SHOW BIZ

Good Morning Britain hosts Kate Garraway and Ranvir Singh were left stunned on Friday

A Good Morning Britain guest has revealed the “horrific” ordeal that left her “fighting for her life”. Friday’s (January 9) edition of the hit ITV breakfast show saw Kate Garraway and Ranvir Singh bring viewers the latest developments from Britain and beyond.

Weather presenter Laura Tobin was also on hand in the studio to provide crucial updates on Storm Goretti, following the Met Office’s stark “danger to life” alert.

During the programme, Kate and Ranvir interviewed Sara Platt, whose botched cosmetic procedure in Turkey left her facing serious health complications.

“The government has issued a fresh warning on botched cosmetic surgery, saying it’s going to take decisive action to crack down on rogue operators and treatments that offer, when you look at them, do seem too good to be true,” Kate explained, reports Wales Online.

Ranvir continued: “It’s the subject ITV News has been investigating for two years, and as part of that, we met Sara Platt. She travelled to Turkey for surgery, and she says it left her life at risk.”

Before the interview progressed, Ranvir cautioned viewers: “[The surgery] went horribly, horribly wrong. We’re going to show some pictures which might be distressing.”

As photographs of Sara’s injuries appeared on screen, she explained: “I lost 12 stone [during] Covid. I had severe excess skin, so I went and had an uplift implant and a tummy tuck, because I had constant skin infections.”

She continued, “[The surgery] just made it tenfold worse. What I’m left with now, not just body but my mental health, is really bad.”

As Sara delved into the difficulties she encountered, including multiple infections, Kate and Ranvir were visibly taken aback. “You thought you might die,” Ranvir said.

Sara responded: “It was extremely bad. I lost my right breast. I had gaping holes in my stomach. I was only supposed to have a tummy tuck and impact, but they cut from my arms, sides, and my back because, obviously, there was not enough skin to close me.

“On day nine, I was operated on awake and part of my body was placed by the side of my head.”

A shocked Kate replied: “Oh, Sara. We’re hearing this [and] it’s obviously horrific.”

The guest concluded: “We do get bad comments and this is why I’m trying to get change made, so people coming back from Turkey don’t use the NHS. It was life-saving surgeries for me. This is why we need regulations. The government need to take a stand.”

Good Morning Britain airs weekdays on ITV1 and ITVX at 6am

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KATHERINE Ryan has made a candid confession about motherhood, just three months after welcoming baby daughter Holland.

The comedian, 42, is a mum-of-four and also shares kids Fred, four, and Fenna, three, with her husband Bobby Koostra, while her 16-year-old daughter Violet is from a previous relationship.

And now, Katherine has hinted that there will be no more children to come – something which wasn’t an easy decision.

Sharing a snap of baby Holland in her arms to Instagram, Katherine wrote: “Meanwhile, I gave away a bunch of newborn clothes today and it was heartbreaking.

“I’ve been addicted to pregnancy for give years and giving it up is tough.”

Back in October last year, Bobby described his partner Katherine as the “MVP ” and “Patrick Mahomes of child birth” – referencing the American football player’s famously strong performance on the field.

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In the post, which announced the birth of their daughter Holland, he shared a picture of Katherine sipping on a glass of champagne and revealed she had given birth in just 45 minutes.

Previously, Katherine admitted to The Sun that she “loved” having children and wanted to keep going for as long as possible.

She said in February last year: “I love having children. You can make people – it’s magic.”

“So I’d like as many as we can until it becomes an issue where I can’t spend time with the ones I already have. I think that’s the balance.”

Talking before she had Holland, Katherine continued: “One more, at least, and then if I felt like I had enough attention or life left in me – because I’m also getting old and tired – then I think I’d like five or six children.

“And I do have a Kardashian mindset, in that when I’m gone, or I’m no longer of interest and I’ve got my little pied-à-terre in Marylebone and I’m alone – an eccentric elderly woman watching musical theatre by myself while Bobby’s inside – it’d be so nice for the siblings to get together and have this life beyond me.”

However, parenthood hasn’t been smooth sailing for Katherine either.

Last year, she admitted how “sleep deprived, tired and hungry” both she and Bobby were while juggling their brood.

Appearing on Jamie Laing and Sophie Habboo’s podcast, Newlyweds, she said: “It really tests your relationship. 

“You used to be the most important person in each other’s lives, you cease to be the most important person in each other’s lives. There’s a shift in, you know, roles and responsibilities and focus. 

“You’re both tired and you’re hungry and you’re sleep deprived – that’s how they torture prisoners. I haven’t slept in four years, but I’m kind of fine with it.”

With three kids under five, the sleep is unlikely to come back just yet!

Elle Simone Scott, a chef and cookbook author best known for her work on “America’s Test Kitchen,” has died. She was 49.

Describing her as “one of [the organization’s] brightest stars,” “America’s Test Kitchen” Chief Content Officer Dan Souza confirmed in a statement Thursday that Scott died Monday after a long battle with ovarian cancer. The news was first announced Wednesday on “ATK’s” Instagram.

“Scott brought warmth and a vibrant spirit to everything she did,” Souza said. “Friends and colleagues will remember [her] for her ability to create community and provide opportunities for others, both inside and outside of work … Her legacy will live on at America’s Test Kitchen and in the homes and hearts of the millions of home cooks whose lives she touched.”

A Detroit native, Scott joined “America’s Test Kitchen” in 2016 and became the first Black woman cast member on the popular PBS cooking show. In addition to authoring cookbooks “Boards: Stylish Spreads for Casual Gatherings” and “Food Gifts: 150+ Irresistible Recipes for Crafting Personalized Presents,” she hosted “The Walk-In” podcast and worked as a food stylist.

In a tribute on Instagram, friend and fellow TV chef Carla Hall praised Scott for being “a force” and “a trailblazer.”

“At America’s Test Kitchen, Elle helped open doors that had long been closed — becoming one of the first Black women audiences saw in the test kitchen, and doing so with grace, authority, and joy,” wrote Hall. “Her voice mattered. Her work mattered. She mattered.”

According to WBUR, Scott, who lived in Boston, pivoted to a career in food in 2008 after she lost her home, car and job as a social worker during the recession.

“The thought occurred to me, ‘if I have to do something for the next 25 years of my life, it better be something I love,’ ” Scott said during a 2019 radio segment. “The only thing I could think of was cooking. It was the one thing that brought me peace and joy.”

She became an advocate for representation in food media and the culinary world, co-founding SheChef Inc., an organization for women chefs of color that provides mentorship to young women pursuing a career in the field, in 2013.

“I thought it would be a great way to create a network to bring those underrepresented people together to see how we could support each other, create a network where we can help each other grow professionally — also to just deal with the angst of being women in kitchens where we are the only women in the kitchen,” Scott told WTOP News in 2019.

Scott was first diagnosed with ovarian cancer in 2016, according to the Detroit News, but told the outlet she was cancer-free in 2020.

“Elle faced ovarian cancer with courage and honesty, using her platform to educate, advocate, and uplift even while fighting for her life,” Hall said in her tribute. “We honor you, Elle. Your legacy lives on in every kitchen you inspired and every cook who finally saw themselves reflected back.”

Coronation Street boss Kate Brooks revealed the soap would revisit a bizarre scene where Maggie Driscoll seemed shocked about something in Ken Barlow’s home months ago

Fans will finally learn the truth about why Coronation Street newcomer Maggie Driscoll was acting strangely at Ken Barlow’s home a few months ago.

On Halloween, Maggie was invited into the house by Amy Barlow, as she was looking for a punch bowl for the party at The Rovers. While looking in a cupboard, she appeared to stare at something not shown onscreen.

She looked startled if not anxious about whatever it was, and quickly shut the cupboard door. It was not referenced again, and has yet to be explained.

Amid fans speculating it could confirm a link to the Barlow family, possibly Ken, Corrie boss Kate Brooks has revealed the scene will be revisited. Speaking to The Mirror, Kate said it’s linked to a secret that will soon be exposed.

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Kate spilled: “There are other secrets as well that Maggie’s been hiding. Some eagle-eyed viewers might have spotted Maggie at number 1.

“She looks into the cabinet, and her reaction kind of suggested that she saw something that made her feel slightly on edge or uncomfortable. We will reveal what that secret is in the upcoming months.”

So that scene hasn’t been completely forgotten about, and we were right to find it weird. It seems Maggie’s hiding more than one secret, with more about her and the Driscoll family still to be uncovered.

Kate also revealed the grooming storyline featuring Maggie’s teenaged grandson Will is set to explode at some point this year. She told us: “The Driscolls really have got their feet under the table. There is loads to come for this family. We’ve only seen the tip of the iceberg. The ongoing story of Will and Megan is huge for them. We also know what Maggie’s capable of now.

“When, eventually this awful secret is exposed, it’s not gonna go down well with Maggie. [As we follow on with] the Will and Megan element, Sam [Blakeman] will end up getting embroiled in it all. We will see the lengths that Megan will go to to manipulate Sam into keeping quiet, and it will be massively detrimental to Sam’s well-being.

“We have Eva in the mix, who will be naturally furious when this comes to light. We’ve got Leanne and Toyah, and you’ve got these three very strong, very fiery women, sisters, whose boys have been manipulated by this woman, who they considered their friend.

“So, needless to say, it’ll be quite explosive when this all comes to light. Ben adores his family, he adores Will, he adores Ollie. It’s a real kind of journey for us to take Ben on as well, as they all struggle to navigate this.

“It’s a situation none of them thought they’d ever be in, and the fact that they are really tests them as a family unit. Maggie’s a fiery one, so I’d keep an eye on Maggie.”

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 .

From Game of Thrones to Killing Eve, the Prince and Princess of Wales are big fans of TV – but one 92% rated espionage thriller has captured Princess Catherine’s attention

As the winter chill sets in, many of us are opting for cosy nights in front of the telly rather than braving the cold outdoors, and seems likely that Prince William and Kate Middleton are dooing something similar.

While Royal enthusiasts eagerly anticipate more appearances from the Prince and Princess of Wales, particularly as she marks a year of cancer remission this month, it’s likely that Catherine will be looking forward to some downtime at home.

However, as the Princess of Wales rings in her 44th birthday, there’s a bit of a dampener – no confirmed release date for the second series of one of her favourite TV shows, a spy thriller boasting an impressive 92% rating on Rotten Tomatoes. Black Doves, a gripping espionage series masterminded by Joe Barton for Netflix, was one of December 2024’s standout hits and was greenlit for a second series before its inaugural season had even concluded.

The series, starring big names like Keira Knightley, Ben Wishaw, and Sarah Lancashire, revolves around a group of freelance spies whose cover is threatened. Black Doves zeroes in on undercover agent Helen Webb, portrayed by Oscar nominee Kiera Knightley, who finds her covert identity at risk after her lover is killed by figures within London’s criminal underworld.

The programme captivated audiences, with one typical response online stating: “I thought Black Doves on Netflix was pretty good and entertaining. Keira Knightley and Ben Whishaw are great as a team of clandestine spies and assassins. Absolutely deserves the second season. Can’t wait.”

Another viewer gushed: “Black Doves was fantastic television. So damn good! !” A third added: “If you love a British political/espionage thriller, Black Doves is a masterpiece. Slick script, superb characters, smashing storyline. Heavy on irony and good old fashioned violence.”

This marks another occasion where William and Kate have revealed their television tastes. During a trip to the BAFTA offices in central London, where he discovered details about a bursary granted in his honour, William admitted his passion for the Jason Bourne series.

When encountering Paul Greengrass, who helmed three of the six films, William enthusiastically enquired “another Bourne, another Bourne”. The filmmaker allegedly replied with chuckling and a head shake.

Swiss filmmaker Edward Berger was linked to the project for several months but subsequently declared “It’s really not clear whether… I’m doing that film or not”. Currently, the prospects for William’s cherished Bourne franchise appear uncertain.

Another William and Catherine favourite facing an unclear future is the BBC’s hit series Killing Eve, starring Jodie Comer and Sandra Oh. During a 2019 visit to a BAFTA exhibition, William reportedly confessed his fondness for the series.

Show producer Sally Woodward Gentle and costume designer Phoebe de Gaye revealed that the prince “apparently… has watched it all”.

“He [Prince William] said he loved it. He talked about the dark humour of it, and Jodie [Comer] and Sandra [Oh], how amazing they both are. And he talked about the humour you get through the costumes, which is what Phoebe is so clever at,” Gentle disclosed.

Whilst the programme concluded with its fourth series in 2022, persistent speculation continues about a potential spin-off, possibly centred on the early years of Fiona Shaw’s character, Carolyn Martens.

Prince William has revealed that he and Kate, 42, were equally keen on watching episodes of Game of Thrones. The Royal pair even told actor Tom Wlaschiha, famous for playing Jaquan H’ghar in the drama, that they have “watched every series”.

Speaking on BBC Radio 1 in 2017, William declared their passion for the programme, describing them as “big fans” and advising: “You should definitely watch Game of Thrones, that’s worth watching.”

Beyond television, Prince William is recognised for his love of music, an interest he shares with his children, George and Charlotte. He disclosed on Apple’s Time To Walk podcast in December 2023 that the youngsters frequently bicker over song choices during their morning routines.

The musical inclinations of the Wales family were put in the spotlight when William, accompanied by Charlotte and George, made international headlines after snapping a selfie with pop superstar Taylor Swift. Marking his 42nd birthday, the future monarch was spotted having a grand time at Swift’s concert at Wembley Stadium with his children.

The period drama first aired back in 2021 and features the likes of James Norton, Eleanor Tomlinson and Tom Riley.

Next month, ITV viewers are in for a treat as a popular supernatural period drama is set to land on the streaming platform.

The Nevers, which is originally a Sky Atlantic and HBO series, was first released five years ago in 2021 and consists of 12 episodes, which were split into two instalments.

Set in 1896 Victorian London, it follows a community that is rocked to its core after a supernatural event.

As a result, the event gives people, mostly women, abnormal abilities from the wondrous to the disturbing. This group are then given the name the ‘Touched’.

A synopsis for the show reads: “But no matter their particular ‘”turns,'” all who belong to this new underclass are in grave danger.

“It falls to mysterious, quick-fisted widow Amalia True (Laura Donnelly) and brilliant young inventor Penance Adair (Ann Skelly) to protect and shelter these gifted “orphans.” To do so, they will have to face the brutal forces determined to annihilate their kind.”

The cast features the likes of James Norton, who takes on the role of Hugo Swan, a morally ambiguous aristocrat who runs a secret club. Although he’s fascinated by the touched, he exploits the supernatural group for entertainment.

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Also in the supernatural drama in Poldark star Eleanor Tomlinson, who plays the gentle but resilient singer Mary Brighton in the series.

ITV viewers will also see the likes of Olivia Williams, Tom Riley, Rochelle Neil and Amy Manson in The Nevers.

Pip Torrens, Denis O’Hare, Zackary Momoh, Elizabeth Berrington, Kiran Sawar, Anna Devlin, Viola Prettejohn, Ella Smith, Nick Frost and Ben Chaplin are also featured in the show.

Speaking to Radio Times in the past about the show, James said: “It’s so unpredictable and as a result it’s just so brave.”

“That’s what makes the series unique, I think. When you watch episode six, your mind will be blown. Ours was blown when we read it, so watching it is going to be an absolutely crazy experience!”

The series has received high praise in the past from fans as one person said: “This is a superb supernatural drama. Well acted, great characters and superbly produced. Well worth a watch, so you can make up your own minds.”

Another shared: “So far, I think this show is a cinematic masterpiece. Slow and deep storytelling, beautiful world-building and intriguing character-building. It sweeps you in. I definitely recommend.”

While someone else shared: “Have just binge watched the first six parts, I am totally hooked. This is a very original series that is really refreshing. It has great characters who you become really attached to. Some of the best television I’ve seen for a long time.”

ITV will launch The Nevers to stream for free on ITVX from February 1

Award-winning BBC comedy thriller Black Ops returns to BBC One tonight with Gbemisola Ikumelo and Hammed Animashaun reprising their roles alongside Tom Stourton and Nigel Havers

The critically acclaimed BBC comedy thriller, Black Ops, is set to return for a second series on BBC One and BBC iPlayer. The first season of the show drew an impressive audience of 2.3 million viewers for its premiere episode, averaging 1.6 million across the entire series.

Gbemisola Ikumelo will be back in her role as Dom, with Hammed Animashaun reprising his character Kay, and Akemnji Ndifornyen returning as gang boss Tevin. This season also boasts a star-studded guest cast including Tom Stourton (Barbie, Poor Things), Nigel Havers (Chariots of Fire, Coronation Street), Annette Badland (Heartstopper, Ted Lasso), Ed Speleers (Star Trek: Picard, You), and Cathy Tyson (Help, Death in Paradise).

When asked about her decision to return for the second series, Gbemisola said: “Honestly, I think the love from the audience. Series one felt really, really special, and got a lot of love and recognition. How could you not want to do it again?”.

In response to whether she anticipated such an overwhelming response from viewers, Gbemisola, who also co-created and wrote the series, admitted: “Absolutely not. You always want to be able to put something out there, and if you’re proud of it, then great, and move on. But it was really lovely to hear how much love people had for this show.”

The upcoming season will see Dom and Kay working for MI5, but their roles are far from glamorous. As the synopsis teases: “They may be in the world of espionage, but their jobs are decidedly unglamorous – not everyone can be James Bond, someone has to do the admin.”

“All that changes when Dom meets a charismatic spy called Steve, offering the promise of more exciting, classified work. Dom and Kay soon find themselves embroiled in an escapade that tests their wits, their friendship, and their love of carnival to the limits.”

Speaking about what’s in store for series two, Gbemisola hinted: “It’s going to be a bigger, louder, crazier show. I’m actually quite shocked about the things we’ve been able to achieve in this series, so I’m looking forward to seeing how audiences respond to the things that I’m excited about.”

The second series launches on Thursday, January 8, available on BBC One or via BBC iPlayer from 9:30pm, reports the Express.

The opening episode’s synopsis reveals: “Dom and Kay are back and working at MI5, but they’re struggling to find their feet in the world of intelligence. Dom, ambitious and eager to prove herself, is frustrated to be stuck carrying out menial work in the archives, while Kay misses his former role as a PCSO, and the direct impact he had on the community. Dom takes a big gamble to impress a senior agent, with dangerous consequences for her and Kay.”

The series consists of eight half-hour episodes, airing weekly on Thursday evenings in the same time slot.

R. Scott Gemmill, the creator and showrunner of “The Pitt,” has always felt comfortable in a hospital.

He initially had ambitions of going into medicine — he studied gerontology, which explores the processes and problems of aging, and did some volunteer work at hospitals. He also took a nurse assistant course.

“I really thought I was going to try and get into a med school,” he said recently while seated in the recognizable lobby of the show’s fictional hospital set on the Warner Bros. lot in Burbank. “I just wanted to have a job and medicine seemed like there was always going to be a need. I’m comfortable in a hospital. I wish I followed through on a certain level because I loved that ability to go in and solve problems. But my writing kicked in and that’s it — I never went back.”

But in TV land’s school of medicine, Gemmill has gone far. He did a rotation at Chicago’s County General Hospital, joining the writing staff of NBC’s popular medical drama “ER” in its sixth season. And now his turn at Pittsburgh Trauma Medical Center, through HBO Max’s “The Pitt,” has been a breakout success, revitalizing the medical drama genre with a fresh spin on the format — each episode tracks one hour in a shift — and energizing its audience with a traditional weekly rollout. The Emmy-winning series returned Thursday for its second season that revolves around a shift on the Fourth of July. But the fireworks arrived well before that, with HBO Max announcing on the eve of the show’s premiere that the drama has been renewed for a third season.

In the hiatus before shooting began on this season’s finale, Gemmill, whose other TV credits include “Jag” and “NCIS: Los Angeles,” talked about the show’s momentum heading into the new season, navigating how personal to get with characters, and introducing a new doctor to the mix.

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1. Noah Wyle as Dr. Robby in Season 2 of “The Pitt.” (Warrick Page / HBO Max) 2. From left: Sepideh Moafi as Dr. Baran Al-Hashimi, Taylor Dearden as Dr. Melissa King, Katherine LaNasa as charge nurse Dana Evans, Gerran Howell as Dr. Dennis Whitaker and Supriya Ganesh as Dr. Samira Mohan in “The Pitt.” (Warrick Page / HBO Max)

You started breaking Season 2 last January, as people were discovering the show week to week. People love to be critical of sophomore seasons of a breakout hit. How did that shape the second season for you and the writers?

It was weird because we wrote [Season 1] without any feedback. Not just wrote it — we shot it and produced it. We had started thinking about Season 2 before people had responded. It was a slow build. I felt like the healthcare professionals found us first, then spread through word of mouth. We were just moving forward with what we thought were the next stages of these characters’ lives. It wasn’t until later on that the accolades came and there was more pressure then. When we first started, we didn’t know if anybody was going to watch or not. We had finished it without any pressure whatsoever because nobody had weighed in on it. It was a very rarefied situation, which was nice. We hope for the best. And it seemed to work out OK. There’s a little bit of concern going into the second season because we were successful, you wonder, can you maintain that? But we try not to focus on that, and just really focus on the characters and the stories and do what we did the first season — tell really authentic, strong stories.

The season picks up 10 months after that initial shift where we met everyone. How did you decide on the time jump, landing on July 4?

It really came from wanting to have Langdon [Patrick Ball] back, so I knew he had to do about 10 months of rehab. Then we were looking at what time of year would that be. We’re also somewhat limited by when we shoot in Pittsburgh. We decided to do the Fourth of July because it comes with a bunch of shenanigans.

Season 2 opens with a helmet-less Robby riding in on a motorcycle.

The motorcycle goes back to some part of Robby’s past. We don’t really talk about it, but it has a link to his father, and his father being a tinkerer of old cars and Robby needing a vacation, a hiatus of sorts. Pennsylvania is a no-helmet law [state]. And some of us who have motorcycles sometimes enjoy riding them without a motor helmet. It’s not a smart thing to do, and it speaks to Robby’s current attitude of a certain amount of carelessness on his part.

Yes, we learn that he’s going to be taking a three-month sabbatical. How soon will we discover what led to that? Is it an amalgamation of different things?

Yeah, he’s long overdue for a vacation. He knows that something’s not working in his life and this is one way he thinks that he can fix things.

How did you land on Head-Smashed-In Buffalo Jump in Canada as his choice for a getaway?

It was a place I knew about and it just sounded like an interesting place for him to go that has some foreboding associations with it.

A new doctor, Baran Al-Hashimi (Sepideh Moafi), center, is brought in to oversee the ER unit on the eve of Dr. Robby’s (Noah Wyle) three-month sabbatical.

(Warrick Page / HBO Max)

The season introduces a new character, Dr. Baran Al-Hashimi, played by Sepideh Moafi, who’s going to be taking over when Robby is out. She’s an advocate of generative AI and trying to get everyone on board with this idea of saving time with charting. What were your conversations with doctors in the field about that topic and what intrigued you about how healthcare professionals are thinking about this technology?

She’s someone who’s a little different with her approach, a little more contemporary and forward, as opposed to Robby; he bridges contemporary medicine and old-school medicine with his relationship that he had with Dr. Adamson, who showed him a lot of the old-school techniques that he still has in his wheelhouse if he needs them. AI is pretty much here to stay and it’s infiltrating every aspect of our lives — medicine is no exception. I would say it’s still in its infancy in the ER, but there are ways that it’s trying to be implemented. Like any other tool, it has potential to be used wisely and potential for disaster. We’re not really exploring the disastrous side of it yet but just what the realities are. The fear is that it will make the doctors more efficient, especially with things like charting, but then will that time go back to the patients or will they just have to see more patients? And so they’ll have even less time. That’s the challenge at this point.

How do you feel about it in your own industry?

I try not to think about it. I guess I’m probably in denial more than anything. I don’t have any place for it and I don’t really want to really know too much about it at this point.

We see a lightness to Robby this season. He’s involved in a situationship at work. This is a workplace drama. It hasn’t shown us the interior lives of its staff beyond the nuggets they share during their shift. How much do you want the viewers to know about them versus how much do you want your actors to just understand their characters?

It comes with the job. He’s not a monk. He’s in a relationship of convenience more than anything. I don’t think he’s a long-term planner. The fact that he hasn’t had a vacation in forever is proof of that. Robby is very good at putting on a good face until he’s not. I think what we’ll see over the course of the season is that facade start to slide.

It’s a process. The 15-hour nature of the show limits how much of that information you can dole out organically, but it also allows you to be authentic in terms of how much you actually learn about someone in a day. Most of us not just spilling our guts and saying our life story to the people we work with. As we start the season, we’ll think about: What is the journey we’re going to take this character on, and what information needs to be learned in order to achieve that? And then what medical stories will help maybe bring that out. You do it in little layers.

Is there something coming up that you think will be particularly illuminating?

There’s some stuff about Robby. We pulled back a lot on it, but we’ll learn a little bit about him. We’ll learn some things about Whitaker [Gerran Howell]. We know what Langdon is going through, his marriage.

After taking leave to seek treatment for prescription drug addiction, Dr. Frank Langdon (Patrick Ball) returns to work in “The Pitt.”

(Warrick Page / HBO Max)

To stay on Langdon — physicians and people in the healthcare profession are vulnerable to addiction for a variety of reasons. What was important for you in that storyline and what did you want to explore through him?

To show somebody who’s made a mistake and was doing their best to hide it as is sometimes the pattern of behavior. I don’t think most people enjoy their addiction. So, seeing someone who’s doing their best to try and heal themselves. Just because you’re going through the program and doing the steps, it doesn’t mean everyone’s going to welcome you back with open arms. There are still some bad feelings and you have to mend some bridges and fences along the way.

It’s not just Robby and Langdon. Langdon feels he owes a sort of mea culpa to almost everyone he works with, especially Santos [Isa Briones]. And whether or not she’s willing to accept that is debatable. Robby, obviously, has some really strong feelings about it because Langdon was his student, and he made Robby look kind of stupid. Robby is angry at himself for not seeing it.

How are you figuring out who’s going to shuffle in and out?

Some of it’s based on the reality; for instance — I was thinking of this today — next season would be Whitaker’s third year, so he has one more year to stay here, and then he would have to go. It’s really about where they are in their careers and what makes the most sense story-wise.

I want to talk about some of the procedures and cases that we’ll see this season because they’re pretty gnarly. Do you keep a log of cases and try to figure out how they can fit into the story as you go?

We never really start with the medicine. Sometimes we say the medicine is the wallpaper that reflects everything in the room, but what’s going on between the characters is really what’s at stake, and it’s either something going on between them and the patient, between the doctors and nurses, or internally. Ideally, it touches on a little bit of everything.

When we came back, I probably had 150 ideas of just cases. I don’t know how many of them we actually did. We had never done a hot toddler story, [where a child was overheated] but that is something that’s a real problem. That was one where we knew we were going to try and do that story, but whose is it going to be? Who does it reflect most? Then we work backwards into it. We pull from everywhere — things we think of, things we’ve heard, things we imagine. We don’t really do ripped-from-the-headlines, but we do things that seem like that because a lot of times we’re talking to professionals, asking them what was concerning them. What do they worry about? We’re extrapolating their concerns. That’s what happened with [Season 1’s] measles story. There was no measles outbreak when we wrote that story, but we knew, based on what was going on, that there would be eventually, and we just happened that the timing was in our favor.

Is there like a line you won’t cross in terms of squirm factor? Have you had to pull back?

I don’t think so, because we’ve never done anything for the sake of that. We’ve never done anything that’s not done in the ER. As long as it serves a story and a character, then I think it’s fair. We do something big for the finale that Abbot [Shawn Hatosy] and Robby are doing with a bunch of others — it takes all hands on deck. I’m interested to see how that comes out, and I’ve seen elements of it now that are terrific.

Can you share more of what kinds of topics or cases we’ll be seeing this season?

We did a sexual assault, [and] we’re looking at how budget cuts are affecting healthcare. There’s a story about someone who’s been rationing their insulin and the downsides of that.

When the One Big Beautiful Bill Act was signed into law by the president, did you have a lot of calls with professionals?

Oh, yeah, because it’s a huge issue. You figure out with the changes in the Affordable Care Act, if you suddenly have 8 to 10 million people that don’t have insurance, what’s going to happen is they’re going to stop going to their doctors. Anything that was an issue is going to get exacerbated by not being treated. So, where do they end up? Well, they’re going to end up in the ER, but they’re going to be even sicker than they would have been. We’re going to get more people, and their conditions are going to be worse. It only makes what’s already a strained system even more likely to break. Because we were just starting to shoot in the summertime, we could make some adjustments, but I don’t remember going back and changing things. We saw it coming.

I know there had been some discussion about an ICE story? Will we see that this season?

Yes, we have some ICE agents show up, and how that affects people in the hospital. That’s been a tricky one to try and get right without being heavy-handed and being fair to everyone on both sides of that conversation. What else do we do this year? Some fun stuff. The kind of things you would expect over the Fourth of July weekend.

How do you feel about the shipping that’s taking shape with “The Pitt” fan base?

I’m not on social media, I’m not really a part of that. My writers would tell me about things like that. The Langdon-Mel of it — I’m like, he’s married. That’s more of a big brother relationship. And Abbot and Robby — I just sort of shake my head. Our show’s not really like that. It’s not a show where people are sneaking off to have sex in a closet or anything. Those things are very subtle. And we do see a little bit this season between a couple of people, but it’s very much secondary because it’s not something we actually see, per se.

Just as he did last season, Noah Wyle is writing again this season. He’s also directing. Tell me what it’s like when you have the lead of your show involved in different aspects of the show’s creative elements?

It’s really great because he’s up to speed on everything. And because he is the centerpiece of the show, I rely on Noah a lot for guidance and help figuring out how to steer through all the icebergs. He’s a good writer and he’s a good director, and it just adds a whole other level to the writers room, in terms of the connection between us and the set. He’s there right up until, basically, we start shooting. Even when we are shooting, if he has a day off, he’s in the room or we’ll do meetings at lunchtime so he can join in and weigh in. It was Noah’s idea to do the Shema prayer for his breakdown. That was a very coordinated effort because I knew I was asking a lot of him. That’s what’s really nice about having Noah be a writer and a director. He has the vernacular to have these conversations about what he needs from me to get him to where he needs to be. It’s a very symbiotic relationship.

R. Scott Gemmill on the pressure that comes with having a breakout hit: “There’s a little bit of concern going into the second season because we were successful, you wonder, can you maintain that? But we try not to focus on that, and just really focus on the characters and the stories and do what we did the first season — tell really authentic, strong stories.”

(Christina House / Los Angeles Times)

Do you ever worry about him being overextended?

Yes. That’s why I don’t mind when he has a day off. But he’s just gonna fill it with work.

In Hollywood, when something’s a success, there’s an immediate impulse to figure out a way to broaden that success. Has there been talks of spinoffs, ways to build out the universe?

No, not really. We’ve talked about doing a night shift. In time, maybe that’s something we’ll explore. The show still has lots of life in it, so I wouldn’t want to distract from what we’re doing now. But I think there’s a potential to do all the craziness that comes out at night.

Like Dr. Al-Hashimi, you’ve had experience being the newcomer joining a well-oiled machine. Tell me about becoming a writer on “ER” in Season 6.

I hated it when I first went on. They had done so many stories already, and there were multiple stories told per episode, so they had gone through so many stories that it seemed like anything I suggested was already done. They all felt like Ivy League professors and I was a college dropout; I felt like I so didn’t belong there. I remember calling my wife and saying, “I hate this. This is horrible. I should never have left ‘Jag.’” But over time, I found my way and found my voice on the show.

That was the season with one of the episodes I revisit often — when Dr. Carter (Wyle) gets stabbed.

I remember having a big debate over whether Kellie Martin’s eyes should be open or closed. I was adamant that she had to have her eyes open. I’m glad I won, but that was intense. The whole show was very intense.

George Clooney has teased that he would be open to the idea of appearing on “The Pitt.” Could you see a world where that happens?

I take that with a grain of salt but, hey, I’m up for anything. I’ll try anything once.

What I appreciated about the season finale last year, especially in this world of TV where you feel like you need to have this epic cliffhanger, was how true to life it felt. Since you’ll be shooting the finale in January, what can you share about how you’re thinking about it?

There’s something really fun at the end of this season. I hope that we do it as a little Easter egg for the fans in the finale, so I’m looking forward to doing that.

The emotional one-off special last year saw Stephen Mulhern break down in tears.

ITV has commissioned three more Accidental Tourist specials which will see Stephen Mulhern joined by Ant and Dec in a bid to face more of his fears and phobias.

During an episode which aired late last year, the presenter travelled to South Korea and filmed emotional scenes as he reflected on the death of his dad.

Speaking about his late dad, Christopher, Stephen broke down in tears, saying: “As a family, we know what we like and that’s what we do, and we always have. I am scared, I find my phobias so frustrating, but it’s time to make change, and the change is now.”

The episode saw Stephen attempt to overcome his food phobias and fear of the sea, and continued after mentioning his late father: “If I was to tell my dad this, my dad passed away at the start of the year…sorry.” Struggling to get his words out, he whispered: “He wouldn’t believe it. I hope… he’d be proud.”

ITV has now confirmed Stephen will embark on an unknown journey and leave behind his creature comforts.

The broadcaster teased: “Travelling to South Korea opened Stephen’s eyes to a brand new culture, but there is still a long way to go.

“The trip proved such a success that Stephen made some much needed changes to his life back in the UK, but he’s slipping back into his old ways.

“Not wanting to undo the impressive progress he’d already made during his trip to South Korea, Stephen has decided he needs to spread his wings further and who better to help once again than his close pals Ant and Dec.

“With their support, further encouragement from his family and a little help from social media, Stephen will again find himself thrust into the unknown as he attempts to navigate unfamiliar territories in the hope to quell some of his life limiting phobias.”

Stephen shared: “The response to my trip to South Korea has been so overwhelming and the amount of people that related to the worries and fears I have has blown me away.

“I was so proud of what I achieved that I planned to book a trip to Japan on my return, but what did I do instead? I booked an all inclusive trip to the Algarve!

For the latest showbiz, TV, movie and streaming news, go to the new ** Everything Gossip ** website

“I don’t want to undo the good work I achieved so I’ve asked Ant and Dec to help me again. I need that little loving shove in the right direction, otherwise I fear I’ll slip back into my old ways.

“I’m still scared but this time I’m a little excited too, I know I can do this…. Or at least give it a good go!”

Ant said: “We are so proud of Stephen, we never thought he would accomplish what he did in South Korea – if we’re honest, we weren’t even sure he’d get on the plane! We loved seeing how much of a positive impact the trip had on his life, but we’ve noticed his old ways creeping back in… so when he said he was up for another trip, we were only too happy to oblige.

Dec added: “Unbeknown to Stephen, we have a long list of places we’d love him to experience that will hopefully help him get over more of his fears and phobias, which we know he’s keen to try and conquer. We can’t wait to see what he will accomplish during his next adventures!”

Sue Murphy, Director of Factual Entertainment and Kate Teckman, Head of Development and Commissioning Editor also said, “We are delighted to be building on the success of the Accidental Tourist with Ant and Dec and Stephen with this exciting new series. The audience has clearly enjoyed seeing them together in a new light in such a personal project, as have we.”

Accidental Tourist is available to watch on ITVX

A fan-favourite star from Stranger Things took on a minor Game of Thrones role before becoming a household name

Joseph Quinn, known for his role in Stranger Things, had a minor part in HBO’s smash-hit fantasy series Game of Thrones, and fans are just now discovering this unexpected link.

The British actor is most recognised for his portrayal of the standout character Eddie Munson in the fourth series of Netflix’s popular supernatural horror drama.

He has since secured the iconic role of Johnny Storm, also known as the Human Torch, in Marvel’s The Fantastic Four: First Steps and will be playing George Harrison in the eagerly awaited four-part Beatles cinematic event.

However, before he became a familiar face, he played a small role in the seventh and penultimate season of Game of Thrones as Koner, a soldier loyal to House Stark.

In the episode titled The Spoils of War, Koner is seen guarding Winterfell’s gate alongside fellow soldier Henk (played by Danny Kirrane) when Arya Stark (Maisie Williams) arrives and insists on being let in, reports the Express.

The soldiers mock her and dismiss her, believing Arya to be dead, and instruct her to leave when she requests to see Jon Snow (Kit Harington), who they inform her is thousands of miles away.

Eventually, Arya manages to bypass the soldiers by warning them of severe repercussions if her sister and the castle’s head, Sansa Stark (Sophie Turner), learns of their refusal to let her in.

Koner and Henk argue over who will accompany her to Sansa, while Arya seizes the opportunity to sneak through the gates.

Viewers who haven’t watched the episode since its original broadcast in 2017 were left gobsmacked after a recent Reddit discussion jogged their memories about the Stranger Things actor’s early television role.

“I was today years old when I realized that Joseph Quinn (who plays Eddie in Stranger Things) was also in GoT!” one fan wrote.

Another viewer on X recently made the connection as well, writing: “Love when you go back to an older show and notice a now established actor in the start of their career.

“Joseph Quinn in Game of Thrones. Never realised he was in it.”

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Sky is giving away a free Netflix subscription with its new Sky Stream TV bundles, including the £15 Essential TV plan.

This lets members watch live and on-demand TV content without a satellite dish or aerial and includes hit shows like Stranger Things.

Interestingly, Quinn’s episode was helmed by Matt Shakman, who would later go on to direct him in The Fantastic Four.

The actor has also featured in films including Gladiator II and Warfare, as well as BBC dramas Strike and Small Axe.

He’s set to return as the Human Torch in Avengers: Doomsday, which arrives in cinemas towards the end of 2026.

Stranger Things is available to stream on Netflix. Game of Thrones is available on Sky and NOW.

**For the latest showbiz, TV, movie and streaming news, go to the new **Everything Gossip** website**

A fundraiser aimed at keeping Mickey Rourke housed has hit the brakes temporarily after the Oscar-nominated actor rejected more than $100,000 from fans and supporters earlier this week.

On Thursday, the GoFundMe page had a “donations paused” tag on it while Kimberly Hines, Rourke’s manager of nine years, addressed the situation in an update.

“Thank you so much for your generosity and for standing with Mickey during this time,” she wrote. “Your support truly means a great deal to us, and we are grateful for every donation. We remain committed to finding a resolution and are working with Mickey to determine the next steps.”

Rourke, 73, said in a video posted Monday that he didn’t know who set up the campaign. The effort, ostensibly aimed at keeping Rourke in his home when he faced eviction because of nearly $60,000 in unpaid rent, was set up Sunday by members of his management team and raised more than its $100,000 goal by Tuesday morning. Dozens of the more than 2,700 people who donated also posted messages about how much the actor’s films had meant to them over the years.

“I wouldn’t know what a GoFund foundation is in a million years,” said Rourke, who was a leading man in the 1980s with movies including “Barfly” and “Angel Heart” and was Oscar-nominated for his work in 2008’s “The Wrestler.” “My life is very simple and I don’t go to outside sources like that.”

He said later in the video that he “would never ask strangers or fans for a nickel. That’s not my style. You ask anyone who knows me. It’s humiliating and it’s really f— embarrassing.”

Rourke said that he wound up in “a really bad situation” with the house he had been renting for years in Beverly Grove. New owners bought the place, wouldn’t fix anything, he said, and raised the rent to $7,000 a month from $5,200. He alleged that the floors were rotted, there was no running water in a couple of places there should have been and the place was infested with rodents.

Rourke was served with notice of eviction in December, with the landlords also looking to recapture $59,100 in unpaid rent for 2025. Ricardo Villalobos, the attorney representing owner Eric Goldie in the eviction case, did not reply to The Times’ request for comment about Rourke’s allegations. The eviction paperwork, reviewed by The Times, was filed Dec. 29.

Hines did not respond to The Times’ request for comment but spoke with the Hollywood Reporter on Tuesday, telling the trade that it wasn’t true that Rourke didn’t know the origins of the fundraiser. She validated some of the things he said about the condition of the property and added a few details of her own. In her GoFundMe update Thursday, she included a link where donors who wanted a refund could submit a claim. The fundraiser lists Hines as the beneficiary.

She told the trade outlet that she and her assistant ran the fundraiser idea past Rourke’s assistant and everyone thought it might be helpful. Hines and her assistant arranged for movers and a U-Haul to help Rourke, got the “Iron Man 2” villain and his three dogs out and into a nearby hotel and secured an apartment for him to move into soon in Koreatown, she said, before his landlords were to change the locks that day on what she called an “uninhabitable” house.

“Nobody’s trying to grift Mickey. I want him working. I don’t want him doing a GoFundMe,” said Hines, who fronted the money Rourke needed in an “emergency” situation. “The good thing about this is that he got four movie offers since yesterday. People are emailing him movie offers now, which is great because nobody’s been calling him for a long time.”

The actor “doesn’t know the word moderation,” she told THR. “So he either has a lot or has nothing. He lives check to check.” Hines said it was time for a reality check with her client about living within his means off Social Security and income from any work that might come his way.

In his video, Rourke took some responsibility for his situation.

“Listen, I’ve done a really terrible job in managing my career. I wasn’t very diplomatic. I had to go to over 20 years of therapy to get over the damage that was done to me years ago, and I worked very hard to get through that,” the “9½ Weeks” star said. “I’m not that person anymore.”

After telling supporters they should get their money back, he added, “Like all storms, this’ll pass, and I’ll go to work and things will get back to whatever normal is.” Until then, don’t worry about him, he said, because he’s grateful for what he has.

“I’ve got a roof over my head, I’ve got food to eat. … I don’t need anybody’s money, and I wouldn’t do it this way. I’ve got too much pride. This ain’t my style.”

The total amount pledged to the fundraiser had dropped from more than $100,000 earlier this week to a little less than $97,000 Thursday after it was paused. Late Wednesday, Rourke’s Instagram page reposted a World Boxing News story summing up the reason for the pause.

A snapshot of fire-ravaged Altadena is laid out before me, hovering like a diorama. My eyes zero in on a red door, its frame one of the few surviving remnants of a home. I pull it closer to me, and in moments I see a fraction of the house as it once was — now I’m in a cozy kitchen with blurred but welcoming pictures in the background and a grandfather celebrating a birthday. A voice-over tells me that it was Alexander, a grandfather, who painted the door red.

It’s as if a memory has sprung to life and exists solely in the ether in front of me. But in seconds it’s gone, and I see only rubble — scattered bricks and tiles, tree branches and wooden boards.

I shed a tear, but it’s obscured by the virtual reality headset I’m wearing. I am experiencing a work-in-progress segment of the multimedia documentary “Out of the Ashes,” which will be previewed Friday evening at a Music Center event demonstrating how emerging technologies can help people process collective experiences such as the L.A. fires.

Musician David Low and his family in virtual reality film “Out of the Ashes,” which shows the destruction — and reconstruction — of the Palisades and Eaton fires.

(The Mercantile Agency)

Filming is continuing on the project, which began just days after the flames ignited. Filmmaker, academic and virtual reality pioneer Nonny de la Peña secured media access to the burn zones for her and a small team via her role as the program director of narrative and emerging media at Arizona State University, which she operates out of offices in downtown Los Angeles. “I knew that this was going to be transitory type of situation, that it was going to change quickly,” says De la Peña, co-director on the film with Rory Mitchell. “I’ve covered enough disaster stories to know how huge this was.”

De la Peña has long been at the forefront of merging immersive technologies and journalism. Her 2012 project “Hunger in Los Angeles,” for instance, was the first VR documentary to screen at Sundance. “I think this technology is unique,” De la Peña says. “I’ve seen a lot of helicopter footage, but when you’re right there in it, it’s a different perspective as to what happened.” For this documentary, she partnered with Mitchell, an independent filmmaker, whose augmented-reality tabletop experience “The Tent” premiered at SXSW last year.

In my preview of “Out of the Ashes,” one segment whisks me to the coastline. If I angle my head down, I see the glistening lights of the Santa Monica Pier. Look up ever so slightly, however, and the sky is charred red and black. I hear a cello, and soon musician David Low stands before me, recounting the day the flames began and the rush to remove his young son from school to help rescue a smattering of heirlooms.

The family saved a few plushies and a couple prized musical instruments, but in the urgency to leave, not much else. He sits at a kitchen table, reconstructed in VR from family photos, but the rest of the home has vanished. As I see glimpses of Low’s home before and after the fires, I again feel as if I’m standing in a liminal space, a remembrance but also a reminder. Low exists only as a 3D figure before me, but I wish I could reach out my hand.

The instinct to extend a hand feels natural in virtual reality, as it’s visceral and creates a sense of presence. And it also seems a part of the mission for “Out of the Ashes,” a work as much about the effects of the fires as it is a vessel for collective grief and empathy. “Sometimes, you just need someone to say, ‘Hey, I’m sorry that happened to you.’ Sometimes you just need someone to hug you,” says De la Peña. “When you lose that much, it’s sometimes hard to fathom.”

Landscape architect Esther Margulies discusses which trees did and didn’t burn in the Palisades and Eaton fires in the virtual reality film “Out of the Ashes.”

(The Mercantile Agency)

Adds Mitchell, “We understand the numbers and acreage,” he says before rattling off a host of fire statistics. “But it’s only through story that we can begin to wrap our hearts and brains the scale of the emotional devastation, and the psychic pain that the city has gone through. Maybe this can provide a way into this collective pain and a way to talk about it.”

Another aspect of “Out of the Ashes” is augmented reality, which will also be shown at the Music Center event. The tech is used to capture short snapshots of scenes from Altadena and the Palisades.

Retired professor Ted Porter, for instance, recalls buying a loaf of his late wife’s favorite bread when the winds first started, thinking he may need something to nibble on if the power went out. Melissa Rivers talks of grabbing photos of her late father, and running for her mother’s Emmy, recalling how meaningful the award was to Joan. “I don’t know why I grabbed what I grabbed,” Rivers says. “It’s just what I did.” They’re short scenes in which a small item floats before us, and they’re reflective of life’s unpredictability, but also how, in times of stress, our minds race to the symbols that truly matter to us.

“Part of what this process is, is trying to provide a space for the folks directly affected by it, who are trying to rebuild their lives and explain to their children what happened,” Mitchell says. “Everyone is going to process at difference speeds and in different ways, but to do that collectively and communally is the hope with this.”

The Friday event, officially dubbed the Music Center’s Innovation Social: Reflections on Loss, Hope and Renewal, will also include a live musical performance by survivors of the Eaton fire. Guests will additionally have the ability to learn how to use 3D scanning tools via their smartphones to begin to create their own short, memory-filled clips. Acorns will also be given away as representations of resilience, and audio interviews of those who experienced the fires will be collected into a sound collage.

De la Peña and Mitchell say they have more work to do on the film, which, when completed, can be brought to festivals or become its own touring exhibition. “We want people to know what we’ve gone through,” Mitchell says.

And what we continue to experience. One virtual reality segment centers on landscape architect Esther Margulies discussing the effects of climate change and the importance of planting California live oaks — “ember catchers,” says Mitchell — rather than palm trees. In the headset, we see Mitchell standing amid fire-burned trees, a stark, dreadful landscape. This contrasts soon, however, with the surviving oaks, shown standing grandly among empty, otherwise deserted streets. Amid much despair, they’re framed as one small symbol of hope.

When Liz Wilson saw the Eaton fire advancing, from her home in Pasadena last year, she knew that life would never be the same in her corner of Southern California. On Wednesday, the one-year anniversary of the disaster, A Concert for Altadena felt like the most optimistic place to be.

“People didn’t just lose their homes, they lost their community,” Wilson said, in the lobby of the Pasadena Civic Auditorium where scores of local acts had gathered for the benefit show. Organizers booked it to raise funds for the Altadena Builds Back Foundation, and to give locals something hopeful to attend on the painful day of Jan. 7.

“This is not just a fundraiser, but a way to reconnect and show support for community that’s surviving,” she said. “Altadena was and is an arts community, that’s a big part of it. We have so many friends and neighbors continuing to figure out if they’re coming back, if they’re able to rebuild. The more distant you get from it, you may forget. But we haven’t.”

The anniversary of the Eaton and Palisades fires, beginning one of the city’s most difficult years in recent history, was largely marked by quieter reflections on the loss and how much work still laid ahead. But Altadena in particular was a historic community for musicians and artists. For them, getting together for a show felt like a natural way to honor the occasion and look ahead.

Kevin Lyman, the Vans Warped Tour founder and USC music industry professor, is a two-decade Altadena resident who was displaced from his home for four months after the Eaton fire. He organized the concert for the community to use the day to reconnect, and keep focus on the work left to do.

“In this business, I’ve got to be an optimist, and every day I see more trucks coming into Altadena with lumber and workers. You go away for a few days and see a frame of a new home. But then you go to the next block, and there are five empty lots,” he said.

“One of the hardest parts is that if you’re living up there, you can go two miles away and life just goes on,” he added. “You’ve got to remind people that we’re still here, people still can still use help. Artists that survived and reestablished themselves are here supporting artists that haven’t been.”

Altadena resident and actor John C. Reilly hosted the night, noting the resilience of rebuilding efforts and tossing barbs at the utility company Southern California Edison, whose equipment ignited the fire: “A company that prioritized profits for shareholders over improving infrastructure,” as he put it. He pilloried President Trump’s reactions to the blaze: “He told us to go rake leaves? Go f— yourself, dude.”

The night highlighted ground-level activism from organizers like Heavenly Hughes of My Tribe Rise, who led the crowd in a raucous chant of “Altadena’s not for sale.” But the live performances found poignancy in the city’s spirit as a music town. L.A. Latin rock group Ozomatli started the night with a jubilant jam down the aisles, while Everclear’s Art Alexakis noted between riffs that after the Eaton fire displaced him, “I had to live in a hotel for five months, but I’m lucky.”

Travis Cooper drove down from Northern California for the show, moved by the ways Altadena held to its cultural identity after the Eaton fire. His parents lost a home in a fire in Redding a few years back, so “I can relate to how devastating that feels,” he said. “Even the threat of it growing up was horrific, so to have that actually happen was another level. But my parents had people donate clothes, places to stay, and that meant a lot to them, so we wanted to come support this community too.”

The headline act of the night was the Altadena folk-rock group Dawes, whose founders lost homes and gear in the Eaton fire. They’ve become emissaries for the neighborhood within the music industry, performing at last year’s Grammys just weeks after the fire.

At the Pasadena Civic Auditorium, they led a round robin of acts including Brad Paisley, the Killers’ Brandon Flowers, Aloe Blacc, Jenny Lewis and Rufus Wainwright. They were accompanied by vocal virtuosos Lucius and blues-rock rippers Judith Hill and Eric Krasno, each fixtures in the local music community trying to rebuild itself in the wake of the Eaton fire.

Altadena is a deeply intergenerational community, and the crowd felt the decades of L.A. music history in Stephen Stills coming out for Buffalo Springfield’s “For What It’s Worth” next to a younger act like Lord Huron covering the Kinks’ “Strangers.”

Dawes is a veteran L.A. act, and songs like “All Your Favorite Bands” had new texture in the light of how the fire upended the lives of so many artists. “I hope the world sees the same person that you always were to me,” Taylor Goldsmith sang. “May all your favorite bands stay together.”

For those bands still trying to stay together, the night was redemptive. Jeffrey Paradise, the Poolside frontman who lost his home in the Palisades fire, DJed the concert’s official after-party. He’s since relocated to Glassell Park, and acknowledged that the fires are still a challenging topic, for him and for friends trying to support those displaced.

“It’s hard to talk about because so many things are mixed up in it,” he said. “It was the worst year of my life, but also great and heartwarming to see support from people. It’s so hard to answer how you’re doing because I don’t have an easy answer,” he said.

A concert like this was one way to acknowledge the gravity of last year’s loss, but also to raise money to help everyone get back to the land, people and music they love.

“It’s a disaster, and we’re getting through a disaster. I want to be resilient and help others, and do what I can to move forward,” he said. “It forces you to reinvent who you are and redefine what matters. I don’t have an option not to.”

Jim McBride, the Grammy-nominated country songwriter who partnered with singer Alan Jackson on songs including “Chattahoochee” and “Chasin’ That Neon Rainbow,” died Tuesday. He was 78.

“Jim was a good man and a great and genuine songwriter,” Jackson wrote on Thursday in an Instagram story. “He understood country music and touched many with his songs. Jim and I wrote some of my favorite songs together and I don’t know if my career would have ended up quite the same without his help, inspiration, and encouragement in my early years. Thank you Jim, rest in peace.”

Jackson’s photo showed him and McBride as younger men, smiling and holding ASCAP certificates. In 1994, “Chattahoochee” won the Country Music Assn.’s award for song of the year and they were nominated for the Grammy for country song of the year as well.

“I am in shock. I am devastatingly sad. My phone has been ringing and dinging all day, so I hope my friends will understand I’m just not able to talk right now,” songwriter and close friend Jerry Salley wrote Wednesday on Facebook, noting that McBride died after a fall on Monday. McBride had texted Salley just hours before falling, the latter said.

“I’ll never know why he took a chance to write with me” when they met in Nashville in the early 1980s, Salley wrote, “but man, we hit it off, became instant friends, and loved being in the writing room together. He always brought out the very best in me.”

Though best remembered for his Jackson collaborations, McBride’s songs were also recorded by artists including Conway Twitty, Johnny Lee, Johnny Cash, George Jones, Reba McEntire, Alabama, Willie Nelson, Charley Pride, Kris Kristofferson, Randy Travis, Toby Keith and Dwight Yoakam.

“We will greatly miss Mr. McBride — may his legacy live on forever,” the Alabama Music Hall of Fame said Wednesday on Instagram. The hall remembered the songwriter as a “beloved Alabamian, songwriter, friend, mentor, and so much more.”

Born Jimmy Ray McBride in Huntsville, Ala., on April 28, 1947, he began writing songs a child, but didn’t get one recorded until much later.

“The songs just started coming in my head and after a while I decided to try it,” he said in an interview published by American Songwriter at the end of 1997. “I just thought I’d write some songs and bring them to Nashville and see what happened.”

He said he was always drawn to anything about music and learned early on that “that little bitty name beneath the song was the person who wrote the song.”

McBride’s first bid sending songs to Nashville didn’t result in instant success. He knew only one guy in town, songwriter Curly Putman, who served as a mentor.

“Curly gave me good advice and he was always very honest. He told me, ‘Unless I’m honest I can’t help you,’” McBride told American Songwriter. “I’d play him a song and he’d tell me what was wrong with it and he was always right. But if there was something there, he would be sure and let me know that I had done something right. And he always encouraged me to get another opinion, but I never did; his opinion was always good enough for me.”

He saw several of his songs performed in the early 1970s on the show “Hee Haw,” but in the mid-’70s he wound up tucking his dreams away and staying at his job with the U.S. Postal Service. Even then, he kept writing songs with Roger Murrah, who would be a Grammy nominee in the early 1990s for “Don’t Rock the Jukebox,” recorded by Jackson.

He promised Murrah and others that he would return to Nashville if he got “that big lick.” Then came Conway Twitty, who wanted the song “A Bridge That Just Won’t Burn.”

“Roger called me one night and said, ‘I guess you need to pack your bags, we’ve got Conway’s next single,’” McBride told American Songwriter. “I quit the post office the day after Christmas, 1980, and then started work the first of January with Bill Rice and Jerry Foster. The only other writer they had was Roger Murrah.”

Events at that time were bittersweet for McBride, whose mother — his biggest musical influence growing up — died of cancer in 1981. She was buried the same day he was supposed to get his first music award, for “A Bridge That Just Won’t Burn.”

That September he had his first No. 1 hit, “Bet Your Heart On Me,” with singer Johnny Lee. And he fine-tuned his songwriting.

“I don’t think I’d ever had a bridge in a song until I moved here,” he told American Songwriter. “Another thing I had to unlearn was that I wasn’t Kristofferson. I cut back on the poetic stuff. I was writing a lot of stuff where every line had to be brilliant. Through the years, I learned to write conversational lines.”

McBride didn’t have a hit single again for six years, until Waylon Jennings recorded “Rose in Paradise,” his last No. 1 track, in 1987.

“I had songs on 14 albums and couldn’t get a single,” McBride told Huntsville’s News19 in 2023. “Randy Travis kinda kicked the door open and Waylon.” After that, McBride said, “Things started picking up.”

That’s when he met Alan Jackson, with whom he would have four No. 1 hits, “Chattahoochee” being the biggest of them.

“He said, ‘Will you write with me?’ And I said, ‘Yeah, let’s get together,’” McBride told News19. “So, we got together and hit it off just like that. It was like writing with myself, really.”

McBride was inducted into both the Nashville Songwriters Hall of Fame and the Alabama Music Hall of Fame in 2017 and was a past president of the Nashville Songwriters Assn. International.

But for more than 30 years, that hit song “Chattahoochee” was a part of his life — especially the one line at the beginning where it talks about it getting “hotter than a hoochie coochie” down on the Chattahoochee River, which borders Alabama and Georgia. Everyone wanted to know what that meant, apparently.

“Alan got tired of everyone asking him,” McBride told News19. “He told everybody to call me, and they did. When the county fair would come to town, there was always a side show with the hoochie coochie girls. So that’s what I was thinking. And the deal was if you were a young man, you’d try to get in there before you were 18.”

And why, pray tell?

“They’ll show you a little bit,” he said, “but you’re going to have to pay if you see any more.”

McBride is survived by his second wife, Jeanne Ivey, and sons Brent and Wes from a previous marriage.

The contemplative cinema of Béla Tarr was as excruciatingly beautiful as it was brazenly original, often conjuring comparison to the work of a master painter.

His stark black-and-white imagery in assiduously long takes with creeping camera movements — hallmarks of his filmmaking — demanded that the viewer pause to look, to see, as one might in regarding a Picasso or a Bruegel.

Tarr’s revolution in form, however, cannot be separated from the radical humanity of his filmmaking. In a concentrated collection of 10 features over less than four decades, his gaze was fixed on the resolute dignity of his marginalized and downtrodden characters, which elevated his work beyond the realm of cinephile contemplation.

With the death of the Hungarian master on Tuesday at age 70, that enduring humanity makes his work as essential as ever.

“I despise stories,” Tarr once explained to an interviewer, “as they mislead people into believing that something has happened. In fact, nothing really happens as we flee from one condition to another. … There are only states of being — all stories have become obsolete and cliched, and have resolved themselves. All that remains is time.”

His films typically did not concern themselves with the plot of individual lives, which in reality are revealed in retrospect, if at all. They focused instead on human experience as it unfolds, moment by uncertain moment, capturing everyday foibles, errors and foolishness in the face of quotidian ruthlessness. As in Samuel Beckett’s tragicomic theater and novels, Tarr’s movies, by turns funny and heartbreaking, dignify human struggle with an uncommon tenacity of vision and empathy.

Some of Tarr’s most memorable scenes feature landscapes, often bleak and despairing settings of decaying Hungarian towns, punctuated with close-ups of characters’ faces. Asked by film historian David Bordwell about this juxtaposition, Tarr replied: “But the face is the landscape.”

Tarr arrived in the late 1970s declaring his intention to “kick in the door” of contemporary cinema. He did so, more than once.

He announced himself with a trilogy of domestic dramas. “Family Nest,” “The Outsider” and “The Prefab People” focused on couples and individuals trapped by commonplace struggles and social constraints, a thematic affront to late-communist Hungary. Featuring handheld camerawork and frequent close-ups, these early works evoke the quasi-improvisational style of John Cassavetes smothered in claustrophobia.

Tarr followed with a TV adaptation of “Macbeth” (1982), filmed in two shots, the second lasting more than an hour. After a brief experimentation two years later with a wild palette of color in “Almanac of Fall,” he returned to his discoveries in “Macbeth,” a stylistic transformation that would define the rest of his career.

“Damnation” (1988) opens with an extended shot of a system of towers and cables transporting vast buckets of mining materials across a desolate plain. A harsh grinding of the elevated cable system is the only sound. (In Tarr films, sound features as evocatively as image.) Slowly the camera pulls back to reveal an interior window, and then the back of a man’s head in silhouette, as our protagonist watches the monotonous procession.

The audience experiences the scene of agonizing beauty as the man does. We remain with him throughout the movie, as we follow his futile pursuit of a married cabaret singer with whom he is irrevocably in love. The story does not unfold as a typical narrative, but in a series of scenes that feel distinct yet unified, like a collection of short stories.

Tarr worked with a common team of filmmakers in nearly all his films, including his longtime partner and editor, Ágnes Hranitzky, cinematographer Fred Kelemen, composer Mihály Víg and a core group of actors.

“Damnation” marked Tarr’s first collaboration with his friend László Krasznahorkai, the Hungarian novelist and 2025 Nobel Prize in Literature winner. The pairing of literary and filmmaking masters, which spanned five features over a quarter of a century, recalled that of Graham Greene and Carol Reed, but nothing in movie history quite compares.

Tarr’s two greatest works, “Sátántangó” (1994) and “Werckmeister Harmonies” (2000), were based on Krasznahorkai‘s novels (the latter derived from his “The Melancholy of Resistance”). The books are cornerstones of Krasznahorkai’s Nobel-winning oeuvre, and the films are two of the defining movies of their era and established Tarr as a giant of cinema.

“Sátántangó” is an epic equivalent in running time to some four feature films, which Susan Sontag called “devastating, enthralling for every minute of its [more than] seven hours.” It often appears on critics’ lists among the greatest films ever made.

The movie follows a group of petty cheats, liars and drunks who are duped by nefarious opportunists who visit their crumbling town. Tarr employs the extended take to even greater lengths, creating an exquisite manipulation of our sense of time, and some of the most memorable scenes in modern filmmaking.

In “Werckmeister Harmonies,” another opportunist visits another desperate town, this time accompanying a traveling exhibit of a preserved whale. The depictions of mob violence are chilling evocations of the darkest moments of the 20th century. The culminating episode, as the mob smashes and ransacks a hospital and terrorizes its patients, ultimately reveals a frail elderly man, standing naked and alone in an empty bathtub as the club-wielding assailants approach. His appearance, stopping them in their tracks, is one of the most heartrending moments of any movie.

Tarr followed with “The Man From London,” which he and Krasznahorkai adapted from a novel by Georges Simenon, about a seaside railway signalman who confronts a moral quandary involving a murder mystery.

In 2012 came “The Turin Horse,” in which director and novelist reimagined the story of the whipping of a horse in the Italian city that was said to have triggered philosopher Friedrich Nietzsche’s mental breakdown. The movie follows the unfortunate horse as it is led away by its owner to his rural home he shares with his daughter. Their repetitive routines and the young woman’s daily burdens are reminiscent of Chantal Akerman’s classic “Jeanne Dielman.”

After the release of the film, among his most acclaimed, Tarr stunned the film world by announcing it would be his last feature. He was just 56 at the time.

He went on to open an international film school in Sarajevo, Bosnia-Herzegovina, known as film.factory, which continued until 2017, and he produced a number of movies.

Tarr was long outspoken in denouncing authoritarian governments, whether Hungary’s old communist model or the current populist nationalism of Hungarian Prime Minister Viktor Orbán, France’s Marine Le Pen and President Trump. He supported students at the University of Theatre and Film Arts in Budapest — his former school — who had occupied their campus in 2020 in protest of Orbán’s policies.

In 2019, Tarr embarked on one more film-related project, “Missing People,” an exhibition at the annual Vienna Festival. The film portion of the program, according to reports about the event, featured the faces of some 270 homeless people living in the Austrian capital.

The project appeared a few months after Orbán’s adoption of a Hungarian law that essentially criminalized homelessness. A final act in the radical humanity that was the art of Béla Tarr.

The Directors Guild of America announced its nominations Thursday for outstanding directorial achievement in theatrical feature film, offering one of the clearest snapshots yet of the Oscar race for director as guild voters begin to weigh in.

Nominated for the DGA’s top film award are Paul Thomas Anderson for “One Battle After Another,” Ryan Coogler for “Sinners,” Guillermo del Toro for “Frankenstein,” Josh Safdie for “Marty Supreme” and Chloé Zhao for “Hamnet.”

Winners will be announced at the 78th annual DGA Awards on Feb. 7 at the Beverly Hilton.

The DGA award remains one of the strongest predictors of Oscar success. Twenty of the last 23 recipients of the guild’s top directing prize have gone on to win the Academy Award for best director. Last year’s DGA winner, “Anora” director Sean Baker, went on to repeat at the Oscars.

Several of this year’s nominees are familiar figures to the guild. Anderson’s nod for “One Battle After Another” marks his third time being recognized by the DGA in the top film category, following his earlier nominations for “There Will Be Blood” and “Licorice Pizza.” Zhao, who won both the DGA Award and the Oscar for “Nomadland,” receives her second nomination for the wrenching period drama “Hamnet,” making her one of a small group of women — including Jane Campion, Kathryn Bigelow and Greta Gerwig — to be recognized more than once by the guild.

Del Toro, who won the DGA Award for “The Shape of Water,” earns his second career nomination in the category for his long-gestating “Frankenstein” adaptation, while Safdie receives his first DGA nomination for theatrical feature film for his gonzo sports drama “Marty Supreme.”

The DGA nominations often track closely with the Oscars in part because of overlapping membership: most directors in the Academy are also members of the guild. While the groups vote independently, that shared base has made the DGA one of the most reliable bellwethers in the Oscar directing race.

This year’s DGA nominations overlap significantly with the Golden Globe nominations for directing, which also included Anderson, Coogler, del Toro and Zhao. The Globes additionally recognized Jafar Panahi for “It Was Just an Accident” and Joachim Trier for “Sentimental Value,” two filmmakers who didn’t appear in the DGA lineup. The differences highlight the contrasting makeup of the Globes’ voting body of international critics and the DGA’s more industry-focused membership.

The guild also announced nominees for the Michael Apted Award for outstanding directorial achievement in a first-time theatrical feature film, a category that has increasingly served as a spotlight for emerging talent. This year’s nominees are Hasan Hadi for “The President’s Cake,” Harry Lighton for “Pillion,” Charlie Polinger for “The Plague,” Alex Russell for “Lurker” and Eva Victor for “Sorry, Baby.” Last year’s Apted Award winner, RaMell Ross, went on to earn a best picture Oscar nomination for “Nickel Boys.”

Television, documentary and other DGA nominations were announced earlier this week, recognizing directing work across drama, comedy, limited series and nonfiction programming. In dramatic series, nominees included “Severance,” “Andor,” “The Diplomat” and HBO Max’s “The Pitt,” while comedy series nominees included “The Bear,” “Hacks,” “The White Lotus” and Apple TV+’s “The Studio.”

All you need to know about the 24k Magic singer’s latest tour

Bruno Mars is back with a new project, a decade after his last solo release.

Here is everything you need to know about the tour dates and how you can get your hands on the hotly anticipated tickets.

The tour is entitled ‘The Romantic tour’ and will show the Grenade singer showcasing songs from his new album ‘The Romantic’, which is released on February 27.

What are the UK dates?

• July 18, 2026: Wembley Stadium, London
• July 19, 2026: Wembley Stadium, London

Though there do seem to be gaps within his tour dates across the summer, leading fans to speculate more dates in separate venues in the UK.

Expect a setlist that spans his entire career, from the wedding-favourite “Marry You” to the high-energy “Perm,” and his recent Silk Sonic hits.

The full tour list:

• April 10 — Las Vegas — Allegiant Stadium
• April 14 — Glendale, Arizona — State Farm Stadium
• April 18 — Arlington, Texas — Globe Life Field
• April 22 — Houston, Texas — NRG Stadium
• April 25 — Atlanta — Bobby Dodd Stadium at Hyundai Field
• April 29 — Charlotte, North Carolina — Bank of America Stadium
• May 2 — Landover, Maryland — Northwest Stadium
• May 6 — Nashville — Nissan Stadium
• May 9 — Detroit — Ford Field
• May 13 — Minneapolis, Minnesota — U.S. Bank Stadium
• May 16 — Chicago — Soldier Field
• May 20 — Columbus, Ohio — Ohio Stadium
• May 23 — Toronto — Rogers Stadium
• May 24 — Toronto — Rogers Stadium
• June 20 — Paris — Stade de France
• June 21 — Paris — Stade de France
• June 26 — Berlin — Olympiastadion
• July 4 — Amsterdam — Johan Cruijff Arena
• July 5 — Amsterdam — Johan Cruijff Arena
• July 10 — Madrid — Riyadh Air Metropolitano
• July 14 — Milan — Stadio San Siro
• July 18 — London — Wembley Stadium Connected by EE
• July 19 — London — Wembley Stadium Connected by EE
• Aug. 21 — East Rutherford, New Jersey — MetLife Stadium
• Aug. 22 — East Rutherford, New Jersey — MetLife Stadium
• Aug. 29 — Pittsburgh — Acrisure Stadium
• Sept. 1 — Philadelphia — Lincoln Financial Field
• Sept. 5 — Foxborough, Massachusetts — Gillette Stadium
• Sept. 9 — Indianapolis, Indiana — Lucas Oil Stadium
• Sept. 12 — Tampa, Florida — Raymond James Stadium
• Sept. 16 — New Orleans — Caesars Superdome
• Sept. 19 — Miami — Hard Rock Stadium
• Sept. 23 — San Antonio, Texas — Alamodome
• Sept. 26 — Air Force Academy, Colorado — Falcon Stadium at the United States Air Force Academy
• Oct.2 — Inglewood, California — SoFi Stadium
• Oct. 3 — Inglewood, California — SoFi Stadium
• Oct. 10 — Santa Clara, California — Levi’s Stadium
• Oct. 14 — Vancouver — BC Place

How can I buy tickets for Bruno Mars’ 2026 World Tour?

If you don’t want to feel ‘locked out of heaven’ when tickets go live then make sure that you are ready to secure them as soon as they get released.

• The O2 priority presale starts on January 14 at 10am
• The general sale is on January 15 at 10 am

The main resale platforms to find tickets are Viagogo, Seat Unique, and StubHub.

What songs will appear on the Setlist?

Whilst the tour will feature many songs from the upcoming album, the following list is an indication of what fans can expect to hear.

1. 24K Magic
2. Billionaire
3. Marry You
4. Just the Way You Are
5. Liquor Store Blues
6. When I Was Your Man
7. Straight Up & Down
8. Chunky
9. Treasure
10. I Took Your Phones Away

In between such pistol-packing antiheroes as Bonnie Parker and Luigi Mangione, financially-squeezed Americans rooted for Tony Kiritsis, a working stiff who took his mortgage lender hostage in 1977 Indianapolis, claiming that the loan company cheated him out of his land. “Dead Man’s Wire,” the title of Gus Van Sant’s wonky true crime caper, comes from Kiritsis’ weapon: a shotgun tied to a noose looped around the neck of his prisoner, Richard Hall. His hair-trigger homemade contraption pressured all three major networks into giving Kiritsis airtime to explain his grievances to the public. Pressing a sawed-off barrel to Hall’s head, the hot-tempered chatterbox told the cameras, “I am sorry I humiliated this man this way, even though he must’ve surely had it coming.”

To the establishment’s horror, many viewers sided with Kiritsis. “How about some Tony Kiritsis t-shirts, some Tony Kiritsis badges, a Tony Kiritsis fan club?” one supporter wrote to the local paper, the Indianapolis News.

Or how about a biopic that fires blanks?

Van Sant has long taken aim at the intersection of violence and mass media culture. Over his career, he’s attacked it from several angles, including the fame-seeking satire of “To Die For,” his elegy for the publicly out politician of “Milk” and the clinical ennui of “Elephant,” his take on the Columbine massacre, in which his pair of teen killers numb themselves with grisly entertainment. Kiritsis’ story is an irresistible target: an ignored man thrilled to have the attention of the spanking new Action News squads who barge onto the scene unprepared for the risk they might broadcast an on-air murder.

But this time, Van Sant seems more interested in the period-piece décor and the aesthetics of early video footage (the cinematography is by Arnaud Potier) than he is in the bleak humor of Kiritsis’ televised tirade cutting to a burger commercial. The result is a faintly comic curio that hurtles along without much impact.

The mishaps start when Kiritsis (Bill Skarsgård) storms Meridian Mortgage’s office only to discover his intended captive, the ruthless M.L. Hall (Al Pacino), is away vacationing in Florida. Hall’s cowed and coddled son Richard (Dacre Montgomery) will have to do, even though the real estate scion is so passive that he barely bothers to fight for his life. If you’ve seen the original footage of the bizarre press conference where Hall, a twitch from assassination, stares blankly past the flashbulbs, then you know that Van Sant and Montgomery (the “Stranger Things” bully cast against type) get their victim exactly right while robbing Kiritsis, and the audience, of a worthy adversary. In one cold yet weightless moment, the boy-man realizes his own dad might not care whether he survives.

At least the younger Hall’s dull demeanor — then coded as dignity, now as soullessness — makes Kiritsis seem more alive. The real Kiritsis was short-statured with a car salesman’s sideburns; he had the kind of face you only see onscreen during competitive bowling. Lanky, hunched and fragile, Skarsgård’s version isn’t quite as salt-of the-earth, although he’s captured his rapid patter and the burning menace in his eyes. He plays the role somewhere between a soapbox preacher and a “Scooby-Doo” episode that imagines Shaggy unmasking a money-grubbing bad guy and threatening to beat him to death.

Kiritsis is so convinced of his righteousness that he genuinely believes the mortgage company’s manipulations, not his own murder threat, to be the big story. When Hall proves too mute to debate, Kiritsis vents to a radio disc jockey named Fred (Colman Domingo), even though Fred is more interested in smooth tunes than hard news. (Springboarding from this and his perky TV host role in “The Running Man,” Domingo needs to star in his own comedy stat.) Won’t someone, even an inessential young reporter played by Myha’la, poke into the alleged scam?

Yet despite how often Austin Kolodney’s script has Kiritsis say he just wants to be heard, the soured mortgage deal is so impossible to follow that even the movie itself deems it unnecessary. Our attention pivots to the futility of this self-described “little guy” trying to get someone with clout to take him seriously. In this period, criminal psychology was just starting to go mainstream. An FBI agent (Neil Mulac) instructs the Indianapolis cops to think deeper about Kiritsis’ motivations, wielding chalk to illustrate how anger is rooted in humiliation and disrespect. Kiritsis is screaming mad and the police’s yawns aren’t helping.

Today, Kiritsis would have a podcast. But cranks like him seem especially at home in the 1970s — the mad-as-hell decade — when their polyester button-downs make them look extra itchy around the collar. It’s easy to picture Kiritsis exiting a double-feature of “Network” and “Dog Day Afternoon” and vowing that he, too, isn’t going to take it anymore.

Van Sant sees the parallels between Kiritsis and “Dog Day Afternoon’s” populist bank robber Sonny Wortzik — heck, he’s even stunt-cast Pacino as the fat-cat financier — but the film doesn’t appear to have the budget to examine how Kiritsis’ anger fires up the cash-strapped masses. It certainly can’t afford to include the real-life scene at an Indianapolis Pacers game where an arena of basketball fans cheered for his not-guilty verdict, although I would have settled for even a bit player who helps us understand why a jury of his peers let him off the hook.

Instead, the movie inexplicably squanders its energy on needle drops that act against the mood: the watery irony of Donna Summer’s “Love to Love You Baby” cooing over an image of Hall handcuffed in a bathtub. Better is Danny Elfman’s spartan and fraught score, particularly the dyspeptic drums.

Was Kiritsis a narcissistic madman or a schmuck who’d put too much trust in the American ideals of hard work and fair treatment? Van Sant alludes to the latter when the televisions keep showing John Wayne on other channels, the gunslinging Duke setting things right in a classic western or winning the 1977 People’s Choice statuette for best actor.

It’s no wonder that Kiritsis figured he’d be a hero, too — and that, in real life, many of the people watching at home agreed — although as obvious as that point is, it would have been nice if Van Sant explored it. At least we get Kiritsis’ sentimental, expletive-laden version of an awards speech which devolves into him thanking his family, Hall’s family and even the police academy before he gets hustled offstage. Kiritsis is certain he’s accomplished something great. We’re glumly aware of how many others are waiting their turn in the wings.

BBC viewers will see the beloved comedy series return to screens on Thursday night with some very familiar faves joining the cast.

Laughter is set to fill BBC screens this evening (January 8) as the second series of a popular comedy returns.

This follows hot on the heels of a new comedy featuring Dawn French and Mark Heap, which debuted on Wednesday night.

Black Ops, which originally launched in 2023, is making its comeback as viewers will see Gbemisola Ikumelo and Hammed Animashaun return as Dom and Kay.

The first series followed two East London police community support officers who unexpectedly found themselves working undercover.

Tasked with penetrating a criminal gang led by boss Tevin (Akemnji Ndifornyen), audiences were treated to a hilarious journey as the pair attempted to stay under the radar whilst Tevin grew increasingly suspicious, reports Wales Online.

Now, the cast reunite for a fresh series, which will feature appearances from Death in Paradise’s Cathy Tyson and Coronation Street’s Nigel Havers.

Discussing his return as Tevin, Akemnji revealed: “Series one was so nice, of course, we had to go and do it twice! Hugely excited to be going bigger, better and blacker for series two.

“Whatever is next for Dom, Kay – and of course Tevin – one thing is for certain, two things are for sure: it’s going to be a wild and thrilling comedy ride! Seatbelts, please!”

A synopsis for the second series reveals it begins with Dom and Kay working for MI5. Despite operating in the secretive world of espionage, their roles in the organisation are far from glamorous as they’re confined to administrative duties.

However, the situation shifts as an overview states: “All that changes when Dom meets a charismatic spy called Steve, offering the promise of more exciting, classified work.

“Dom and Kay soon find themselves embroiled in an escapade that tests their wits, their friendship, and their love of carnival to the limits.”

The series has received glowing reviews from viewers in the past, with one person commenting: “I find UK shows so much more my level of humour and cadence.. This show is excellent.”

**For the latest showbiz, TV, movie and streaming news, go to the new **Everything Gossip** website**

“The chemistry between the two main characters is spot on. It’s smart and funny and drama all at the same time. That’s hard to pull off. It’s a great storyline.”

Another viewer added: “Thought this was hilarious. The two main characters are a blast. And the series’ plot was twisting and gripping enough to also provided enough suspense to make me keep watching to the end. Loved it.”

Black Ops is available to watch on BBC One from 9:30pm

LIZZIE Cundy has revealed the heartbreaking news that her brother has died.

Sharing a picture of her sibling Peter, Lizzie wrote in an emotional tribute: “It is with a heavy heart and great sadness to tell you that my brother Peter has died.”

The TV and radio presenter, 57, added: “We as a family are heartbroken.

“Peter was a much loved son, brother and uncle.

“He worked in theatre, film, had a great love of dogs and of Chelsea FC.

“A real character and a kind soul who will be very much missed.

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“Can’t believe he has gone. Rest in peace dear Pete.”

A number of famous friends commented on Lizzie’s post, with Vanessa Feltz writing: “Lizzie I am so sorry for your sad loss.

“I send you my deepest condolences and my thoughts and prayers are with you and your lovely family. Love always Vanessa.”

GMB’s Charlotte Hawkins wrote: “So sorry to hear that Lizzie, sending huge love to you”.

Lizzie’s loss comes just five months after her best friend, TalkRadio star James Whale passed away following a five year battle with terminal cancer at the age of 74.

The legendary broadcaster, who appeared on Big Brother in 2016, is said to have died “with a smile on his face” following the lengthy battle.

He was first diagnosed with cancer back in 2000 and had to have one of his kidneys removed.

Then, in 2020, the TalkTV host revealed that the cancer had returned in his kidney, spine, brain and lungs.

Lizzie was friends with James for over three decades, and said at the time: “I got the phone call from his lovely wife Nadine and I just burst into tears. Because I knew this day was coming but I never wanted it to come.”

She also described James as a father figure, recalling: “He helped me through a lot of ups and downs, through my divorce.

“He told me when I was being an idiot, he told me straight and I loved that in James.”

Lizzie is a mum to sons Josh and James, who she shares with her footballer ex-husband Jason Cundy.

In the last episode of The Envelope video podcast before the 2026 Oscar nominations, Joel Edgerton describes the transformative experience of making “Train Dreams.” Plus, our hosts share the names they’d like to hear called on nominations morning.

Kelvin Washington: Hello and welcome to another episode of The Envelope. Kelvin Washington, Yvonne Villarreal, Mark Olsen, and it’s great to have you both here as usual and especially when this is our last episode before Oscar nominations. So I’ll start with you, Yvonne. It could be a movie, a director, or some rising star or just anything that you hope once they read those nominations that morning, you’re gonna hear.

Yvonne Villarreal: I’m not going to say the usual suspects because that’s covered. I really want to see Chase Infiniti get nominated for her role in “One Battle After Another.” I just think she’s been such a revelation for me as somebody who watched “Presumed Innocent.” Seeing her in this role — and I don’t want to spoil anything, but she really finds herself in a hairy situation in this film and the way she sort of rises to the occasion and really has a moment of triumph for herself, I think it was just striking to watch. And she’ll be in “The Handmaid’s Tale” spin-off “The Testaments.” I’m really looking forward to see what she does there. But also I’ll say, as somebody who got thrown into the bandwagon of “KPop Demon Hunters” because of my 6-year-old niece, I wanna see that get some love in the animated category.

Mark Olsen: And in the music categories. Best song.

Washington: It better! Do you know how much I have to hear that song in my house with three daughters, 9, 7 and 4 [years old]? Like, I’m going to be “Golden.”

Villarreal: Are they memorized?

Washington: That’s an understatement. It’s to the point I got concerned. Is it like some robotic AI that’s taking over my daughter’s brain? Instantly. That and 6-7. I have to deal with that every day.

All right. Mark, swing it to you. What do you have?

Olsen: Well, you know, the actress Rose Byrne for the movie “If I Had Legs I’d Kick You.” She won a lot of critics’ prizes leading up to the nominations. And I think it’d be so exciting if the filmmaker on that, Mary Bronstein, also got recognized either for the screenplay or as director. You know, Mary’s someone that she made her first film, “Yeast,” more than 15 years ago and had not gotten a second project going and had sort of been living a life and doing other things. And to see her sort of reemerge with this project in particular, which is so powerful and so specific, it would be really exciting — as great as it is to see Rose being rightfully recognized — to see Mary get some attention as well.

Washington: So I’m gonna jump in with a couple. One, because she’s been on the radar for years as just a multitude of things, she’s multifaceted: Teyana Taylor can dance, she can sing, she’s just all of that and now acting alongside Leonardo DiCaprio. Very impressive for her. And not a debut, but maybe for those who aren’t familiar. So I’d be interested to see, I have a feeling we’re gonna hear her name. And then I’m going super popcorn, Raisinets, Junior Mints, going to the theater. “F1,” for me, I know it was kind of —

Villarreal: Whoa, that’s a throwback.

Washington: I know, but hear me out. It was fun. It was just fun. And it’s kind of one of those movies like, you know, you forget that you go to the movies, it’s gonna be a little fun, maybe a little cheesy, but dang it, I’m here. I’ve got my popcorn. All of that. That for me was another one that was like, “Oh man, that’s kind of the moviegoing experience sometimes we’ve forgotten.”

Olsen: And it’s always good to see the Oscars recognize a film like that as well. I mean, it helps just for attracting audience to the telecast. But I think it is important that the Oscars recognize a breadth of filmmaking styles and one of the things that’s so exciting about the movies is that it can be so many different things, from like a really small personal story to some big high-tech film like “F1: The Movie.” And so I think, yeah, to see that recognized in some of the major categories would be really exciting.

Washington: You know why I like Mark? Because he tried to legitimize my choice. And I’m OK with that.

Olsen: There’s no try. You don’t need the help.

Washington: Look at how I look in the camera. You know, why? Because I know someone’s going to be highbrowin’ me right now. And I get it. And I am with you. However, as we know, we can get all the types of mergers and some things will happen. Are people going to be going into movies anymore? And I was sitting in it going, “Oh, yeah, this is kind of what that feels like.” So ha! Take that.

Villarreal: My reaction was more, it had been a while since I heard the title.

Washington: It felt the same.

Villarreal: Sorry!

Washington: I like what I like, OK? I enjoyed it. That’s all I have to say about that.

All right, Mark, coming to you now. We’re talking about Oscar buzz, and just buzz and a lot of traction that someone can get from a role. Talk about Joel Edgerton playing a logger in Netflix’s “Train Dreams.” What was that conversation like?

Olsen: It was a really terrific conversation. This is a movie that premiered at Sundance last year and was picked up by Netflix there. And even though it has that machinery behind it, there is still something that feels very organic about the success of this movie. It genuinely feels like it’s word of mouth that people have been discovering the film. And it has just a really quiet power too. And a lot of that comes from Joel’s performance. You know, he originally pursued the rights to this book himself and wasn’t able to get it, the rights were already taken. And so he sort of like thought, “Oh, well, that’s that.” And then years go by and the project comes back around and he’s offered this role that he’d been so interested in playing. And he feels like it’s hit him at a very specific time in his life.

The [story] is set in the early part of the 20th century. He plays a logger in the Pacific Northwest. And it really is just a portrait of a life. And the story deals with grief and family, and Joel, in the subsequent years, has become a father himself. And he said how, if he’d have played this a few years ago, he thinks it’d be totally different than the way that [he’s] playing it now. Also he is a guy who’s been in the business for a few years now. He has, I think, some really sharp opinions, views on like what this business is, what the industry is like right now and where it’s going. So it was a really terrific conversation to have with him.

Washington: It sounds like it. Let’s get straight to it. Here is Mark and Joel right now.

Joel Edgerton in “Train Dreams.”

(Netflix)

Mark Olsen: As we’re talking, the movie has been building this sense of momentum around it with reviews and awards. And while there is an awards campaign around the movie, there is something about it that feels very organic. This movie seems to be catching on through word of mouth, just people seeing it and responding to it. How do you feel about the response to the movie?

Joel Edgerton: It feels very good. Coming from an independent film background, I love it when small movies make a lot of noise. And I can’t really analyze or diagnose why, but I get this feeling with “Train Dreams” that it means different things for different people and it holds up a bit of a mirror to their own experience, being that the film is really this celebration of an ordinary life and shows the majesty in that. What my character goes through, they’re universal experiences and so people find something of their own experience in it and I think that’s part of the reason why. It’s a small movie but it’s also a very big movie.

Olsen: The other side of that, in a way, you were recently on a red carpet and you were asked about some comments that James Cameron had made regarding movies on streaming services and the awards race. And I don’t know if you want to say anything more about that, but also do you feel like people do somehow hold it against “Train Dreams” that it’s on Netflix?

Edgerton: Look, the world we live in now is so in the hands of the audiences because of social media. I feel like in the old days, well before I was born, we were told who our movie stars were. The studios would make those decisions for us, and things were very narrow. And now people have the power to choose what they want to watch, who they want to watch, they choose the movie stars. They speak about the movies, and Letterboxd, for example, is such a big thing. And in that same vein, it’s really interesting to hear what people, regular people, moviegoers think of how movies should be exhibited, how they feel, regardless of whether they know about the business side of things or not, or why things are the way they are. They have feelings, sometimes very passionate points of view on where and how we should watch movies. And of course, for all of the business side, if we put it aside, I do believe people want to go to the cinema and watch movies.

My comments come from understanding now where I am in my life. I’m all about creativity and all about story, but I do understand business, and I feel like I emerged out of my bubble in Sydney and felt like the whole world of cinema had suddenly changed. My views on streaming had started to evolve just after we showed a movie at Cannes called “The Stranger.” Another very small movie we made down in Adelaide and Netflix picked up the movie and I remember thinking, “Should we go with them?” So many people saw that movie because it was on a streamer. And so my feelings are very mixed and they’re very much tailored to what the movie is — and therefore according to what the movie is and how big or small it is, where it should live. I’m all for pushing to fight for keeping cinema alive and I believe a younger generation feels the same thing. But I also feel like there are chances that some people have that are narrow as they get their start in the business, which means sometimes the first things you can do, you’re not necessarily going to get a 2,000-screen release on your very first movie. So I have many, many opinions about it. But I feel like we all need to fight for cinema. We also sort of hopefully don’t allow streaming, as great as it can be, to take over everything. That’s my feeling.

Olsen: You’re also a producer as well. This feels like we’re in the middle of a transformative moment for the industry. What is it like for you as a person in the middle of that tide, just trying to navigate that for yourself?

Edgerton: Again, it’s all about what is the story and where should it live. My feeling always is that if I ever get behind making something, I want as many people as possible to see it. I also want to have an exchange at the cinema. One of the great things about “Train Dreams” is I’ve done about 50 Q&As so far — I haven’t counted them up, but around that, and we’ll do a bunch more. We’ve been to a number of festivals and we have an exchange with the audience. We get to watch and see people’s reaction to the film in like an analog way. Sometimes the feeling with letting a movie go on streamer without any fanfare is that it feels like it disappears with a whisper, and you don’t get to have that exchange. And I think that’s very important.

My dream would be to make a film exhibited at the cinema, knowing that at some point it will end up on TV screens and in people’s lounge rooms all over the world. And finding the right way to get a balance of both. There’s nothing better than sitting in the cinema and watching a movie with a bunch of other people. The sad thing at the moment [is] it seems — and again, I don’t know the full diagnostics of it — you get a cinema release and you’re there for like two weeks and then you’re replaced by something else. I’m old enough to remember the days where a movie would sit in the cinema for six, seven, eight weeks if it was good.

Olsen: I don’t want to belabor the point, but I’m so curious about this. I’m assuming when you went to the Gotham Awards you were not thinking “I’m going to give James Cameron a piece of my mind tonight.” Do you find in the time that you’ve been doing this, now you may show up to something and you have no idea what someone’s going to ask you, you have to be ready to talk about just about anything?

Edgerton: You’re right, and I never expect a red carpet is a mine field. I do go home sometimes and think, “What did I say?” I knew what I said. And I also stand by what I said. What I don’t love is the process of reduction of someone’s comments. Someone had sent me this thing that said that I “lashed out” or used a word that was quite a violent one, like I was lashing back at James Cameron. I was like, “No, I wasn’t doing that at all.” I actually had a fair and balanced opinion about the fact that James is, excuse the semi-pun, a titan. He is a pioneer and an inventor and we’ve seen that he’s created technology that has made movies better. He can exhibit movies in this broad scale because he’s dared to dream big. And I feel like there’s a world where there are people who are never going to get their first film on 2,000 screens because it’s a small story, movies like “Sorry, Baby.” They’re not 2,000-screen release movies. There’s a world where they live somewhere, whether it’s in small art house cinemas or whatever. So I was like, “All right, don’t make it feel like I’m putting the gloves on and have a fight with James Cameron, because he’s probably going to win if that’s the case.” And that’s certainly not what I was doing at all. Just saying my point of view is slightly different. And I also understand his point of view. But [comedic wrestler voice] “I’ll meet you on the top oval, James. Let’s do it.” I’m not trying to start a fight. I’m a lover, not a fighter.

Olsen: To start talking about “Train Dreams,” you’ve talked a lot about how you read the book around 2018 or so and the rights weren’t available so you set that idea aside —

Edgerton: Sulked a bit.

Olsen: What do you feel like you were responding to then in that book?

Edgerton: I’ve heard the term neo-western, which I understand now, but it didn’t really make sense to me at the time. When I first read the book, we come into the story with this violent act towards the Chinese worker, for anyone who’s seen the film. And I didn’t know Denis Johnson’s work at all at the time. The book had been gifted to me as a wrap gift on “Boy Erased.” I thought, “If someone gives you a book, it means they think there’s some meaning in it for you, that it will resonate with you,” and it did. But I thought, “Oh, this is a western.” And then within a handful of pages, I realized it was a different kind of western. It would look and feel like a western, but it was a rumination on a life itself. Not that it was going to answer the big elusive question of the meaning of life, but swirling questions of what is the purpose of a life and what is in the extraordinary details of a life we may never care to remember because the person is not the great inventor, the great general, the great president or superhero. I love the ordinariness, I love the idea that it resonated with something that my parents had always instilled in me, which is that every single human being has a great story to tell and that we all shouldn’t be considered insignificant. And I just was so moved by the sort of glimpses of one man’s entire life. Wanted to get my hands on it, couldn’t, and I’m happy to say that it’s good that I didn’t get my big fat lumberjack hands on it then. Mostly because I think [director and co-writer] Clint [Bentley] is a remarkably sensitive, excellent filmmaker [and] has done a much better job than I ever would if I was in control of things. And because in the four years since he reached out to me to be in the film, I’d become a dad. And that was like everything to me. And if you’ve seen the film and you know what’s inside of the film, I really believe that my performance, I don’t know what my performance would have been like pre-Joel the Dad, but now that I am a dad, it’s like there’s stuff inside of me that makes this performance possible.

Olsen: But when it came back to you, do you feel like you responded to it differently? Did you recognize that difference right away?

Edgerton: One hundred percent. And I know it, there was a significant moment. Clint came to meet me in Chicago, I was shooting “Dark Matter” and I was very excited that this had somehow come around to me, knowing that I loved the book and the character so much. Then I watched “Jockey” and knew that he was a really solid filmmaker. His adaptation was extraordinary. And then when I met him, I realized as a filmmaker he was like a director version of the central character of the film — kind, honest, generous, a really great observer. And I went home and I spoke to my wife, and she obviously, her two big questions every time I want to do a project [are] when and where. Because it means moving us around, uprooting our family. I told her and Spokane didn’t exactly make her click her heels, because her life is about being plugged into big cities. She said, what’s the story about? And I started trying to tell her the story, and when I got to the stuff that happens to Robert in the middle of the film, and my 1 1/2-year-old twins are in the other room, I couldn’t even finish telling her the story. And I realized then how much the story now kind of terrified me. But also was so much more connected for me. And she watched me, my chin was quivering and and she was like, “All right, I guess we’re going to Spokane.”

Olsen: Have you done a project that felt this personal before? And did that have its own kind of anxiety attached? Did you have any reluctance to do this for the reason that you were connecting to it so strongly?

Edgerton: I feel like I learn something about myself on every job and every time I approach a new job, I always describe it in rudimentary terms, like a toolkit. What aspects of myself do I bring to this? Which parts do I leave behind? And how would I approach this? For example, “Gatsby” for me felt like, “This is about me turning myself up to 11 out of 10, bringing something bigger.” And with “Train Dreams” what I’ve really learned was how much in the past I’ve tried to hide from myself. And I feel like it’s a trap a lot of actors fall into, is thinking they’re not enough and you have to adorn a performance to be really seen or heard or impress. And I realized how much I’ve avoided playing characters that are very much like me. And though Robert’s a lumberjack, I’m putting all the trappings of it aside on an emotional level. How much is a character like you? And I’m constantly trying to play dress ups and really interested in being people that I’m not and I think that my favorite actors have often been transformative character actors. So I felt like my task in my mind was always to do something different and run away from the idea of just showing my own self really. And I realized that as a husband, as a father and as a guy who’s constantly guilty and struggling with the idea of being away from my family for work, these are all things that Robert is [dealing with], just doing a different job. A contract worker, which I am too except I’m not chopping down trees. And I have my greatest fears around my kids and the safety of my kids. So it felt to me like this was a chance to be very open about my own feelings and bring that to the work without feeling like I had to put too much garnish on things. And that’s a bit scary for me. But it now makes me realize it’s probably a better path in the future to do a bit more of that, just be a bit more open rather than hiding who I am, if that makes any sense.

Olsen: Completely. Because a lot of reviews of the movie, I sort of said this myself, have noted how it feels almost as if your career has been building to this performance, leading to it somehow. Does it feel like that to you?

Edgerton: I know that in decades to come I’ll look back and say always that “Train Dreams” is one of the great experiences I’ve ever had. The process and the result. I think the movie’s fantastic, but what I got out of it personally, it was extraordinary. Look, I hope that I’m building towards something else extraordinary in the future, and it’s like a new mission with each film and each story and each character. But this one definitely feels special for me, and it feels like I use the word “suitable,” which feels so boring. But I played characters that are not suitable for me in the past, and I’ve really challenged myself to bend into shapes that are different from who I am, rhythms that are different from what I’m like, successfully or relatively unsuccessfully. I can’t really judge it for myself. But this felt really suitable. It felt like it belonged to me.

Olsen: You’re also a director, writer, producer. What is it like for you when you show up to a project and you’re just an actor? Does it allow you to focus more on your performance? Or are you always like, “I was thinking you could put the camera over there.”

Edgerton: It’s such a relief. I think directing is the best job in the world, but I wouldn’t want to be doing it every time I went to work, because there’s a lot of stress, a lot of responsibility. Many times I’ve described the difference between acting and directing. An actor is like a child. Literally you could turn up to work in your pajamas, somebody will put makeup on you, dress you, you have one — well, I don’t want to be reductive about it — but you have one job, to play your character and fit into the story, serve the story. As a director you’re running the household. You’ve got to do everything. You’ve got to stock the fridge, you’ve got to make all the decisions about everything in the household, and there’s so much responsibility to that.

I was curious after I directed my first film, how I would be walking onto another director’s set. And it would just be a sin to walk onto someone else’s set and start to look over their shoulder and check their homework and sort of impose yourself on that process. I realized the two things that fascinated me the most were what lens was being put on the camera according to what the shot was. So I just became like really quietly observant. Actors who direct get this sort of great luxury of visiting so many sets and watching other directors and learning from them, good and bad things. And behavioral stuff. It’s not just about how their craft works or how they apply themselves as filmmakers, but how they conduct themselves as people, how they treat their crew, how they elicit the best out of their heads of department and give them freedom or not. Like Clint, for example, on “Train Dreams” is amazing at deputizing his heads of department, giving them freedom, and I think that’s the greatest show of power as a director, the confidence of relinquishing control because you hired the great people and you’re trusting them to collaborate with you. So as an actor I love the freedom of just being there to serve the story. And then watching and putting little things in my ideas bag for next time if I’m lucky enough to be the director again.

Olsen: You were recently on [“Late Night With Seth Meyers”] and he said that he thought it was a very wonderful performance and he noted how you don’t have very much dialogue in the movie and you said you think it’s wonderful because there isn’t much dialogue. And you were kidding, but I wonder if you could unravel that a little bit. How do you think the lack of dialogue in the movie impacted your performance?

Edgerton: Words are there to confuse us in the world. There’s the things we say, what they actually mean, there’s so many layers to any conversation you have with any person. There’s something really interesting about people who don’t speak very much. There’s a mystery often to them. I think there’s a lot of mystery to men that I grew up with in my life. I find myself drawn to people that don’t speak very much because I’m wondering what they think, what do they think of me, what’s going on in their mind. As an actor, I guess I really cut my teeth on “Loving” with Jeff Nichols. He’s a character, again, a very good man who had a lot of feelings and a lot to say, but for whatever reason or for different reasons, with Richard Loving and with Robert, chooses not to say things or doesn’t know if he has the right to say certain things. As an actor I think what becomes the focus is knowing that the camera sees, is looking into your soul. The thought is the imperative, to put the thoughts in the right place, to just be present, knowing that the camera will read those things. And of course the story’s job is to help guide us along and we have a narration. But I was always hoping that the camera will see what’s on my mind and for me to then fill that with words would actually kind of be counter to what the character is, which is one of these very stoic nonverbal men that I think we can all identify with or that we’ve met in our lives. So it’s just putting the right thoughts in my head.

Olsen: It is remarkable how often in the movie it’s as if we’re just watching you feel, you’re sort of taking in your surroundings, you’re not really saying much, but it does feel like we’re in your head, that we can understand what the character is thinking and what you’re conveying as a performer.

Edgerton: Thank you. I was smiling because I was remembering the square root of eight. Do you know what I’m talking about? There’s an episode of “Friends” — is it Joey who’s the actor? — he’s like, “When you’ve got to act and you’ve got to look like you’re really trying to work something out, you’ve just got to think of the square root of eight.” It actually works. But I wasn’t using it in “Train Dreams.”

Olsen: The story does build to this scene with Kerry Condon where your character actually does explain himself. What was it like to flip the switch and have to be verbal and emotional in a more conventional way?

Edgerton: Talking about emotion was one of the tricky things with “Train Dreams.” Clint and I had many conversations, very cerebral conversations, theoretical conversations about story — and emotion was one of them. So Robert’s a character, one of these men who is not really willing to show his emotions. And when he does he’s very quick to put them down, or in the case of the film he apologizes for showing his grief. But it’s all building to this moment, and this is one of the things I love about the film, is that it illuminates the importance of human connection. Robert meets this character Claire that the audience feels like maybe there’s a romance about to happen, which I love that it doesn’t steer in that direction. These chance encounters with strangers that we maybe don’t know that we need to have met on our journey, that are a chance for us to express ourselves. And he has a chance to, whether he knows it or not, he’s going to tell her about his feelings of strange complicity in something he had no responsibility for. And we knew that we were building towards this and yet at the same time we’re still trying to keep a lid on the emotions, but finally Robert gets to speak and it makes so much more sense of his silence up until that point if he we finally hear him string more than a sentence together to try and talk about what’s inside of him and those scenes we shot them in a short one-and-a-half hour window of magic hour with Kerry, who’s just extraordinary. And it felt like time was standing still, even though you would think that there would be a sense that we were rushing. It felt like we had hours.

Olsen: As you’re making the movie, are you talking with Clint or William H. Macy or Felicity Jones, having these kind of big picture, thematic conversations? Because the movie invites these questions of, what makes a life? How do you define being a man? Are you having those conversations while you’re making the movie?

Edgerton: There’s something fascinating about “Train Dreams.” Something I say is so special about Clint is, I know this because I read so many screenplays and I think about story all the time, is this draw to tell an audience what to feel all the time. Whether it’s through words, the story itself, music. “Train Dreams” does this thing that as much as I can speak about it objectively, and it’s the same in the novella, these moments that aren’t telling you what to feel, they’re just layering on top of each other, and I feel like there’s some compression of all these things. It pulls something out of people in their own way. They find their own experience out of it, which can be quite emotional and quite cathartic in a good way. Particularly anyone who’s been through moments where they’re being knocked down in life. I think there’s some sort of hopefulness in watching Robert’s story. It’s hard to define, but there’s a confidence in the way Clint’s rendered it. It’s not telling you each time what to feel. Robert’s not telling you, it’s not screaming to the heavens. There’s nothing sort of overly melodramatic or cathartic about it. And yet these layers build and compress. I had a very similar experience watching “Into the Wild,” Sean Penn’s film. It’s another character isolating himself in in nature. The credits roll and something in me just was like it was like, “I needed to feel something.” I call them a happy cry movie. You know, you’re crying but also happy at the same time.

Olsen: There’s a a moment in the film that I find so haunting and I’ve been trying to unravel it for myself. It’s late in the film, it’s the 1960s, you’re portraying the character as an old man. And in the voice-over the narrator Will Patton says something like, “He never spoke on a telephone.” And there’s something about that I just find deeply moving and really haunting. And I’m struggling to even define for myself what it is about that idea that really gets me.

Edgerton: Because there’s these great things in the movie that I call little sidecars or whatever, this idea that the world is sort of moving so quickly it’s going to leave us behind. It reminded me of my grandmother, who when I pointed a video camera at her for the first time, she didn’t move because she was thinking I was taking a photo of her. And I was saying “It’s OK, this is a camera that’s gonna capture you moving.” She was like Robert. She never saw some of these things. She never experienced a lot of things. I think she went on an airplane, like a jumbo jet, once in her life. And there’s a great thing in the book actually, about Robert and his point of view on the world and as he’s aging, and it talks about his body and his spine and the way his shoulders moved. For example, that scene where Robert goes up to the window and realizes he’s staring at a man walking on the moon and he’s looking up at the sky, wondering, “How is that even possible?” There’s this sense of his physical dilapidation as he moves. It’s this guy that every time he turns his head has to move his entire body from all the hard work. But all this is sort of just a general sense of wonderment that I remember in my grandmother’s eyes when she would look at new things. But this sort of awe and childlike wonder at the world, which I found very special.

Olsen: Part of the story also deals with just how to know when your time has past. And you and I are about the same age and it’s something I grapple with a lot, wanting to be sure that I still have something meaningful to contribute. Do you worry about that for yourself? In a way it comes back to where we started this conversation, that there are people who would tell you that movies are on the way out.

Edgerton: Relevance is a weird thing. I always saw myself as the youngest person in the room. I started very young. I was young at drama school. I was always young, and now I’m not. The beauty of being an actor if we’re allowed to keep doing what we’re doing, if AI doesn’t mess everything up, as long as my brain keeps working, I can keep learning about the new versions of myself as I get older. You know, “Train Dreams” is a good chance for me to see myself in the middle of my life. But I wonder about relevance. I wonder about my character staring at a chainsaw in the movie and wondering how it’s going to affect his world. I wonder at that for myself, as I’ve never downloaded ChatGPT. I’m sort of terrified, but I also feel like I need to not turn a blind eye to it. I have young kids. I’ve got to accept this thing. But I do worry about what it’s going to do to movies. What I feel optimistic about [is] — I always evoke Jonathan Glazer’s film, “Zone of Interest.” Because I think the genius of that film is the beautiful human thought behind the point of view of setting a Holocaust film in the general’s house over the wall in an opulent setting. And I keep thinking, “I don’t think AI is going to come up with an idea like that, think outside the box.” I think it pushes us into more of a challenge of the unique thought, the unique piece of art, doing things that are bespoke. I don’t think we’ll ever want to stop watching human beings or listening to human stories told by humans, starring humans, music made by humans, paintings painted by humans. I hope. Yes, we can enjoy the wildness of what computers create for us. But I don’t think zeros and ones are going to entirely ruin our lives. But then I can be pessimistic too. I won’t rant on that.