour Theater Co. revives its holiday musical-comedy synergism of the 1988 Bruce Willis action movie “Die Hard” with the songs of the Wilson sisters. Don’t even think about asking if it’s really a Christmas movie.
Dec. 4 to 21. Colony Theatre, 555 N. Third St., Burbank. troubie.com

A scene from “Putney Swope,” directed by Robert Downey Sr.

(Cinema 5 / Photofest)

Putney Swope
The Academy Museum’s celebration of film preservation kicks off with the world premiere of a new 35mm print of Robert Downey Sr.’s 1969 social satire.
7:30 p.m. Thursday Academy Museum, 6067 Wilshire Blvd. academymuseum.org

Tchaikovsky’s Swan Lake
The Pacific Symphony and pianist Alexandra Dariescu, conducted by Tianyi Liu, perform works by Cassandra Miller, Maurice Ravel and Pyotr Ilyich Tchaikovsky.
8 p.m. Thursday, Friday and Saturday. Renée and Henry Segerstrom Concert Hall, 600 Town Center Drive, Costa Mesa. scfta.org/events

Dispatch: The Butterfly Effect

Liviera Lim as Vivian Fang in “The Butterfly Effect.”

(Charly Charney Cohen)

Young local theater troupe Last Call Theater specializes in interactive, participatory productions, and its latest, “The Butterfly Effect,” is an intimate affair that encourages one-to-one and small group pairings with actors. The show examines past choices and the consequences of changing them. There’s a fantastical bent, as it’s set in a cafe that promises the ability to time travel. The decade-hopping coffee shop backdrop gives the company a chance to play with multiple storylines that touch on L.A. history, from immigrant tales of a family-run business to those often overlooked by our city’s emphasis on celebrity. The production, which opened in mid-November, runs Thursday through Saturday at Stella Coffee and closes Dec 6. ticketleap.events
— Todd Martens

Culture news and the SoCal scene

Robert Therrien‘s “No title (red chapel relief),” 1991, enamel on paper and wood.

(Christopher Knight / Los Angeles Times)

A place at the (big) table
If you’ve ever visited the Broad, you’re quite familiar with the large table and chairs in its permanent collection that dwarf even the tallest viewer. Times art critic Christopher Knight (who is retiring as of today) calls the Broad’s new exhibition, “Robert Therrien: This Is a Story,” a “smashing retrospective” and one of the year’s best museum solo shows. Therrien, who died at 71 in 2019, was a unique talent who sits comfortably among the most significant L.A. artists since the ‘60s and ‘70s. “Whether he was making a 3D sculpture to stand on the floor, a 2D painting to hang on the wall, or a 3D sculpture attached to a wall like an ancient frieze,” writes Knight, “he managed the same uncanny result — objects where the purely visual and the utterly physical demand equal time.”

Maya Keleher in the national tour of the musical “Suffs.”

(Joan Marcus)

Suffragette City
An all-female and nonbinary cast dramatizes the inspiring story of American women fighting for the right to vote in the musical “Suffs,” playing at the Hollywood Pantages through Dec. 7. Shaina Taub won Tony Awards for its book and score, while also starring as suffragette leader Alice Paul in the Broadway run. In L.A., the national tour’s Maya Keleher “lends alluring warmth to the role,” writes Times theater critic Charles McNulty in his review. “The teamwork of the performers honors the messy yet undeniably effective cooperation of Alice and her freedom fighters — women who changed the world by not staying silent in their prescribed place.”

Viola time
Times music critic Mark Swed noted a recent “fall-harvesting viola bandwagon,” with multiple ensembles spotlighting the humble middle child of stringed instruments played with a bow. “The L.A. Phil began viola week with a Tuesday evening program, ‘Brahms Strings,’ as part of the orchestra’s chamber music series at Walt Disney Concert Hall that included the blazing early First Sextet and late, luminously serene Second Quintet,” wrote Swed. “As part of its chamber music series across the street in the Colburn School’s Zipper Hall, Saturday, [the Los Angeles Chamber Orchestra] coincidentally held ‘A Brahmsian Affair,’ in this case featuring both the sextets.” On Saturday, recent Colburn graduate Lan Cao and current conservatory student Ran Tae performed Korean composer Isang Yun’s 1988 “Contemplation,” for two violas, “played with gripping meditative intensity” during a day-long MOCA seminar on South Korean artist Haegue Yang.

Ray Ushikubo will play a rare 1741 Guarneri “del Gesù” violin at a free concert at the Colburn School on Dec. 3.

(Robert Gauthier / Los Angeles Times)

History in his hands
Ray Ushikubo of San Gabriel, a 24-year-old virtuoso musician, has been selected to play the Playfair violin, an ultra-rare model crafted by the famed luthier Guarneri “del Gesù.” “I’m only 24,” Ushikubo told reporter Emma Madden. “This instrument is from 1741. It’s older than the United States. I can barely comprehend that amount of history. But mostly I feel happiness. And honor. It sounds better than any violin that’s ever been made.” The musician will debut the instrument in a free concert at the Colburn School’s Zipper Hall on Dec. 3.

East L.A. Youth Orchestra gets a reprieve
“After recently announcing major cuts to its youth orchestra, the L.A. Phil has secured additional donor funding to ensure the East L.A. branch of the Youth Orchestra Los Angeles (YOLA) program will continue at full capacity until the end of the school year,” reports The Times’ Cerys Davies. The initial cuts to the programming at the Esteban E. Torres High School site included laying off teaching artists, gutting programs for younger students and reduced practices for older students. The parents of students and members of the local community responded to the cuts by organizing an Instagram campaign and town hall meeting, imploring the L.A. Phil to temporarily preserve the Torres site.

An architectural whodunit
In 2013, Robert Mosher, one of San Diego’s most respected architects, called Keith York, founder of Modern San Diego, a digital archive devoted to the region’s mid-century design, asking to meet for lunch. “I have something I need to tell you,” he said. A revelation at that meeting led York and fellow architecture buff Stephen Buck to investigate the provenance of Balboa Park’s Timken Museum of Art, which opened in 1965. Did two of the biggest names in American design have a hand in it? Sam Lubell has the details on the decades-old mystery.

— Kevin Crust

And last but not least

I give you the 2025 Times holiday gift guide. Even if you don’t see anything on these carefully curated lists that you like, it’s a great inspiration starter.

— Jessica Gelt

Jess Glynne, who has been dating former footballer Alex Scott since the summer of 2023, spoke following her partner’s departure from I’m A Celebrity… Get Me Out of Here

Jess Glynne has revealed the heartbreaking reason why she didn’t join Alex Scott on the bridge after she left I’m A Celebrity.

She said that her mother suffered “a major stroke and needed urgent brain surgery”. Opening up, Jess said: “My woman might be out far earlier than she ever deserved, but l’m so unbelievably proud of her. She didn’t get the airtime to show how incredible she really is and trust me, this is only the beginning.

“I know people will wonder why I wasn’t there at the end of the bridge, so I wanted to share something personal. Over the last few weeks my mum suffered a major stroke and needed urgent brain surgery. It’s been a really serious, life-altering time for my family, and I’ve had to stay close to home. Alex would always want me to be where l’m needed most. I can’t wait to have her back by my

Alex was the first campmate evicted from I’m A Celebrity, though mystery had initially shrouded why her partner didn’t welcome the TV presenter. Ant and Dec announced the news after a phone vote, which insiders said was “incredibly close.”

Alex said: “It’s like being free. It’s been such an incredible experience. Mentally it’s been tough and I have struggled.” She added: “It’s tough in there – constantly going to get water and firewood.”

READ MORE: Alex Scott’s marriage plans with Jess Glynne as star breaks silence on secret messagesREAD MORE: I’m A Celeb star Alex Scott’s ‘invisible’ health battle she’ll have ‘for life’

During her time on the programme, the football broadcaster spoke openly about their relationship. When asked by campmate Ruby Wax about whether she’d tie the knot with Glynne, Scott replied: “I will get married to her, just waiting for her to ask, Rubes!

Speaking after her eviction, the former footballer also opened up about sneaking banned salt into camp, which she sprinkled onto dinner. Alex continued: “I just grabbed a load of salt and I put them in my sock. My campmates were in on it. And now everyday they wish they had salt.”

She also backed Shona McGarty to win. She said: “It will change her and give the confidence to be brilliant at life.” Millions are expected to have voted – mainly led by fans of popular duo Angry Ginge and Aitch.

The insider added: “It’s been unprecedented…and one of the reasons why people have had issues with the app.”

It comes as weather in camp has hit 30 degrees over the last few days – which has come as a relief after they were battered by storms earlier this week. This is a relief to the celebs as the damp conditions attract leeches, and an influx of biting insects. The insider said: “All the celebs were complaining about being bitten in the last few days…there were very uncomfortable conditions.”

ROBBIE Williams looks specs-tacular in glasses weeks after saying he fears fat jabs are ruining his eyesight. 

The Rock DJ singer, 51, wore chunky white frames at a London club on Thursday.  

Robbie, whose debut solo album was called Life Thru A Lens, was out with wife Ayda Field, 46, and daughter Teddy, 13.

She is the eldest of their four kids, and they were out in town after the premiere of festive film Tinsel Town in Leicester Square.  

Teddy — full name Theodora — makes her acting debut in the Sky Original film with Rebel Wilson, Kiefer Sutherland and Danny Dyer.  

Speaking on the red carpet, Robbie said he was “super proud” of her. 

‘IT FLOORED ME’

Strictly’s Karen opens up on suicidal thoughts after addiction battle

BIG BOUNCER

Big Brother star seen working on door of London restaurant 18 years after fame

Earlier this month, the star, who has been using Mounjaro, said: “I was quite an early adopter of the jabs but what I’m also noticing is that my eyesight’s not very good. 

“It’s been blurry for a while now, and it’s only getting worse.

“I don’t believe it’s age; I believe it’s the jabs.” 

His comments come after a study revealed a link between Semaglutide, the active ingredient in some fat jabs, and an eye condition which causes blindness.

“I went to an American football game the other night and the players were just blobs on a green field in front of me.

“And I was like, ‘What the f*** is happening?’.

Periodically, the Latinx Files will feature guest writers. Filling in this week is film reporter extraordinaire Carlos Aguilar.

With the explicit goal of making people laugh, the endearingly foul-mouthed Mexican American filmmaker Alejandro Montoya Marin is building an unpretentious body of work.

“There are far smarter people than me to make ‘Parasite’ or to make Yorgos [Lanthimos’] movies,” says Montoya Marin, 42, laughing during a recent video interview from his home in Los Angeles. “I want to entertain you for 88 minutes and have you come out and be like, ‘I’m going to recommend that to a friend.’ That’s it.”

It’s not that he lacks ambition.Montoya Marin, whose T-shirt is emblazoned with Hong Kong action film legend John Woo, feels secure in the type of storytelling that best suits his interest and abilities. And he’s taken a DIY approach to making films and promoting them so that they can reach audiences directly.

“Their job is to tell you no,” he says of decision makers in the entertainment industry. “But you have the ability to say, ‘F— you, I’m going to be creative. You’re not going to tell me when I can be creative.’ And that was always the mentality that I had.”

His third feature, “The Unexpecteds,” now available on streaming platforms, features a mostly Latino cast: Chelsea Rendon (“Vida”), Francisco Ramos (“Gentefied”) and Alejandro De Hoyos (“The Man From Toronto”) — as well as actor Matt Walsh in the lead role. Executive produced by independent cinema legend Kevin Smith of “Clerks” fame, the action comedy follows a group of everyday working people who take justice into their own hands after an online financial guru, Metal Mike (John Kaler), scams them out of their savings.

“I love underdog stories because I feel like I am one and there are so many people like that,” Montoya Marin says about “The Unexpecteds” and his other films. “Maybe there could be movies that can inspire them or make them feel good about themselves for a little bit.”

Born in Laredo, Texas, to parents from Yucatán and Mexico City, Montoya Marin owes his cinematic awakening to a disparate double feature that introduced him to the gritty dystopia of “RoboCop” and the heart-rending sentimentality of “Cinema Paradiso.”

He was about 7 years old and had tagged along with his uncle, who was taking a date to the movies, in the Mexican border city of Nuevo Laredo. “I didn’t understand [“Cinema Paradiso”] because it was in Italian and subtitled in Spanish. My Spanish wasn’t amazing then,” says Montoya Marin. “But I understood a lot of it, and that double feature did it for me.”

And thus, his topsy-turvy, multicity trail to the triumphs and pitfalls of moviemaking began. At 12, Montoya Marin moved from the U.S. to Merida, Yucatán, where he then made his first amateur short film inspired by the “Star Wars” universe.

He later studied marketing in Monterrey, Nuevo Leon. To supplement his income during those days, Montoya Marin opened his own video store, which he called Quick Stop Video, in honor of Quick Stop Groceries, the convenience store in Smith’s “Clerks.” One day, an office opened across the street that had a sign that read “Go study in Canada.” Intrigued, Montoya Marin inquired about film schools, and was immediately enticed by Vancouver Film School, mainly because a young Smith had briefly attended there. He sold all his movies and, as an American citizen, got a student loan and moved to Canada.

Though they now have a close relationship, Montoya Marin’s father, a successful businessman, did not initially support his artistic aspirations, which caused conflict.

“My dad would go, ‘Bring those dreams down because the fall will be less hard,’ and I’d go, ‘F— that. Why?’” he recalls. “He told me, ‘If you go there I don’t want to see you. You’re not seeing the family.’ I was like, ‘OK, that’s a risk I have to take.’”

After graduating, Montoya Marin couldn’t afford to live in Los Angeles and instead moved to Albuquerque, N.M., where he worked for 13 years as a production assistant and as a commercial director. During that time, a career-altering opportunity came his way.

While in Europe shooting a project, Montoya Marin finished the screenplay for his first feature, “Monday.” The script earned him a spot in Robert Rodriguez’s reality show “Rebel Without a Crew,” which aired in 2018 on El Rey Network. Each participant had to produce their feature film with a budget of $7,000, the same amount of money Rodriguez made his debut, “El Mariachi,” for.

“It was a dream come true. Robert is very down to earth. You could tell he’s not bulls—. He doesn’t play the game,” he says. “We would be filming at three in the morning, y ahí lo veías trabajando.”

“I was honored to mentor Alejandro as he directed his very first feature film,” Rodriguez said in an email. “He had the true indie filmmaking spirit within him and inspired me right back! He’s a great representation of what audiences desire: authenticity and passion.”

After “Monday,” an action comedy centered on a man down on his luck who gets caught in a cartel war, Montoya Marin raised $60,000 via crowdfunding to make his sophomore effort, “Millennium Bugs,” a Y2K-set tale about two people coming of age as the world anticipates chaos. And while neither of those films had the impact he’d hoped for, that outcome did not deter him in the slightest.

“There’s no Plan B, compadre,” he said, laughing. “That’s why I can firmly just go headfirst because if I die on set, I will be a happy man.”

Montoya Marin met Walsh while shooting Eva Longoria’s “Flamin’ Hot,” where they both had acting parts. A friendship developed between them, and eventually the filmmaker offered Walsh the part in “The Unexpecteds.” Although he shot the film in 15 days, like his previous features, this time he had a more sizable budget (still under $1 million).

As part of its 2024 festival run, “The Unexpecteds” screened at Smith’s Smodcastle Film Festival in New Jersey, where it won the Best Comedy Award. It was there that Montoya Marin first connected with one of his heroes.

“Giving a platform to fledgling filmmakers with the Smodcastle Film Festival is meaningful to an old film fest kid, and if my name can help them open a single door, I’m happy to help,” Smith said. “But being involved with ‘The Unexpecteds’ does me more good than them. Attaching myself to a talent like Alejandro is a sure way to ensure I get to stick around in a business I’m getting too old for.”

The first time Montoya Marin met Smith in person was right before going on a news show where the two were supposed to have a joint interview to promote the film. It was there that Montoya Marin witnessed his hero’s walk-the-walk allyship in action.

Before going on air, the production informed Montoya Marin that they wouldn’t be able to have him do the interview. Only Smith would be on camera. “But to make it up to you guys, we’re going to make this a Hispanic Heritage Month themed segment,” the team told them.

That’s when Smith stepped in. “You’re going to put the white guy to come and promote Hispanic Heritage Month,” he said, according to Montoya Marin. “Kevin goes, ‘That’s stupid. I’m not doing that. Mic him up, because the filmmaker is the best salesman of a film.’” Smith was shocked at what the TV folks had tried to pull. “I told Kevin, ‘You were just witness of what they do to us without saying an insult. It’s just polite,’” Montoya Marin recalls.

Thanks to Smith’s intervention, Montoya Marin ultimately did the interview. “I fell in love with him even more,” he added.

Now that his most ambitious project yet is out in the world, Montoya Marin has multiple projects in the works, from a thriller to a comedy set in the ‘90s, and even a project that would allow him to shoot in Mexico. Like a good salesman, he has perfected his pitch.

“I’m dying to make a movie in Spanish. I already have the concept and some producers. I just need $1.5 million and I will give you one of the best comedies in Mexican cinema,” he declares. “And I’m not saying just to be m—, but I know I’m funnier in Spanish.”

Speaking with Montoya Marin, one gets the sense that he’s consistently trying to disarm you into rooting for him. It’s not manipulative but refreshingly sincere — and a bit brash. Getting behind him is a vote of confidence for independent cinema that doesn’t take itself so seriously. His humorous conviction and rousing spiel make one eager to believe him.

The American Cinematheque will screen “The Unexpecteds” on Dec. 13 at the Los Feliz 3, with Montoya Marin and Smith in attendance.

Stories we read this week that we think you should read

Unless otherwise noted, stories below were published by the Los Angeles Times.

Politics, immigration and foreign affairs

Arts, culture and entertainment

CELEBRITY psychic Sally Morgan has threatened a rival with legal action — for using the stage name Psychic Sal.

The TV medium’s lawyers have warned Sally Cudmore to stop using the title or face court action.

They claim Sally, 74, dubbed Britain’s best-loved psychic, has trademarked Psychic Sally, Psychic Sal and Sally Psychic.

But mum-of-three Sally, 54, told The Sun last night: “To be honest, I didn’t see this coming.

“My name is Sally. It has been since birth. I didn’t borrow it, steal it, trademark it, or contact Sally Morgan for permission.”

She said her family had been doing readings for four generations and jokingly blamed her mum for her name, saying if she had foreseen it “perhaps she would have chosen Janet”.

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Sally, from Eltham, South London, has appeared on Loose Women and This Morning.

She calls herself Psychic Medium Sally Cudmore and uses the handle @psychicsal100 on TikTok.

She said: “How can anyone confuse me with Sally Morgan?

“She is years older than me and looks nothing like me.”

Sally Morgan’s lawyers want her to stop using names such as Psychic Sally, Psychic Sal or similar and make a public statement over the confusion.

And her spokeswoman said: “She is acting in the best interest of her loyal followers to prevent further confusion caused by Sally Cudmore. She is protecting her professional name.”

Hello! I’m Mark Olsen. Welcome to another edition of your regular field guide to a world of Only Good Movies.

This week I spoke to James L. Brooks, whose legendary career includes “The Mary Tyler Moore Show,” “Terms of Endearment,” “Broadcast News” and “The Simpsons,” about his new film “Ella McCay,” which opens in theaters Dec. 12.

The film stars Emma Mackey as a classic Brooksian heroine: a lieutenant governor of a small, unnamed state with a genuine desire to make other people’s lives better who unexpectedly finds herself thrust into the job of governor.

Albert Brooks and Emma Mackey in the movie “Ella McCay.”

(Claire Folger / 20th Century Studios)

Warm and affectionate toward its characters while also clear-eyed about their all-too-human imperfections, the film is the kind of made-for-adults dramedy that is currently out-of-favor with Hollywood.

“I don’t believe people don’t want comedy,” Brooks said. “Obviously, I hope that you have meat on the bone and that doesn’t mean you can’t do a real scene about real difficulty, especially with this picture.”

Matt Brennan spoke to Renate Reinsve, star of Joachim Trier’s “Sentimental Value,” while the two of them toured Frank Lloyd Wright’s Hollyhock House. Carlos Aguilar spent time with Amy Madigan, the veteran actor enjoying renewed career energy thanks to her role as Aunt Gladys in “Weapons.”

Among the movies’ new releases, Amy Nicholson reviewed Rian Johnson’s latest Benoit Blanc story, “Wake Up Dead Man: A Knives Out Mystery,” calling it the “darkest, funniest and best installment yet.”

Mila Kunis, Daniel Craig and Josh O’Connor in the movie “Wake Up Dead Man: A Knives Out Mystery.”

(Netflix)

Amy also reviewed Chloé Zhao’s “Hamnet,” an adaptation of Maggie O’Farrell’s novel about William Shakespeare (Paul Mescal) and his wife Agnes (Jessie Buckley) as they grapple with the death of their young son Hamnet, a grief that results in the play “Hamlet.”

If you are really looking to get away from family this week, consider Julia Loktev’s five-and-a-half-hour documentary “My Undesirable Friends: Part I — Last Air in Moscow,” which chronicles the fall of one of the last independent news channels in Russia, largely run by women, during the country’s invasion of Ukraine. Loktev and one of the film’s subjects, Ksenia Mironova, will be at the Laemmle Royal for Q&As after certain shows on the 28th and 29th.

As Tim Grierson put it in his review, “During a year in which the worst-case scenarios of a second Trump presidency have come to fruition, ‘My Undesirable Friends’ contains plenty of echoes with our national news. The canceling of comedy shows, the baseless imprisonment of innocent people, the rampant transphobia: The Putin playbook is now this country’s day-to-day. Some may wish to avoid Loktev’s film because of those despairing parallels. But that’s only more reason to embrace ‘My Undesirable Friends.’ Loktev didn’t set out to be a witness to history, but what she’s emerged with is an indispensable record and a rallying cry.”

Also opening this week is another of the year’s most boldly unconventional films, Kahlil Joseph’s “BLKNWS: Terms and Conditions,” a dense, collage-like exploration of Black identity and history, playing at the Lumiere Music Hall. Anyone who saw the recent blockbuster exhibition of artworks by Joseph’s brother, the late Noah Davis, at the Hammer Museum will also find “BLKNWS” a worthwhile experience.

Cinematographer Roger Deakins on the future of the Coen brothers

Cinematographer Roger Deakins photographed at the Toronto International Film Festival in 2019.

(Jay L. Clendenin / Los Angeles Times)

Roger Deakins is among the most celebrated and best-known cinematographers of his era. A two-time Oscar winner, he has worked with filmmakers such as Joel and Ethan Coen, Sam Mandes, Denis Villeneuve and many more, on films including “No Country for Old Men,” “The Big Lebowski,” “Skyfall,” “Sicario,” “Blade Runner 2049” and “1917.”

Deakins, 76, who often works in collaboration with his wife James Ellis Deakins, has for the past few years been hosting a podcast, “Team Deakins,” interviewing filmmakers. He has recently published “Reflections: On Cinematography,” which is part memoir and part how-to, drawing from his personal archives to explore his work on so many contemporary classics.

On Sunday, the American Cinematheque will screen director Andrew Dominik’s 2007 “The Assassination of Jesse James by the Coward Robert Ford” at the Aero Theatre with both Roger and James present for a Q&A and book signing.

They recently got on a video call from their home in Santa Monica to talk about the book, their relationship and whether to expect another movie from the Coen brothers.

Javier Bardem in Joel and Ethan Coen’s 2007 movie “No Country for Old Men.”

(Miramax Films)

One of the things that’s so striking about the book is that it is very much a memoir, the story of your life, but it is told through these movies and an exploration of your artistic practice.

Roger Deakins: Well, that was the balance. We didn’t want it to be a technical manual and we didn’t want it to be a sort of tell-all or just recounting old stories.

James Deakins: When you work in the film business, it’s so intense. Your work is your life.

Roger Deakins: Especially when I started out, shooting in documentaries for a few years, that was the life experience that opened the world to me. I didn’t see the world other than my experiences shooting films, whether it was documentaries or later fiction films, like going together to Morocco to shoot “Kundun.” The life experience actually has always been as important to me as the actual work.

Can you tell me a little bit more about just the relationship between the two of you, traveling together, working on all these different movies? What has that meant to you?

Roger Deakins: It’s all very weird. That is so not me.

James Deakins: The reason why we work so well together is Roger’s very intent on what he is doing and doesn’t particularly want to talk to other people during that time period. And I do — I love to talk to people. I love to solve problems. I love to do all that. So together we kind of make this whole. But we also have a lot of people come up to us and ask us for relationship advice.

Roger Deakins: When we met, I think I was 41 or something. We were both fairly kind of, not lonely, but we were loners, both of us. And we connected on a film. We met on a film together. James was script supervisor on a film that I was shooting. And after that film, it just seemed obvious to me that we should be together. And it’s been wonderful. We’ve just shared these life experiences together. I couldn’t really understand other relationships, which seemed to work well, where one person goes away and works on a movie for like six months and then comes back home and tries to step back into a relationship like nothing had happened. I don’t see that. So we’ve always shared things together. Doing the podcast was very much James’ idea, but I’ve kind of warmed to it.

James Ellis Deakins, left, and Roger Deakins at the 95th Academy Awards at the Dolby Theatre in 2023.

(Robert Gauthier / Los Angeles Times)

When people ask for relationship advice, what do they want to know?

James Deakins: They’re saying, “I’ve got to travel so much. How do I keep it together?” Or: How do we work together? Just, will this work? Is it possible? It’s very strange, because we’ve just done a very technical Q&A and my head’s there, and then someone comes up to me — and I can always kind of tell because they’re bearing down on me — and they go, “I just want to ask you…”

Roger, in the book you talk about how, when you were starting out and in film school, you thought of yourself as a director. As you started shooting more for other people, did that create a sense of a path not taken?

Roger Deakins: I would be lying if I was saying there wasn’t a little bit way down deep inside of me that was saying: What if I had tried to become a director instead? But on the other hand, I’ve been part of so many movies with so many really nice, intelligent people. And I really do have a confidence problem. We did try and get together a couple of projects a number of years ago and I just don’t have the confidence. I’m terrible going into a studio and pitching a project.

I’m just not that political person. I love nothing more than being on a set with a whole group of people. I love just working with the camera crew and electricians and the grips and the painters and everybody else. I love that collaboration. And often a director is in a much more lonely place.

Do you feel like you have a signature? What is it that you bring to a project?

Roger Deakins: I hope I don’t have a signature. I hope I just have a way of relating to a story and something in front of me. Maybe there’s some sort of personal perspective.

James Deakins: Well, I think you bring a commitment to the project. And you also are so committed to creating the director’s vision as opposed to you coming in and saying, “Well, let’s make it the way that I always do it.” And so I think you allow what the director has in his head to come out.

Roger Deakins: It’s also really important that you’re not just there to create pretty pictures. Oh, that’s a great sunset, but what the hell does it have to do with this story? Or: Let’s put up five cameras and get a lot of material and we’ll cut something out of it later. That’s the extreme version of something that’s anathema to me.

You say that people confuse pretty cinematography with good cinematography. How do you define good cinematography?

Roger Deakins: Cinematography that’s not noticed. Not noticed because people are too absorbed in the story. When you go to a premiere or any screening and you come out and somebody comes out and says, “Oh, I love that shot where such and such” — that was a mistake because not one shot should stand out. Somebody said, “Oh, wasn’t that a lovely sunset?” Then you’ve taken the audience out of the film. You’ve just drawn attention to the image.

Ryan Gosling in the movie “Blade Runner 2049.”

(Stephen Vaughan / Warner Bros. Pictures)

So even for all the astonishing images you’ve created, you still think that they shouldn’t be noticed?

Roger Deakins: In a way. I mean, obviously on some films you’ve got more license than others. Obviously I could have more fun on “Skyfall” in certain instances, or “Blade Runner,” more than I could on “No Country for Old Men.” “Blade Runner,” I could do these kind of lighting things in the Wallace building because that was part of the character, that was part of his creation, not mine. So it kind of felt integral to the character. But in another situation, I’m never going to do that kind of lighting.

You haven’t shot anything for a few years now. Are you hoping to find something?

Roger Deakins: Kind of. It depends which day you ask me, really.

James Deakins: Really depends on the project. And we haven’t seen anything, really.

A lot of people are very eager for Joel and Ethan Coen to work together again. Have you had any conversations with them?

Roger Deakins: Well, Joel’s just been directing a film in Scotland, his own film. I’ve talked to Joel on and off lately and, well, actually Ethan not that long ago, but I’m not sure what their plans are now. So that’s all talk. That’s like talking about my football team, Manchester United. What’s the next player they’re going to buy? Who knows?

Points of interest

‘Coming Home’

Jane Fonda and Jon Voight in the movie “Coming Home.”

(Herbert Dorfman / Corbis via Getty Images)

On Monday, the Frida Cinema will show Hal Ashby’s 1978 “Coming Home,” starring Jane Fonda, Jon Voight and Bruce Dern. Fonda and Voight both won Academy Awards for their performances and the film was named best picture by the Los Angeles Film Critics Assn.

“Coming Home” is an exploration of the costs of war at home and also about learning to live with disability. Voight plays a Vietnam veteran who returns a paraplegic, struggling to adjust to his new life. Fonda is a woman whose husband (Dern) is deployed to Vietnam. When she begins to volunteer at the local VA hospital, she reconnects with Voight’s Luke, a friend from high school. As the two begin an affair, all three of their lives are upended.

Critic Kristen Lopez will be there to introduce the screening, as well as sign copies of her new book, “Popcorn Disabilities: The Highs and Lows of Disabled Representation in the Movies.”

Via email, Lopez explained her selection of “Coming Home,” saying “it’s one of the few movies that, I think, even though it’s not cast authentically, does illustrate the disabled experience in an authentic way. Director Hal Ashby, producer Jane Fonda and star Jon Voight did deep research into disabled veterans, specifically wheelchair users, and it’s the first movie I remember seeing that got the little bits of disabled business correct. It’s also a movie that, even today, is remarkably progressive in how it portrays disability. Luke Martin has a home and a car, he’s self-sufficient, and too often we don’t see how disabled people live.”

‘Putney Swope’

An image from “Putney Swope,” directed by Robert Downey Sr.

(Cinema 5 / Photofest)

Opening the series “Present Past 2025: A Celebration of Film Preservation” at the Academy Museum will be the world premiere of a new 35mm print of Robert Downey Sr.’s 1969 “Putney Swope.” A biting satire of how corporate culture handles race, the film stars Arnold Johnson as the title character, who is unexpectedly made president of a major advertising firm and proceeds to upend all of its messaging. Paul Thomas Anderson has often spoken of Downey as an influence — an influence that can be clearly seen in the anti-authoritarian “One Battle After Another.”

In his original January 1970 review, Charles Champlin wrote, “‘Putney Swope’ is not so much a movie as a cartoon with real people. … ‘Putney Swope’ is not for anyone who demands good taste in movies, or restraint, or a presumption of dignity in the human character. But in its youthful, irreverent and uninhibited but medicinal way, ‘Putney Swope’ is shocking good fun.”

Also playing as part of the Academy’s preservation series, which runs through Dec. 22, will be world premiere restorations of William Wyler’s 1934 “Glamour,” John M. Stahl’s 1933 “Only Yesterday,” Lloyd Corrigan’s 1931 “Daughter of the Dragon” and George Marshall’s 1945 “Incendiary Blonde.” Other titles in the series include North American restoration premieres of Konrad Wolf’s 1980 “Solo Sunny” and Mikio Naruse’s 1955 “Floating Clouds,” plus the U.S. restoration premieres of Howard Hughes’ 1930 “Hell’s Angels” and Pedro Almodóvar’s 1986 “Matador.”

‘While You Were Sleeping’

Peter Gallagher and Sandra Bullock in the romantic comedy “While You Were Sleeping.”

(Michael P. Weinstein / Hollywood Pictures)

On Dec. 5, the New Beverly will screen a matinee of John Turteltaub’s 1995 “While You Were Sleeping.” (Take that extra long lunch or just knock off work early. It’s the holidays.) This winsome, utterly charming romantic comedy really helped cement Sandra Bullock’s screen persona and stardom, and deservedly so. A lonely woman (Bullock) who works in a ticket booth for the Chicago Transit Authority quietly pines for a handsome man (Peter Gallagher) she sees every day. After she helps save him from an accident, a misunderstanding at the hospital leads his family to believe she is his fiancée while he is in a coma. Then she meets his brother (Bill Pullman) and the complications really ensue.

In his original review of the film, Peter Rainer wrote, “Bullock is a genuinely engaging performer, which at least gives the treacle some minty freshness. Her scenes with Pullman are amiable approach-avoidance duets that really convince you something is going on between them. Like Marisa Tomei, Bullock has a sky-high likability factor with audiences. She can draw us into her spunky loneliness — you want to see her smile.”

EastEnders character Sam Mitchell will face a battle with breast cancer in an upcoming storyline as the Walford icon makes a comeback to the BBC soap after two years away

EastEnders character Sam Mitchell will face a battle with breast cancer in an upcoming storyline. The Walford resident, who has been played by Kim Medcalf on and off since 2002, will return to the BBC soap this December, having discovered a lump in her breast.

When Sam first arrives back in Albert Square, it is clear that she wants to keep her worrying discovery private, but at the behest of Jack, Denise and finally Phil, she eventually makes the trip to the doctors, where she receives the devastating diagnosis, with the saving grace being that it has been caught early.

The whole storyline will follow Sam, who was initially played by Danniella Westbrook during her initial stint on the London-based serial, as she goes through treatment, and the programme has been working with Breast Cancer Now in order to make sure the whole plot will be portrayed in a manner that is “accurate and sensitive”.

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Ben Wadey, EastEnders Executive Producer said: “It was imperative that we worked with Breast Cancer Now to ensure that Sam’s important breast cancer storyline was portrayed sensitively and accurately. Sam is initially hesitant to seek medical advice after she finds a lump in her breast but with the support of family and friends, Sam gets help quickly, and because her cancer is caught early, she’s able to successfully remove her breast lump via a lumpectomy in the New Year.”

Bosses of the charity are also pleased to have the soap on board, and have praised EastEnders for their attempt to deliver a “vital health message” to the nation via the storyline.

Sally Kum, associate director of nursing and health information at Breast Cancer Now added: Sam’s experience will resonate with thousands of EastEnders viewers. We’ve drawn on our insights and extensive expertise supporting people affected by breast cancer to help guide this storyline and ensure it’s portrayed authentically.

“We know that the earlier breast cancer is diagnosed, the better the chances of successful treatment and, ultimately, of lives being saved. As such, EastEnders is delivering a vital health message by raising awareness of the importance of breast checking, knowing the signs and symptoms of breast cancer, and getting any new or unusual breast changes checked by a GP.”

Sam left for Spain in 2023, just months after her long-awaited return to the show, and news of her cancer storyline comes just weeks after the official EastEnders Instagram page shared a huge statement announcing that Sam will be back for a ‘short stint’ and shared a first look picture of the soap star.

The statement read: “First-look pictures of Sam Mitchell, who heads back to Walford this Christmas as Kim Medcalf reprises her much-loved role in December for a short stint.

Whilst Sam has only been away from Albert Square for almost two years, Walford has changed immensely since she left, most notably with enemy and ex-murder accomplice Zoe Slater now residing there.”

Jogging fans’ memory on her story, they added: “Zoe and Sam have not seen each other for over 20 years, and whilst there is no doubt that Zoe has had difficult times, she never took any lawful responsibility for her role in Den Watts’ murder which Sam initially took the blame for.

“As the enemies come face-to-face for the first time, only time will tell if the pair are willing to put their troubles from the past aside, or if Sam has an ulterior motive for revenge…

“If her past behaviour is anything to go by, Sam will not receive a warm welcome from her family upon her return, but with a troubling situation causing concern for the estranged Mitchell sister, it soon becomes apparent that Sam needs her family now more than ever…”

Kim Medcalf said it was a ‘joy’ to be asked to return and that she ‘loves’ the character Sam. She said: “It’s such a joy to be asked to come back to EastEnders, especially as it’s the festive period and you know there will always be plenty of fireworks.

“I love the character of Sam; she always causes drama wherever she goes, but she also has that vulnerable side, too, which is great to play. It’s also lovely being back on set with the fantastic cast and to see old friends and new faces.”

If you have been affected by this story, advice and support can be found at Breast Cancer Support.

EastEnders airs Mondays to Thursdays at 7:30pm on BBC One and BBC iPlayer. * Follow Mirror Celebs and TV on TikTok , Snapchat , Instagram , Twitter , Facebook , YouTube and Threads .