SHOW BIZ

Kim Kardashian grapples with a health scare that hits close to home in a new trailer for “The Kardashians.”

The reality star and fashion mogul reveals in the reality series’ Season 8 trailer released Thursday that she has been diagnosed with esophagitis.

“I have something called esophagitism,” Kim tells a stylist in the trailer. The Skims founder is then shown in a hospital bed in a series of clips, one in which it appears she’s being wheeled into a procedure. While it’s unclear who is speaking to Kim, someone off-screen says, “Didn’t your father … isn’t it what he died of?”

If esophagitis is left untreated, there’s a risk of developing Barrett‘s esophagus condition, in which the cells lining the esophagus are damaged from acid reflux, according to Mayo Clinic. The condition raises the risk of cancer that starts in the esophagus, which is called esophageal cancer.

Kim’s dad, famed attorney Robert Kardashian, died in September 2003 at the age of 59. He had been diagnosed with esophageal cancer just months before his death.

“I can’t, it makes me want to cry,” Kim’s mom Kris Jenner says in the trailer, alluding to the frightening diagnosis.

Esophagitis is inflammation of the tissues that line the esophagus, per the Mayo Clinic. The condition can be painful and make swallowing difficult, and it can cause chest pain. While there are a variety of causes for the condition, the trailer does not reveal which has contributed to Kim’s case.

Kim Kardashian in “The Kardashians” in 2022.

(Photo from Hulu)

Treatment for the health issue can vary and depends upon the severity of tissue damage and the cause. Without proper treatment, the lining of the esophagus, which is the tube that carries food and water to your stomach, can be badly damaged. This can lead to more serious health issues including scarring and narrowing of the esophagus, or even tearing in the esophagus.

When detected early, however, the condition is considered treatable.

HAYDEN Panettiere’s mother and boyfriend have reportedly been banned from her memorial amid a nasty family feud.

Lesley Vogel, Brian Hickerson and his brother Zach were left off the list for the tragic actress’ celebration of life in Malibu on Saturday, according to reports.

TMZ reported on Friday that the trio will not be welcomed at the event, where 150 guests are expected to attend.

Hayden’s dad Skip Panettiere will be there, as well as celebrity friends.

As The U.S. Sun reported, Hayden was found dead in a Greenville, South Carolina Airbnb on August 16, where she was staying with her on-again, off-again boyfriend Brian. She was just 36.

According to the police report, Brian attempted to revive her with Narcan before first responders arrived on the scene.

Despite the EMTs efforts, Hayden – who admittedly suffered from addiction in recent years – was soon declared dead.

Authorities believe she took a black-market oxycodone pill laced with fentanyl, though the official cause of death has not yet been determined.

Hayden was estranged from her mother at the time of her death, and slammed her in her memoir released earlier this year.

Hayden claimed her mother was furious when she severed their professional relationship, wanting to just focus on their personal bond instead.

“You owe me!” Hayden claimed her mother told her.

But Lesley blamed Brian for the estrangement.

 “Although my daughter and I were estranged, it was not for lack of care or love. It was due to the involvement of a toxic individual who I believe led to her death,” she said, pointing fingers at Brian.

“Hayden was a beautiful and talented young woman who unfortunately became involved with the wrong person, and although her family tried to extricate him from her life, we were unable to be successful.”

And Hayden’s loved ones had been weary of Brian’s presence in her life, after the couple first started dating in 2018.

He had been arrested multiple times for assaulting her, and even served jail time for punching and choking her in the past.

Months before her death, Hayden insisted he was out of her life, but recent reports claimed they were secretly still together in her final days.

In addition to her mother and father, Hayden had a brother, Jansen, who tragically died in 2023.

She was also mom to daughter Kaya, 11, who has lived with her dad  Wladimir Klitschko in Ukraine for several years.

ANGELINA Jolie suffered a wardrobe malfunction as her lace bra slipped out of her silk dress while walking through JFK Airport.

The Maleficent actress, 51, was seen strutting through the terminal in New York City wearing a sheer ivory dress with draped sleeves.

Angelina then accidentally flashed her lace nude bra which in the low-cut frock, as the lingerie peaked through the top.

The Hollywood film star wore a pair of black heels, oversized sunglasses and a matching handbag for the airport outing.

Angelina flashed a big smile as she her way through the airport, while catching the attention of people at the airport who recognized her.

The Lara Croft star looked chic as ever in the cream ensemble.

Angelina may have looked in good spirits, but things at home have been tense.

Her outing comes after Brad Pitt’s 18-year-old daughter legally dropped his surname in favour of her mother, Angelina Jolie’s name – following in the footsteps of her siblings.

Vivienne, who is the youngest daughter of the Hollywood star and ex-wife Angelina had filed to legally drop her actor dad’s last name.

Vivienne follows in the footsteps of her older siblings, and her twin Knox, who have also taken action to do the same.

According to court documents seen by the Daily Mail, the reason behind Vivienne’s surname change is listed as “personal”.

A source told People: “He [Brad] has virtually no contact with the adult kids. His engagement with the younger kids is more limited in recent months because of his filming schedule.”

An official court hearing is scheduled for later this year on November 2.

This isn’t the first time Vivienne has made it clear she wants to drop the Pitt surname.

When she appeared in a Broadway production of The Outsiders in 2024, she was listed on the bill as Vivienne Jolie.

This latest move follows Brad’s other kids, Maddox, 24, and Zahara, 21, who filed court paper in July to officially become just ‘Jolie’.

The siblings followed Shiloh, 20, who also no longer uses the Pitt name.

Now only Pax, 23, still uses the Pitt surname.

Brad adopted Maddox and Zahara as his own, but his once-close family has fallen apart since his bitter 2019 divorce from ex-wife Angelina.

The Oscar-winner was once inseparable from all six kids: Maddox, Pax, Zahara, Shiloh, Vivienne and Knox.

But the latest snub comes as Brad’s relationship with his children remains deeply strained.

A source told People: “He has virtually no contact with the adult kids. His engagement with the younger kids is more limited in recent months because of his filming schedule.”

Several Gogglebox stars were reduced to tears as they tuned into the Dolly Parton tribute at Last Night of the Proms starring Sheridan Smith and Beverley Knight

Emotional Gogglebox stars couldn’t hold back their tears during the latest episode of the Channel 4 show.

The armchair critics returns to screens on Friday (September 18) night as they offered their verdict on the latest programmes on television from Channel 4’s new reality show Apocalypse to ITV thriller Trigger Point.

However, it was Last Night of the Proms which left cast members in tears as they watched performers Sheridan Smith and Beverley Knight pay tribute to country music sensation Dolly Parton, who died on August 25 aged 80 following a brief and undisclosed battle with cancer.

The second half of the BBC concert, which aired on September 12, honoured the songstress with Sheridan singing feminist anthem 9 To 5, Beverley belting out I Will Always Love You and country-pop duo Ward Thomas performing Jolene.

Tuning into the concert from the comfort of their sofas, several Gogglebox stars including Mary Killen, Lee Riley and Jenny Newby were left sobbing as the musical stars paid tribute to Dolly.

Bryan Seaver, Dolly’s head of security and nephew announced the sad news of her passing on social media last month. In the video, he told fans: “Hey everyone. My name is Bryan Seaver, son of Cassie Parton, and I am representing the Parton and Owens family today, announcing the passing of my Aunt Dolly Rebecca Parton Dean. Sister, sis, Aunt Granny to one generation and Gigi to the next.”

Tributes from around the world were shared following the news, with Elton John saying he was: “Shocked and devastated to hear of Dolly’s passing. A giant of an artist – unique and irreplaceable, with the kindest heart.”

Sir Paul McCartney also commented: “The magnificent star Dolly Parton has died and it is so sad. She was such a wonderful woman.” It comes after Dolly was posthumously honoured with the Americana Lifetime Achievement Award at the Americana Awards & Honours Awards last week.

The Grammy winner appeared in a pre-recorded video to accept the award. She beamed in the clip where she accepted the award. “Well, hey, it’s Dolly, and I am so honoured to receive the Lifetime Achievement Award from the Americana Music Association,” she began.

“I mean, roots music, or what is now called Americana music, is what I grew up playing back in the Smoky Mountains. It’s that same music that drew me back to East Tennessee in 1997 to write and record my album, Hungry Again.”

“And that project really opened the door to a series of bluegrass and acoustic albums that changed the course of my career in so many ways,” she continued.

“Now, new fans discovered these albums, new Americana music communities embraced them, and now looking back at it all, I see this era of my career as a musical renaissance of sorts.

“I want to thank everyone at the AMA for recognising me with this award. It’s a great honor truly, and just know that I will always love you.”

Among Dolly’s many honours include a star on the Hollywood Walk of Fame, along with being inducted into the Songwriters Hall of Fame, Rock & Roll Hall of Fame, and Country Music Hall of Fame.

Gogglebox airs Fridays on Channel 4 at 9pm

After his existential suburban horror epic “Weapons” became an Oscar winner (for Amy Madigan’s chilling supporting performance as Aunt Gladys), filmmaker Zach Cregger has dashed off a fun little riff on one of his favorite video games. His “Resident Evil” reboot is the eighth film in the big-screen franchise based on the Japanese zombie survival game, though Cregger’s “Resident Evil” is its own beast — put those Milla Jovovich movies out of your head entirely.

There are, of course, a few shared strands of DNA in the screenplay by Cregger and Shay Hatten: an evil company, Umbrella Corporation, responsible for a virus that mutates humans into zombies and all manner of monsters, located in the lovely Raccoon City. But our hero, Bryan (Austin Abrams), a hapless medical courier, knows none of this when he takes a gig delivering what he thinks is an organ on the snowy mountain roads to the metropolis.

Abrams, who was a standout in the ensemble cast of “Weapons,” has another big movie out this fall in which he stars as the lone protagonist, “Whalefall,” and the two films comprise an apt survival thriller double feature. In “Resident Evil,” Abrams’ Bryan spends much of his lonely mission muttering to himself in annoyance and sometimes victory, much like a gamer would. During one self-reflective moment, Bryan yells, “Yeah! Video games!” elated at how his shooting is improving.

Cregger’s approach to “Resident Evil” is to seamlessly blend the cinematic with a gaming experience and his adaptation best mimics the feeling of playing an actual game or watching someone else play one. At one point, Bryan and a comrade he meets along the way (Paul Walter Hauser) marvel at the shooting skills of Maxine (Kali Reis) as if they’re watching her play the game too.

Immediately, Cregger establishes a camera that follows closely behind Bryan, a similar motif to the cinematography he used in “Weapons.” As Bryan starts to encounter the strange beings who appear on the outskirts of Raccoon City, the game mechanisms click into place. Different characters — villains and helpers — pop up along his journey, as well as different tools and weapons. He frequently encounters locked doors, obstacles and empty spaces that he has to explore. Cregger uses first-person-shooter point-of-view shots, with the long barrel of a rifle or automatic weapon lining up our sights; one running gag sees Bryan, completely hopeless with guns, having to shoot the locks off of gates.

What was already a very darkly funny and incredibly gross film gets even more disturbing as Bryan ventures into the Raccoon City hospital, trying to make his delivery. He encounters monsters that vomit acid or explode with zombie rats; one particular ward is full of undulating sacs of bloody viscera.

Cregger remains one of our finest horror image-makers, creating surreal and snowy landscapes that are as beautiful as they are disturbing: the red and blue lights of a flipped police car in a blizzard, dark pools of blood and mysterious footsteps, tentacles greeting and meeting each other, stomach acid decimating an elevator. With impeccable sound design and an eerie score by Ryan and Hays Holladay, Cregger delivers a textured, wholly realized world.

But our guide is just a regular guy, which lends to the charm. Bryan is dealing with relationship problems that add to the urgency of his desire to survive, but he’s also just a dude with questionable self-preservation instincts, which makes for a good adventure. He has an overwhelming desire to help, which leads to some ridiculous circumstances and is a quality that Cregger plays for laughs. Abrams plays the goofball well and we’re constantly rooting for him, even as his fortunes take a turn in a tragic reversal that we’ve seen in monster movies before.

Cregger wears his influences well and they aren’t just video games but pulled from the history of horror. Still, he blends it all into his own vision so it doesn’t feel derivative. While the unwieldy ending might get away from him, the tightly controlled and efficient stretch that precedes it is the work of a new master, one who delivers imaginative, terrifying and hilarious thrills and chills, whether he’s reanimating a dead franchise or dreaming up his own uncanny vibe. “Resident Evil” might be his most playful — and gooey — film yet.

Katie Walsh is a Tribune News Service film critic.

Somewhere in the overlap between William Friedkin’s 1977 action thriller “Sorcerer” and Kelly Reichardt’s 2020 Pacific Northwest pioneer indie “First Cow” lies Padraic McKinley’s directorial debut “The Weight.”

“Sorcerer” is about a group of fugitives driving a load of dynamite across the jungle; “The Weight” follows a group of Depression-era convicts transferring gold through the forest. “First Cow” is about the sweetness of friendship and French pastries in the wilds of Oregon during westward expansion; “The Weight” is about the corrupting forces of capitalism. McKinley’s movie marries the instincts of modern indie filmmaking with a New Hollywood ethos, while bringing an authenticity to the details of the period.

We follow the story of Murphy (Ethan Hawke), a World War I vet and single father in Eugene, Ore., struggling to provide for his daughter, Penny (Avy Berry), three years into the Great Depression. After an unfortunate run-in with the law, Murphy finds himself in a prison labor camp, building a road and trying to shorten his sentence so he can get out before his daughter is adopted by a new family.

Opportunity presents itself in Murphy’s foreman, Clancy (Russell Crowe), who takes a shine to him after he fixes his car and devises an ingenious way to remove boulders without dynamite. Cuddly but dangerous, Clancy makes a seemingly simple offer to Murphy: He and three friends can earn their freedom if they hike a load of gold out of a mining camp on the eve of President Franklin D. Roosevelt confiscation of all gold stockpiles.

The how and why details aren’t that important; the story is merely that the prisoners have to get from point A to point B through a rugged forested terrain, under the watch of two intimidating chaperones, Amis (Sam Hazeldine) and Letender (George Burgess). A mining camp servant, Anna (Julia Jones), joins their group as a runaway and while it seems a straightforward task, the arduous and brutal journey is one that is liable to turn these convicts into runaways.

Murphy’s gang weren’t really outlaws to begin with — he was imprisoned for defending his daughter from some undercover cops, while Singh (Avi Nash) was arrested for his associations with socialism. Olson (Lucas Lynggaard Tønnesen) was part of a group going after a judge for seizing Scandinavian farms, while the most hardened criminal among them is Rankin (Austin Amelio), who grew up in juvie. But in order to survive the woods, Murphy will have to dig deep into his wartime past and rely on his own skills and smarts to make out it out intact.

McKinley pours his craft into authentically representing the era, from the perfectly worn denim of the costumes to the refreshingly real and craggy faces of the cast (and thank goodness Hawke and Crowe are respectably aging into their character-actor looks). The Bavarian forest beautifully stands in for 1930s Oregon and cinematographer Matteo Cocco balances ’70s-inspired slow zooms with composed, high-contrast images that hark to early 20th century styles of photography. A score by Latham and Shelby Gaines balances discordant, atonal tones with suspense-driven sound design that captures the creaking noises of the forest and the concealed dangers it holds.

McKinley stages a few bullet-sweating sequences of peril, including a particularly brutal transport of gold bars across a crumbling rope bridge and an underwater accident exacerbated by floating logs. Both are nail-biters but you can’t help but think he could have pushed it even further. Tonally, the film is torn between wanting to be brutally bleak and offering some kind of hope for Murphy and his precocious, adorable daughter.

When “The Weight” leans into its nasty, mean and grim moments, it gets at something that seems closer to truth than the saccharine resolution we fear is coming. It seems like McKinley wants to deliver a crushing blow, but then feints at the last minute, opting for a more optimistic kind of fantasy.

Politically and culturally, what “The Weight” speaks to is as ugly as the violence that occurs in the mud and fog of the forest. But it ends on an oddly cheery note that doesn’t square with what we’ve seen. It’s a cutesy ’70s nod that feels more “Smokey and the Bandit” than “Sorcerer.” The bolder choice would have been to commit to expressing the despairing lessons of this world. We want to see these characters changed by what they’ve experienced, even if it’s dark. We want to see them actually carry the weight.

Katie Walsh is a Tribune News Service film critic.

MYLEENE Klass looked incredible as she showed off her glamorous Los Angele photo shoot.

The Classic FM host, 48, flaunted her rock hard abs in a sexy red bikini in a behind he scenes look at the campaign shoot for her brand partnership with sneaker brand Skechers.

Myleene posed poolside in the red bikini and unbuttoned denim shorts as she rocked a baseball cap with large headphones over the top.

Other photos in her Instagram post included posing outside Skechers’ head office in black shorts and matching hoodie, pretending to play a large outdoor guitar statue, and hanging out with the Skechers photoshoot crew.

Myleene also showed off her business class seat on the flight as she wore a glass effect skin mask.

The I’m A Celeb star looked chic in a skintight black mini-dress which she wore to pose by a different pool while wearing a Skechers branded baseball cap.

THAT’S KLASS

Myleene Klass stuns in figure-hugging mini dress as she steps out in London

THAT’S KLASS

Myleene Klass stuns in sheer dress with lookalike daughters Hero and Ava

Myleene’s fans loved the glimpse into what it takes to create a campaign shoot and shared their thoughts in the comments.

“Vibes you look absolutely incredible love your style have a positive weekend ahead,” wrote one person.

Another added: “Stunning.”

And a third wrote: “Gorgeous Myleene.”

Last month, Myleene looked incredible at  The Dog Stars premiere alongside her two lookalike daughters. 

They cuddled up to their famous mum on the carpet and were seen smiling for the cameras.

Myleene shares the girls with her ex-husband Graham Quinn, whom she split from back in 2012.

The 48-year-old later went on to have son Apollo, three, with her now fiancée Simon Motson.

Lizzie Borden is the latest infamous figure to step into Netflix’s spotlight in Ryan Murphy’s Monster.

Lizzie Borden’s disturbing children’s rhyme might be entertaining but it is false.

Monster on Netflix is back following the global success of season three which told the horrific story of Ed Gein, starring Sons of Anarchy legend Charlie Hunnam.

This time around, all eyes are on Lizzie Borden who was accused of the brutal murder of her dad and step-mother in the late 19th Century before she was acquitted.

Despite Lizzie being set free, her reputation was never restored and for more than 100 years, a gruesome children’s rhyme has immortalised the crimes.

But even though this is why Lizzie Borden remains a familiar name in criminal history, the chant is far from factually correct.

Lizzie Borden rhyme explained

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Here is the Lizzie Borden rhyme in full: “Lizzie Borden took an axe, and gave her mother 40 whacks.

“When she saw what she had done, she gave her father 41.”

It states that Lizzie killed her mother and father but the woman was actually her step-mother Abby Borden as her biological mum died when she was just a child.

The rhyme goes on to detail that her parents were “whacked” 40 and 40 times but this is an exaggeration as Abby was killed by 18 or 19 strikes and father Andrew by 10 or 11.

In addition, the rhyme states that the murders were committed with an axe but police and experts believe the weapon was a hatchet, a far smaller and compact tool meant for lighter tasks in comparison to an axe.

There’s also the matter that the children’s song states that Lizzie Borden was the one to commit these crimes.

However, a jury acquitted Lizzie of their murders in 1893, so legally, she didn’t kill Abby and Andrew Jackson Borden.

Despite this verdict, public suspicion remained throughout her life and to this day, especially since it was an all-male jury that didn’t think an upper-class woman could commit such a “feral” crime.

Monster: The Lizzie Borden Story is available to watch on Netflix

With a boisterous laugh, Giselle Bonilla recalls her introduction to Hollywood at the age of 12: on the set of “Freedom Writers,” the 2007 drama about at-risk high school students in Long Beach. She played a young version of Eva, one of the film’s main characters.

“I remember the first thing we shot was an initiation scene where I get the s— beat out of me,” she tells De Los, sitting at a coffee shop in Silver Lake on Sept. 11 (more on this date later). “They put this candy blood in my mouth, and I thought it was so fun.”

In retrospect, Bonilla, 31, finds great irony in how that initial foray into professional acting fictionally materialized her Mexican immigrant parents’ worst nightmare.

“We don’t come from money. They hustled all their lives and put my sister and I in private education, because they had this irrational fear that I would join a gang … then the first thing I ended up booking as an actor was getting initiated into a gang,” she says grinning.

Since that unique formative experience, Bonilla has traveled a winding path in and out of the industry, which ultimately led her to direct her first feature: the dark comedy “The Musical,” in theaters Friday.

The movie’s antihero, Doug (Will Brill), is a middle school theater teacher plotting his revenge against his ex-girlfriend Abigail (Gillian Jacobs), also a teacher — and her new boyfriend, the more charming Principal Brady (Rob Lowe).

Doug’s plan? To secretly persuade his young students to put on a musical about the horrors of 9/11 and its aftermath that’s certain to cause controversy and get the principal in trouble.

“I feel like you can be more honest with comedy,” says Bonilla about why this genre appeals to her. “You can get away with everything that you’re angry about and want to yell about. If you make them laugh first, people tend to listen.”

Left to right, back row: Alex Heller (screenwriter), Will Brill (center row) Gillian Jacobs, Giselle Bonilla (director) and Rob Lowe (on the floor) from “The Musical” at the Los Angeles Times 2026 Sundance Film Festival studio presented by Chase Sapphire in Park City, Utah on Jan. 24.

(Christina House / Los Angeles Times)

Though the actual show is only a small element of the narrative, it turned off distributors, who argued they wouldn’t be able to market a comedy that involved such a delicate subject.

Still, “The Musical” is making it to the big screen as a self-released title thanks to its executive producers, who believed in the film enough to put in more money for a release.

“I’m going to make sure people watch it regardless,” Bonilla says about being very involved in the marketing. “Even though it didn’t sell at Sundance, we still found a way, which is how we made the whole movie. It was nonstop fighting against the universe just to make a comedy.”

Less than a week before production started, Bonilla lost the actors who were originally playing Principal Brady and Abigail. As her film fell apart, she reached out to the industry contacts she had made after working as an assistant for a few years. Miraculously, the screenplay piqued Lowe’s interest. He came on board, essentially saving the project.

Will Brill and Rob Lowe star in “The Musical.”

(Blue Harbor Entertainment)

As a student at the AFI Conservatory, Bonilla had directed a short film version of “The Musical” that writer Alexander Heller, aware of her affinity for comedy, had conceived for Bonilla to direct. The core group of artists who made the short also worked on the feature.

And though she has always pushed for diversity on screen — including in her short films “Virgencita” and “Bullfighter” — for “The Musical,” Bonilla believed the adults had to be white.

“It would be way more damaging if I had pinned a brown person to be behind the staging of a musical about 9/11,” she explains. “It was very clear to me that this was a comedy about white liberalism and how people weaponize tragedy for their own agenda.”

When it came to the kids in Doug’s class, Bonilla wanted to reflect the multicultural mosaic that is the Los Angeles Unified School District. To be able to see herself in “The Musical,” Bonilla wanted a Latina girl as the child with the most ambition to succeed in the arts. That character became Lata: played in the feature by Melanie Herrera in her first acting credit.

“She’s a dancer. But she’s very precocious and has a really confident, type-A personality,” Bonilla says of the young actor. “Melanie gives Reese Witherspoon in ‘Election,’ like, ‘I will do whatever I have to do for the part,’ and I recognized that in myself as a kid.”

Filmmaker Giselle Bonilla on the set of “The Musical.”

(Peter McCollough)

An L.A. native raised in North Hollywood, Bonilla started doing improv at a young age encouraged by her father, Art Bonilla, who grew up in Tijuana and has worked as an actor in the U.S. for over 40 years.

Her mother, originally from Sinaloa, does workers’ compensation insurance, which provided a stable income and allowed her partner to pursue acting.

“It was tough seeing him struggle and not have any agency over work,” Bonilla says of her father. “He’s such a great actor and he’s really funny, but he’s always getting cast in these very small bit parts as a gardener or an immigrant crossing on the border.”

Unsurprisingly, when Bonilla began auditioning for roles as a teenager, similarly one-dimensional and stereotypical characters from a “troubling perspective” came her way.

“They always make the main character in those stories a white person,” she says. “And then we’re painted as these puppies that just keep getting beat up. I didn’t want to contribute to that.”

Bonilla’s interest in being on the other side of the camera solidified after playing an illiterate South Central high school student in the Byron Allen sitcom “Mr. Box Office.” She attended Pasadena City College, where she studied film production, then used the residuals from the show to help pay for her tuition at NYU Tisch School of the Arts.

Attending film school on the East Coast was, as she puts it, a necessary experience, because she grew up rather sheltered.

“I’m a first-gen Mexican American woman and I was supposed to live at home until I get married,” she explains; but it also exposed her to the concept of impostor syndrome.

“I always had this impostor syndrome at NYU, because that was where I first really confronted wealthy people,” she explains. “I had never been in a predominantly white institution before. And that was really eye-opening.”

It was only when COVID restrictions were lifted that Bonilla decided to apply to the AFI Conservatory, where she regained her confidence and met her now close collaborators.

She has, however, never forgotten her biggest and earliest supporters. Since she started directing, Bonilla has cast her father in many of her short films. And in “The Musical,” you can see both of her parents in the audience during the culminating school show.

“My dad is the one that yells at Rob Lowe at the end in slow motion. He’s pissed that I cut his line, but it was a union film, and we couldn’t afford to give my dad a line,” she says. “But he will be the first one to tell you that he’s not an extra. He did a ‘cameo!’”

“The Musical” director Gisella Bonilla poses at the Los Angeles Times 2026 Sundance Film Festival studio presented by Chase Sapphire in Park City, Utah, on Jan. 24.

(Christina House / Los Angeles Times)

Bonilla’s next project takes inspiration from her memories attending a Catholic school run by nuns in Sun Valley, where a teacher was discovered to be a pedophile. She describes it as “an erotic thriller told from the perspective of virgins.”

Once again, she’ll tackle an unsavory topic and figure out how to bring it to fruition; then distribute it come what may, because she refuses to be boxed in by the industry’s expectations.

“Identity stories are very important. If someone wants to do that, they should be able to do that,” Bonilla says. “But I don’t think our opportunity as Latinos should be limited to painting ourselves as victims against the supremacists.”

Coronation Street actress Sally Dynevor has been a Weatherfield icon for more than 40 years

Coronation Street legend Sally Dynevor is not the only actress in her family, and Netflix fans are sure to recognise her eldest daughter.

In 1986, Sally, 63, burst onto screens as Sally Seddon on the long-running ITV soap. She was first seen waiting for a bus when Kevin Webster (played by Michael Le Vell) drove past in his van and accidentally splashed her with water.

Initially, Sally was only supposed to appear on Corrie for a short stint, but she soon became the mechanic’s girlfriend and grew into the funny busybody fans know and love today.

Sally and Kevin welcomed two daughters into the world, but their romance didn’t stand the test of time, and Sally eventually found love with Joe Metcalfe (Joe Duttine).

Away from the ITV soap, life is much simpler for the actress, as she has been married to her screenwriter husband, Tim Dynevor, since 1995.

Happy couple Sally and Tim share three children: daughters Phoebe, 31, and Hattie, 22, and son Sam, 29. Both of the girls have followed in their footsteps and are enjoying careers in television.

Hattie stars on the BBC drama Waterloo Road, playing Libby Guthrie, the daughter of history teacher Neil (Neil Fitzmaurice), and has so far appeared in series 13 – 17.

She also appeared in the recently released gripping Netflix series Legends as Arabella, which also stars Steve Coogan and Tom Burke.

Who is Phoebe Dynevor?

Phoebe launched an acting career on the BBC drama Waterloo Road, playing Siobhan Mailey between 2009 and 2020.

She went on to land the role on the Netflix series Bridgerton, playing Daphne, the wife of Simon Basset, the Duke of Hastings, played by Regé-Jean Page, between 2020 and 2022.

She has since starred in a long list of popular television shows, including The Musketeers, Dickensian, Snatch, and Ten Percent. Away from the small screen, Pheobe has starred in the movies The Colour Room, Inheritance, and Thrash.

Phoebe recently married actor and producer Cameron Fuller at a chateau located in Provence, France. Her husband is the son of producer Brad Fuller, who specialises in horror films, including The Purge franchise and A Nightmare on Elm Street.

On-screen, Cameron, 32, has appeared in shows such as The Last Ship, Insecure, Into the Dark, and The Goldbergs.

He has also worked as a producer on numerous films, including The Astronaut, Dead Sea, and The Girl in the Woods.

Taking to Instagram on Thursday (September 17), the new Mrs. Fuller shared two photographs from the big day, including a black-and-white picture of her and her new husband kissing under a floral-adorned wooden arch. “Married my best friend,” she sweetly captioned the post.

Proud mum Sally was quick to respond, as she gushed in the comments section of her daughter’s post: “Best weekend of our life. Beautiful Phoebe and Cameron. Love you both so much.” Sister Hattie also shared: “The best weekend ever.”

Coronation Street airs weekdays on ITV and ITVX

Four days before they’re set to play the first-ever concert by their new band, Dhani Harrison and Nigel Godrich sit down to enjoy a post-rehearsal libation in the parking lot of a North Hollywood practice space.

“Is there an opener?” asks Godrich, who holds a bottle of fancy root beer. Harrison, who’s clutching a Sapporo, grabs his friend’s drink and neatly pops the top off using his own bottle.

“I went to Brown,” he says with a little smile. “That’s what they teach you in the Ivy League.”

Harrison, 48, is the son of the late Beatles legend George Harrison; long before college, he got a priceless musical education from his father, whose final solo album — 2002’s Grammy-winning “Brainwashed” — Dhani helped complete after George’s death in 2001. Godrich, 55, made his name working in the studio with Radiohead on game-changing records like “OK Computer” and “Kid A”; he’s also produced for Beck, Paul McCartney and Roger Waters and played with Thom Yorke and Flea in Atoms for Peace.

Now the two have teamed up in Dragonflies, a spacey and atmospheric art-rock duo with a self-titled debut album due Friday from Dark Horse Records, the label George Harrison founded in 1974 and Dhani Harrison relaunched in 2020. This weekend, Harrison and Godrich will celebrate the LP’s release with two shows at Hollywood Forever’s Masonic Lodge, where they’ll be joined by guitarist Nick Valensi (of the Strokes) and drummer Joey Waronker (who’s played with Beck, R.E.M. and Oasis).

Asked how exactly the group came together, Godrich and Harrison look at each other across a picnic table and shrug. “The real reason we did it was as a vehicle to hang out,” Godrich says of the two, who’ve been pals since both were living in Los Angeles in the early 2000s and who both found themselves back home in England a few years ago.

Yet “Dragonflies” has plenty to offer the rest of us: Built around Harrison’s high, sighing vocals, the music moves with a funky rhythmic propulsion rooted in Godrich’s signature tape loops; lush string arrangements by David Campbell (also known as Beck’s dad) add a touch of slightly spooked romance to songs about nature and friendship.

Harrison describes the band’s sound as “a bit creaky” and compares it to the feeling of being out on the water. “I always thought that’s a cool place to start — like you’re on a sinking ship,” he says.

Godrich laughs and adds, “Well, I hope not.”

For Harrison, working with Godrich provided a kind of full-circle moment nearly two decades after he caught one of Atoms for Peace’s first gigs at downtown L.A.’s Orpheum Theatre in 2009.

“I remember it made me want to quit music,” he says, which draws a frown from his bandmate.

“That’s not a great review,” Godrich says.

“No, that concert blew me away,” Harrison replies. “I went home and I was like, Oh, they’ve already done all the things I want to do. So I just went and sulked for a few days.”

Dragonflies began after Harrison returned to England, where he’d grown up on his father’s Friar Park estate, following the death of his grandmother, who famously raised George Harrison’s widow, Olivia Harrison, in Hawthorne. “I was still here basically to be around her,” says the musician, who formed the bands Thenewno2 and Fistful of Mercy while in L.A. “When she passed, that was the last of my grandparents. My mom was living in England, and so I just thought, Well, time to go.”

Harrison sought out Godrich for help on his 2023 solo album, “Innerstanding”; later, he lent the producer one of his dad’s old tape machines — “They did ‘Shankar Family & Friends’ on it,” he points out — which led to a series of casual jam sessions at Godrich’s studio in London’s Brixton neighborhood.

“It was like, ‘Hey, you want to get some Japanese food and make some tape loops?’” Harrison recalls.

Godrich notes proudly that “the way the record was made was completely mechanical,” meaning nothing was programmed on a computer but instead recorded “live on the fly” using older equipment.

“Fortunately, we both own a ridiculous amount of analog gear,” Harrison adds. “Because we’re nerds.”

“I’m not a nerd,” Godrich says. “I hate gear chat.”

“That’s true,” Harrison says. “He doesn’t nerd out about that stuff — I’m the nerd. He won’t even let me use six Kaoss Pads onstage.”

What’s a Kaoss Pad?

“You don’t want to know,” Godrich replies.

Gearhead or no, the producer was adamant that Dragonflies not rely on prerecorded backing tracks when it starts playing live.

“No computers were harmed in the making of this show,” Harrison says — thus the extra players.

(Brian Feinzimer / For The Times)

Waronker is an old friend of Godrich’s who played drums in Atoms for Peace and on Beck’s “Sea Change” and “Morning Phase” (not to mention Beck’s brand-new “Ride Lonesome,” which Godrich mixed); the producer has known Valensi since he “didn’t work with the Strokes,” as he puts it, in 2003, when Godrich tried a couple of sessions with the New York garage-rock band before deciding it wasn’t a good fit.

Godrich says he plays bass in the live group because it’s easy. But also: “Bass is such an important part of the sound that if somebody else was doing it, they would never do it the same as me, and it would annoy me.”

Top three bass players of all time, according to Dragonflies?

“McCartney’s good, isn’t he?” Godrich asks.

“Les Claypool,” says Harrison. “I’m a huge Primus fan.”

“I like David J from Bauhaus,” Godrich says. “He’s an incredibly innovative bass player — always did very interesting things. Stylistically, he’s someone that I probably copy a lot from. It’s just the root notes, but whoever’s in control of the root notes is in control of everything.”

“It really is a power move to be the bass player,” Harrison says.

“I don’t want to be at the front — that’s not my thing,” says Godrich. “I don’t want to be the guy.”

Does Harrison?

“It takes me a while to get warmed up,” he says. “I don’t really look at people when I’m playing a show. I’m not sure if that means I’m mildly spectoral. I took the test, actually — I scored highest in my old band. I know a lot of neurodivergent people who perform.” He shrugs. “Sometimes you don’t get to choose if you’re the guy, but you’re the guy.”

In addition to his father, one of Dhani’s mentors was George’s friend and latter-day creative partner Jeff Lynne, who for all his musical genius has never seemed particularly comfortable onstage.

“He’s brilliant at what he does, but you talk about in-ear monitors or the sound onstage or the lighting or something, and it’s over,” Harrison says. “It’s too much input. That’s why Jeff wears the Spider-Man goggles,” he adds, referring to the ELO frontman’s ever-present aviator shades. “He has too much Spider-Sense. My dad was the same way. He definitely was like, ‘Look at him — don’t look at me!’”

After Dragonflies’ Hollywood Forever shows, Godrich and Harrison have dates scheduled in Europe for November and hope to play more in the future, depending on when Godrich finishes a couple of records he’s producing. (To give a sense of the stress he’s under, he mimes putting a gun to his head.) The duo already has enough material for a second album too.

How much time does Harrison intend to dedicate to the project?

“As much as I can, really,” he says. “How much do you want to hang out with your mate? I got bored of being Dhani Harrison anyway — I like being Dragonflies now.”

KATIE Price has plugged a questionable weight-loss jab – that’s ‘not intended for human use’.

The former glamour model, 48, is championing the injectable which is not approved in the UK.

She wrote on X: “Guys, I have started my peptide journey with @supreme_cbd and this is a great offer to start on! £40. Wow that’s brilliant.”

Katie continued: “I’m loving these peptides.”

She then added a discount code, confirming, “If you want to lose weight.”

Concerned fans commented: “What Katie? Why?”

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A second worried user pointed out: “Commented this on the post but surprisingly got nothing back, so I’ll try with you… ‘not for human consumption?’”

Another bemused fan queried: “Why would you be on a peptides, there’s f*** all on you?”

Tesamorelin is legal to possess in the UK for scientific research but it is not authorised for human consumption in the UK.

It is legal to buy, possess and sell tesamorelin in the UK strictly for in-vitro laboratory research and scientific investigation.

However, it is not a licensed human medicine in the UK and is not approved by the MHRA for clinical use.

It cannot legally be marketed, sold or labelled for human consumption, therapeutic treatment or veterinary applications and is licensed in the US for people with HIV-associated lipodystrophy.

In June, she admitted her weight had plummeted due to “stress” after her estranged husband Lee Andrews was first arrested in Dubai.

The mum-of-five recently shared a health update on son Harvey as he continues his fat jab journey.

She previously shared her concerns over her 24-year-old son’s health after revealing he weighs 30st.

Harvey, who lives with Prader Willi Syndrome, blindness and autism, started taking fat jab Mounjaro earlier this month.

Katie revealed that Harvey’s BMI is double that of someone classed as obese – and also recently said on her podcast that he had been taking fat jab Mounjaro for nearly a month.

In August, the terrified mum said she feared Harvey would suffer a heart attack.

It comes after she ended her marriage to Lee Andrews, 43.

The model appeared on Good Morning Britain earlier this week and admitted she’d had enough of Lee’s lies.

The final straw came when she discovered a crypto account he claimed contained £37m had just £2.20 in it.

Meanwhile, Lee said that he hasn’t “pulled the wool over anyone’s eyes” nor has he “thrown Katie under the bus”.

A solitary man believes he’s been wronged by a vast, overarching system. Feeling helpless to take it on directly, he picks up a gun and violently confronts the most powerful person he can think of who embodies his grievance.

It is a chilling dynamic that keeps repeating itself in American culture, and one at the heart of “American Hostage,” a dramatic miniseries making its debut Sunday on MGM+.

The eight-episode series re-creates the true story of Tony Kiritsis, an Indianapolis man who, in 1977, kidnapped Richard O. Hall, a mortgage broker whose family Kiritsis blamed for his own financial hardships.

The standoff lasted 63 hours, during which Kiritsis kept a shotgun attached by wire to Hall’s neck, and it became a national media spectacle. Throughout the crisis, Kiritsis made live calls to Fred Heckman, a local AM radio news broadcaster, pleading to listeners for the justice he believed he was due.

A half-century after this incident, not even the creators and stars of “American Hostage” can say for certain why we find stories like this so compelling — or why they keep happening in real life.

“We haven’t quite figured this situation out,” said Jon Hamm, who plays Heckman in “American Hostage” and is one of its executive producers.

Jon Hamm plays Fred Heckman, a radio news broadcaster, in “American Hostage” and is an executive producer.

(Jason Armond/Los Angeles Times)

The “Mad Men” star — no stranger to period pieces — said that beneath its retro production values and wide lapels, “American Hostage” is fundamentally about how people who feel voiceless in our society fight to be heard, even if the means is violence.

“There’s a lot that really resonates in the current media landscape and culture 50 years down the road, that people can still really connect with,” Hamm said.

Hamm and his colleagues hardly need to argue that point when the nation has been fixated on the case of Luigi Mangione, who in August pleaded guilty to federal charges in the December 2024 killing of Brian Thompson, the chief executive of UnitedHealthcare.

Though work on “American Hostage” had begun before Mangione’s crimes and the show was not inspired or motivated by them, series co-creator Shawn Ryan said that audiences have a boundless fascination with these types of stories — with or without any counterparts in current events.

“Dramatically, it’s always very interesting to see somebody do the wrong thing for the right reason,” Ryan said.

The TV series originated with a 2022 scripted podcast, produced by Criminal Content and also called “American Hostage,” on which Hamm also played the role of Heckman. It told of how Kiritsis, an Army veteran, enacted the kidnapping on his belief that the Hall family had swindled him on his mortgage — a loan for land where he had hoped to build a shopping center.

While Kiritsis sought to use Hall’s life as a bargaining chip for prosecutorial immunity, he also portrayed himself as an underdog taking on powerful financial interests. On the other end, Heckman wrestled with the moral predicament of giving airtime to a potential murderer while hoping to keep Hall alive. (Hall survived the ordeal and Kiritsis, acquitted of his crimes by reason of insanity, was later institutionalized.)

In the spring of 2022, Hamm approached Ryan, the creator of TV thrillers like “The Shield” and “The Night Agent,” with the idea of adapting the “American Hostage” podcast into a miniseries.

Ryan created the TV adaptation with Eileen Myers, a collaborator of his on shows like “Last Resort” and “Mad Dogs.” They both saw in the source material a story that was a combination of classic 1970s films like “Network” and “Dog Day Afternoon.”

(In a parallel development, Kiritsis’ story was also adapted into the Gus Van Sant film “Dead Man’s Wire,” which was a box-office disappointment earlier this year.)

Ryan and Myers said they were fascinated with how the American news media covered the kidnapping in instantaneous fashion and in an era long before the internet. In the 1970s, Ryan said, “There were fewer journalists and they were better and more trusted, and if Walter Cronkite said something, you believed it.”

Shawn Ryan, Jon Hamm and Eileen Myers executive produce the TV adaptation of “American Hostage.” Hamm approached Ryan, who brought in Myers to co-create and co-showrun the series.

(Jason Armond / Los Angeles Times)

The question that journalists like Heckman were confronted with, Myers said, was, “Do you allow a man who’s got a shotgun to somebody’s head dictate the terms of whether you’re going to put them on the air or not?”

Hamm, who has played alluring if ultimately disreputable characters on “Mad Men” and now Apple TV’s “Your Friends & Neighbors,” said he appreciated that “American Hostage” gave him a character who an audience can feel good about rooting for.

“I thought, I’m 55 years old,” Hamm said. “I was close to Fred’s age when this all went down. It was fun to play somebody morally conflicted that is actually on the good side.”

With some hesitation, Hamm pointed to the career trajectory of Bryan Cranston, who followed his celebrated heel turn on “Breaking Bad” with projects like “All the Way,” the play and TV film about President Lyndon B. Johnson.

“I don’t want to draw a comparison that’s stretching the bounds of reality,” Hamm said, “but Bryan went from Walter White to LBJ. You go, ‘All right — he’s still morally conflicted, but at least he’s on the right side of things.’”

“American Hostage” also benefited from the casting of Giovanni Ribisi (“Saving Private Ryan,” “Avatar,” “Sneaky Pete”), who brings a blend of volatility and humanity to the role of Tony Kiritsis.

Hamm recalled how Ribisi was in the midst of shooting another project — the upcoming Prime Video miniseries “The Greatest,” about Muhammad Ali — when he agreed to do a reading for “American Hostage” over Zoom.

“He brings value to every project he does, and he’s picky, as he should be,” Hamm said. “He’s a phenomenal DP — he might just go be a camera person or something if he wants to do it. So we were lucky to get him.”

Giovanni Ribisi plays Tony Kiritsis, the man who kidnapped Richard O. Hall. “So we were lucky to get him,” Hamm said.

(Steven Ackerman / MGM+/Sony Pictures Television)

There are of course unavoidable parallels between the stories of Kiritsis and Mangione, including the fact that both men were celebrated as folk heroes by some people who identified with their broader resentments.

But Hamm drew a crucial distinction between the two cases: Mangione “killed a guy,” he said. “He shot a man in cold blood. Like, I don’t care how good your point is. That’s not how we do it.”

Going back to the Boston Tea Party, Hamm said, every era of American history has had its dissidents who feel “wronged and done over by a system that is stacked against you” and are willing to take aggressive actions against it.

Hamm said that feeling persists and thrives today. “I think this is a big part of the rise of Trumpism,” he said. “I think this is a big part of the rise of the MAGA mentality, of ‘I have been done wrong and no one is hearing my complaints.’”

When those feelings go unaddressed for long enough, Hamm said, people will come to accept a certain amount of lawlessness from the figures they feel can solve their problems.

“We have a guy in the Oval Office right now who thinks that the laws don’t apply to him and a Supreme Court that said, ‘Yeah, they don’t — you can do whatever you want,’” he said.

For supporters of President Trump, Hamm said, “I think it’s fun for them to be able to flout the law and say, ‘Who cares?’ and all the things that they’re currently saying, but it’s not the principles that we were founded on.”

Hamm and Ryan make no secret of the fact that they’d like to keep “American Hostage” going as an anthology series and explore more of what Hamm called “these watershed moments of American life, to see how they rippled and how we got here from there.”

One could certainly imagine other events that would fit the show’s interest in real-life hostage crises that became media spectacles — the 1974 abduction of Patty Hearst; the 1963 kidnapping of Frank Sinatra Jr. — though Hamm kept any specific plans for the series close to the vest.

Perhaps the upper limits they face are the hours in a day to make and to broadcast the show.

“We’re living in great times right now for television,” Hamm said. “There’s so many opportunities to tell stories. Almost too many.”

STACEY Solomon has explained why all of her sons are sleeping in the same room at her new £2million mansion – after it was revealed that she is the sole owner of the property. 

Yesterday The Sun told how Stacey, 36, bought the sprawling Essex home without the help of partner Joe Swash. 

The Sort Your Life Out host – mum to Zachary, 18, Leighton, 14, Rex, seven, Rose, four, and three-year-old Belle – has been keeping fans up-to-date on her makeover plans for the house.

In a new clip shared on social media Stacey shared how renovations mean the boys are currently packed into the same bedroom. 

She said: “All the boys are sleeping in one room because they don’t have bedrooms yet because we’re working on the upstairs.  

“They’re all sleeping in one room downstairs, it’s like The Brady Bunch when they go to bed.” 

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Stacey and Joe stunned fans earlier this month when they packed up their dream home Pickle Cottage – which she bought alone in 2021 for £1.3million – and moved to the new property. 

On Thursday The Sun revealed how the former Loose Women panelist purchased it without the help of Joe, 44.

A well-placed insider told us: “Stacey’s a canny businesswoman and was also the sole owner of Pickle Cottage, which sold for over £1million, so it made sense she’d buy the new home on her own.

“She even got some money knocked off the official asking price.

“Stacey paid over £2m for the new Essex mansion – but she’s worth over £10m so that’s not even a dent in her bank balance.”

Earlier this year The Sun told how Stacey – who it was previously revealed is not legally married to former EastEnders star Joe despite a lavish wedding at Pickle Cottage – had hit the £10million mark in her business empire.

ANNE Robinson has split from Queen Camilla’s ex-husband Andrew Parker Bowles after moving from the Cotswolds to London, it has been reported. 

In a recent podcast appearance, Anne, 81, told how she’s been forced to sell her £4million mansion in the countryside “because my eyes aren’t good and I can’t drive”. 

Now the Daily Mail have alleged the TV presenter has called time on her relationship with Andrew, 86 – who still lives in the Cotswolds – after around four years of dating. 

The publication reports that, when asked if she’d been going out with the retired brigadier, Anne replied: “I might have done.

“It’s very difficult to talk about a relationship where part of it is owned by somebody else, so out of politeness I don’t talk about it.”

Anne and Andrew have never been photographed together and he’s never confirmed their relationship. 

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He and Camilla, 79, were married from 1973 until 1994 and are parents to Tom, 51, and Laura, 48. 

During a recent appearance on the Experience is Everything podcast with Lorraine Kelly, Anne opened up about ageing and said: “I do Pilates twice a week, I run and I do exercises. 

“I don’t mind the Pilates. The keep fit trainer is very nice but that’s quite boring.

“And I just try not to be ill. But you don’t know. 

“I mean, I’m just selling my house in the country because my eyes aren’t good and I can’t drive, and I can’t be really isolated anymore.

“But you know, and I don’t hear that well. Otherwise I’m OK.”

Anne confessed that leaving the Cotswolds after 40-odd years was a “heartbreaking decision.”

MILLIE Bobby Brown has shared the first picture of her second baby and revealed its gender, after adopting another child again aged 22.

Yesterday it was revealed how the Stranger Things actress and her husband Jake Bongiovi, 24, had added another addition to their growing brood.

Now, Millie Bobby Brown has thrilled fans by sharing the first picture of her son .

The TV star, who adopted her first child in August last year, shared a picture of her hands placed over her new baby’s.

Posting the snap on Instagram, the mum-of-two wrote: “Hi little guy!”

The star’s news has already had over two million likes, including from stars like David Beckham, 51, Chrissy Teigen, 40, and Amanda Holden. 55.

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Millie and husband Jake announced that they had adopted their first child just over a yearagoo.

At the time she wrote: “This summer, we welcomed our sweet baby girl through adoption.

“We are beyond excited to embark on this beautiful next chapter of parenthood in both peace and privacy.”

She signed off the post, writing: “And then there were 3, love Millie and Jake Bongiovi.”

The Stranger Things star married the son of Jon Bon Jovi in 2024.

People reported that the couple had married in a private ceremony at Villa Cetinale in Tuscany, Italy in May 2024, with Millie taking her husband’s last name.

They met in 2021 and announced their engagement in April 2023.

The couple now live in the state of Georgia.

The Federal Communications Commission on Thursday granted Paramount Skydance’s request to allow Middle Eastern royal families to hold a substantial stake in a merged Paramount-Warner Bros. Discovery.

The sovereign wealth funds of Saudi Arabia, Qatar and Abu Dhabi are slated to indirectly own nearly 50% of the equity in David Ellison’s proposed mega-studio, Paramount-Warner Bros. That will give them a hefty stake in CBS, CNN, Comedy Central, HBO and two historic Hollywood film studios.

Ellison needed FCC approval because the deal will change the ownership structure of CBS.

As part of the Communications Act of 1934, Congress placed restrictions on foreign ownership of broadcast outlets because of concerns about national security. Current rules prevent foreign investors from owning more than 25% of a company that holds a U.S. broadcast license — unless the FCC determines that foreign ownership would serve a public interest.

CBS owns more than two dozen TV stations with FCC licenses, including KCBS-TV Channel 2 and KCAL-TV Channel 9 in Los Angeles.

“Upon review of [Paramount’s] Petition and consideration of the record of this proceeding, we find that the public interest would be served by granting the Petition,” FCC said in its ruling, noting that Paramount has said the proposed ownership changes would “not result in a transfer of control of Paramount.”

Instead, “Ellison family will retain a majority of the voting interests and control of Paramount,” the FCC said.

FCC Chairman Brendan Carr, an appointee of President Trump, has been supportive of Paramount’s takeover of Warner Bros. Trump and his lieutenants, including Defense Secretary Pete Hegseth, have been cheering for Ellison to control CNN, a Warner property.

Anna M. Gomez, the lone Democratic FCC commissioner, slammed the agency’s decision, saying it “just let some of the most repressive governments in the world indirectly control nearly all of a combined Paramount-Warner Bros.”

“An investment this large in one of America’s biggest media companies doesn’t just buy equity, it secures influence over what gets said and what gets made,” Gomez said. “That’s why I called for this new and novel issue to go to a full commission vote given what’s at stake. Instead, the FCC snuck this ruling out as a staff-level decision, with no public vote and no accountability for a call of this magnitude.”

Ellison’s billionaire father, Oracle co-founder Larry Ellison, in February agreed to personally guarantee the $47 billion in equity needed to buy out Warner Bros. Discovery’s existing shareholders for $81 billion. Ellison and longtime Skydance investor, RedBird Capital Partners, then entered into agreements to assign some of their purchase rights to the sovereign wealth funds.

The funds plan to invest $24 billion in the Paramount-Warner deal. Saudi Arabia’s Public Investment Fund is set to contribute $10 billion while the Qatar Investment Authority and Abu Dhabi’s L’imad Holding Co. will separately add $7 billion.

Paramount has separately lined up debt financiers to help pull off the leveraged buyout of Warner Bros. Discovery — Hollywood’s biggest merger in decades. The deal has been stalled by an antitrust challenge brought by California Atty. Gen. Rob Bonta and 11 other Democratic attorneys general, representing such states as New York, New Jersey, Colorado, Nevada and Oregon.

The foreign ownership rule was adopted nearly a century ago because members of Congress wanted to make sure that hostile foreign players were barred from using U.S. airwaves to spread propaganda, particularly in times of war.

“We appreciate the FCC’s careful review and are pleased that it has granted Paramount’s petition,” Paramount said in a statement, adding the Trump administration’s Committee for the Assessment of Foreign Participation in the United States Telecommunications Services Sector had separately recommended approval of the deal, subject to several conditions to protect the data of the company’s U.S. based consumers.

Paramount said that, once the deal closes, the Ellison family and RedBird would “collectively hold the largest equity stake in the combined company and 100% of the voting shares, with no other equity participant having any governance rights.”

Paramount has two classes of stock — an ownership structure that will be replicated in a merged Paramount-Warner Bros.

The Ellison family owns 77.5% of Paramount’s voting Class A common stock. RedBird indirectly holds the remaining 22.5% of the Class A shares. The Ellison family separately has 40% of the non-voting Class B shares.

“At a time when the media industry faces unprecedented competitive pressure from dominant big tech companies, a combined Paramount-WBD will have the scale and resources necessary to compete, invest, innovate, and deliver premium content to audiences worldwide,” Paramount said in its statement.

EXCLUSIVE Coronation Street actress Sair Khan, who plays Alya Nazir on the ITV soap, has teased drama with the Barlows, and told viewers to watch out for Idris Nazir

There could be trouble in paradise for Coronation Street couple Alya Nazir and Adam Barlow very soon.

Sair Khan teased drama with the Barlows, an “uneasy journey” for Adam and Alya, and Sair also teased we should watch out for Alya’s villainous relative Idris Nazir. Sair spoke exclusively to the Mirror while promoting This Girl Can’s recent campaign, Move for 10.

The campaign aims to empower women – particularly those from underrepresented groups or communities – to reconnect with their bodies and find joy through movement. Sair spilled all about what was ahead on the cobbles, and whether she thinks her character Alya’s romance with Adam will last.

She said: “I think for Alya and Adam, there’s definitely not going to be an easy journey. As much as I want to see them committed, it’s not going to be the easiest journey for that to happen. So keep watching just for that. There might be a few obstacles in the way.”

Hoping to revisit the past, she added: “Don’t forget Tracy Barlow was actually responsible for Alya’s father’s death. I guess somewhere that’s not forgotten, even though time has passed.

“So, there is a lot of history there, and a lot of untapped potential either way, whether that’s them repairing and being unlikely friends, or there being a fallout.” Teasing Barlow drama on the way, Sair said she hoped Alya and Adam will make it through.

She said: “I really like the idea of them as a power couple, they’re both serious about their work, they’re kind of a modern day version of what we’ve seen before. I love working with Sam [Robertson] as well, and I really hope it does continue.

“Who knows, their relationship might get more serious in terms of the drama, which you can’t avoid if you’re in a soap opera! I know that Alya is going to be getting in between some of the Barlow drama, but, they’ve been so great with me and really welcomed me into that family, so I’m here for it. I’m here for the drama.”

As for Idris, Sair said she hopes Alya catches him out and holds him to account over his recent manipulation tactics. She said: “I think everyone would be wise to proceed with caution when it comes to Idris!

“As much as he’s family, he’s also a businessman, and he wants to look out for himself, and he’s not come from money and he’s come into it. I think he’s got the taste for success and he won’t necessarily let anyone or anything stand in his way.

“I would like to see him go further, and I would like to see Alya realise the way that she was gently manipulated into giving over her shares of Speed Daal, because at the moment, I think maybe it’s been a bit glossed over, or he’s made her think it’s her idea, whereas is that what she really wants? But there’s always time. Maybe she’ll get it back one day.”

Sair also spoke to us about her reason for taking on the Move for 10 challenge, revealing the positive impacted it has had on her. She told us: “I’ve always admired the This Girl Can campaigns that they’ve run since 2015.

“I just think it’s such a positive and encouraging message that they always send. I think this particular campaign really hit me in a different way. I’m in such a different stage of life than I was when I first started on Corrie.

“I think the campaign really resonated with me because it’s just so easy to do. I think that’s what I need at the moment, to just be able to slot something in into my life without too much fuss.”

She went on: “It’s just difficult because it’s all about balancing, with work and family life, but I almost think that that’s a bit of a myth these days, because sometimes you can do it all, and other weeks work is really busy, or someone at home is sick, and there is no balance to be seen. And I think in those times, you just have to be realistic with your expectations of what you can achieve and just do what you can.

“That’s why the Move for 10 really appealed to me, because it was something realistic, which meant I could still prioritise my own well-being, and still manage to do what I needed to do for my family and what I needed to do for work. I think that’s so important.”

Sair features in This Girl Can’s recent campaign – Move for 10 – which encourages women to move for 10 minutes, 10 times a month. Empowering women to reconnect with their bodies and find joy through movement, unlocking the powerful benefits that small but regular sessions can offer. To find out more search, This Girl Can Move for 10 .

Rosalind Ashford, the soprano behind hits from Martha and the Vandellas including “Dancing in the Street” and “Heat Wave,” has died. She was 83.

The singer died of natural causes on Tuesday in the Michigan suburb of Redford Township, per the Detroit Free Press.

Ashford was an original member of the Motown girl group Martha and the Vandellas, best known for their timeless soul pop songs. She sang on more than 20 of the group’s top 40 singles on Billboard’s R&B chart, including “Heat Wave,” which hit No. 1, and “Dancing in the Street,” which peaked at No. 2 on the U.S. Billboard Hot 100 chart.

“I am deeply saddened to hear about the passing of Rosalind Ashford,” Martha Reeves said in a statement. “Rosalind played an important part in the early days of Martha and the Vandellas. Her voice will forever be with us through our great recordings together, and she will be missed, but never forgotten. Our Motown Family has just gotten a little smaller. My heart is heavy.”

In 1995, Martha and the Vandellas were inducted into the Rock & Roll Hall of Fame, becoming the second all-female group to land the acclaim.

Born on Sept. 2, 1943, to John and Mary Ashford, the budding soprano developed her chops singing in the church choir and then in the glee club at Wilbur Wright High School in Detroit. In 1957, the musically inclined teen landed an audition at the Detroit YMCA, and it was there that she, Annette Beard and Gloria Williams linked up with local music manager Edward “Pops” Larkins, and formed the girl group the Del-Phis.

According to the Motown Museum, the Del-Phis invited Reeves — then a secretary to William “Mickey” Stevenson, Motown’s Artists and Repertoire director — to join their girl group. Together, they took on gigs as backup singers, including on Marvin Gaye’s early songs “Hitch Hike” and “Pride and Joy.”

The Del-Phis became Martha and the Vandellas when “My Guy” singer Mary Wells missed a fortuitous recording session. Reeves, with the Del-Phis singing backup, filled in for Wells, and Motown was so impressed, the label signed the group to the Gordy label in 1962, sans Williams, who left the group around this time.

The trio’s breakout hit, “Come and Get These Memories,” was released in 1963 and performed well on the Billboard charts, reaching No. 6 on the R&B singles chart. “(Love Is Like a) “Heat Wave” dropped the same year and topped the charts, followed by “Quicksand,” which also became a top-10 hit. The 1967 song “Jimmy Mack” went to No. 1 on the Billboard R&B singles chart and was the final top-10 hit in the U.S. for the group.

“Heat Wave” scored the group a Grammy nomination for best R&B recording for 1964 and made the trio the first Grammy-nominated Motown group.

Ashford left the group and the music business behind in 1969, and worked at the Michigan Bell Telephone Co., though she would occasionally reunite with former Vandellas members for reunion performances.

Classic Motown posted a tribute to the singer on Thursday, writing that her harmonies served as the soundtrack to a generation. “The Motown family mourns the passing of a true icon, Rosalind Ashford,” read the statement. “As an original founding member of Martha and the Vandellas, Rosalind’s vocal talent helped define the golden era of the Motown sound.

“Rosalind’s contribution to American music and Motown history will never be forgotten. Rest in power, Rosalind. Thank you for the music.”

Coronation Street fans think they know what Lucy Parkinson has planned for poor Sally Metcalfe, who appears to be a target of the troubled teen amid some dark behaviour

Fans of Coronation Street think Lucy Parkinson’s plans for Sally Metcalfe could get very sinister.

While Lucy has been lashing out at Sally, who has been caring for her since her mother Rachel’s murder, and her dad Richie’s imprisonment for the crime, she also appears to be setting her up. Things are set to continue when next week, Sally is alarmed by a picture Lucy has drawn.

Sally is soon confiding in her husband Tim Metcalfe about Lucy lashing out, and the drama with the picture. But with Sally not sure she can keep looking after Lucy, there could be worrying twists ahead.

Some fans now think they know what Lucy’s plan is, and where this might lead. With Lucy also targeting the kids Sally and Tim have fostered, will Lucy have them taken away from them?

One fan predicted: “After watching tonight’s episode, I’m sure Lucy’s plan is that Tim and Sally lose custody of Joanie, Shanice and herself.” Another fan said: “I am really worried for Sally, she’s either going to get hurt or Lucy is going to get her reported to the care worker which will have consequences for the other kids.”

A third viewer said: “Tim and Sally will be lucky to get out of this alive and still together.” A fourth fan commented: “She really seems to have it out for Sally and manipulates Tim.”

Another theory saw fans wonder if Sally would be attacked. One said: “I strongly suspect this is all building up to Lucy losing it and attacking Sally.” Another said: “There’s going to be a potential stabbing for Sally.”

Another fan wondered if Lucy had targeted someone else before Sally. They said: “After seeing Lucy had obviously given herself the mark and blamed sally, do we think this isn’t the first time she’s done this?

“What if she’s hurt herself before, and blamed her mum, so her dad killed her out of anger?” It comes as some fans speculated over who attacks Eva Price next week, after spoilers teased someone hurts her.

It’s not yet clear if Eva falls down the stairs or is pushed. One theory is that Lucy attacks her after drama airing next week. Other names thrown into the mix as possible attackers are Jodie Ramsey and Ross Wilkes.

Coronation Street airs weeknights at 8:30pm on ITV1 and ITV X. * Follow Mirror Celebs and TV on TikTok , Snapchat , Instagram , Twitter , Facebook , YouTube and Threads .

Chris Brown is speaking out after lawmakers honored him during his concert in Arlington, Texas, then apologized for the honor.

On Sept. 12, U.S. Rep. Jasmine Crockett (D-Texas) and Democratic Texas Rep. Venton Jones appeared at AT&T Stadium for Brown and Usher’s R&B Tour, where they honored both singers for their contributions to music. The politicians presented them with a Congressional Record recognition and state proclamation.

“Right now, we are experiencing Black joy to the highest level,” Crockett said on stage. “And I wanted to make sure we document that in the Congressional Record.”

Usher was not on stage when either honor was presented.

The incident sparked public backlash because of Brown’s history of domestic violence. In June 2009, the “Forever” singer pleaded guilty to one count of felony assault for physically attacking Rihanna.

On Monday, the 37-year-old singer and dancer took to social media to apologize to Crockett for the criticism she received following the recognition, uploading a photo of the two to his Instagram story with text that read: “I apologize for any backlash you have to deal with for awarding for me. I’m not political but I move off of frequency and energy and I’m so grateful. Once again, thank you.”

But by Tuesday, Jones released a statement apologizing to his constituents for his role in presenting Brown with a state resolution.

“Over the past few days, I have listened closely to the conversations, concerns, and heartfelt feedback shared across our community following my presentation honoring Chris Brown with a state resolution,” Jones said.

Jones, who first assumed his role in 2023, said that the presentation was an attempt to reach voters ahead of the Nov. 3 midterm election.

“First and foremost, I want to acknowledge the women, the Black women, whom my actions have hurt. In moments like these, I think it’s important to be specific and just as loud with an apology as our original actions were,” Jones added in his statement. “I apologize.”

After Jones’ statement, Brown called out the representative.

“I didn’t ask to be honored because I knew some s— like this would happen and [Venton Jones] immediately started tap dancing and apologizing because he didn’t wanna lose voters and support,” Brown wrote on Sept. 15 on his Instagram. “I have a great idea.. how about [y’all] leave me the f— alone and let me focus on the fans that spent their money to actually see and support me.”

Outside of the most widely recognized incident involving Rihanna — which occurred hours before the couple was set to appear at the 2009 Grammy Awards — there have been multiple domestic violence allegations against Brown, including by his ex-girlfriend Karrueche Tran. She was granted a restraining order against the singer in 2017.

Brown has been accused in several other cases of violence against women from 2018 to 2022, either dismissed, settled out of court, or the investigation dropped.

This summer, the singer pleaded guilty to beating up a man in a London nightclub with a glass bottle in 2023. There is an active $50-million suit against Brown and members of his entourage by four male concertgoers who allege they faced a “brutal, violent assault” backstage following a Fort Worth, Texas, show in 2024.