SHOW BIZ

Guests on Channel 4 programme Four in a Bed were horrified by what they found.

Welsh Four in a Bed contestants have voiced their frustration after receiving less than the full amount on the Channel 4 show after their guests were left horrified.

In a repeat episode broadcast on Saturday, June 27, the proprietors of Tin Can Retreat in Ceredigion, Stuart and Amy, found themselves on the defensive against their rivals.

The married pair had hoped to offer their guests a taste of vintage Americana at their distinctive property, but faced criticism over cleanliness concerns.

Shortly after settling in for the night, Newquay hotel owners Oleg and Emma, Devon glampsite owners Mandy and Elly, and Devon country pub owners Steve and Mandy raised their objections.

They uncovered what appeared to be mould in the fridge, “minging” dirt, dead flies behind the sink, and even “dog hair in the fridge”. Guests also found dust and water along the windowsills, while the toilets had been left uncleaned, reports Wales Online.

Consequently, Stuart and Amy received poor scores for the cleanliness of Tin Can Retreat, prompting him to remark: “Dagger to the heart, that is.”

On payment day, Stuart and Amy faced their critics, and discovered they had been underpaid by all three other teams.

They first heard from Mandy and Elly, who complained about a smell from the diesel heater, leaving them “complaining of a headache and feeling nauseous”.

Stuart insisted the accommodation had been fitted with a carbon monoxide detector, defending: “I just have to disagree with you… I’m not wrong.”

They then heard from Steve and Mandy, after receiving a “massively disappointing” score of four for cleanliness from them.

“We did find a lot of uncleanliness, we opened up the fridge and there was lots of mould in the seal, and the window sills had a lot of dirt and mould in them,” Mandy explained. “In our bedroom, there was water, the whole place felt quite grubby.”

Emma stepped in to add: “Mandy said grubby but to me it was a little bit beyond that, it was not of a standard that I would be comfortable to ever charge people.”

She went on: “I lifted the lid on the toilet seat and there was lots of crusty residue, it’s not something that’s just been missed. There was actual dirt in lots and lots of places.”

Mother-daughter duo Mandy and Elly added: “For us unfortunately, much the same. There was quite a lot of dog hair left around, our fridge was mouldy in the seals and the side.”

Stuart replied: “That’s obviously very difficult for us to hear and we are quite shocked by it. We’re not a new business, we’ve been operating for over two years and this is new news coming to light. We need to go back and work out where it’s going wrong. We needed that reality check on the cleanliness.”

He later added to the camera: “This afternoon for us was hard to take but we’re going to go away now, collate all those comments and we’ll absolutely be implementing fixes for everything that was found.”

The couple discovered they had been underpaid a total of £74 by the three teams, due to the issues raised on payment day.

And though they accepted all three payments, they admitted the money they received from Steve and Mandy was “harsh”.

“We thought the £50 underpayment from Mandy and Steve was harsh,” Stuart admitted. “We offer great value for money, although there were some cleanliness issues, I don’t think they found anything major.”

Mandy meanwhile admitted she knew the result would come as a “shock” but insisted it was “justified”.

After the feedback, and a result which saw Stuart and Amy’s Tin Can Retreat come in last place, Stuart shared: “We’re gutted we came in fourth position, I think we knew it was coming.

“We’ve obviously got some issues we need to immediately address which we will do, and then let’s see what the future holds, maybe some more sites.”

Four in a Bed is available to watch on Channel 4.

The BBC’s The Other Bennet Sister has been a huge hit with viewers and fans are now looking for similar shows and films to watch.

Period drama lovers will not be able to resist a charming Jane Austen adaptation hailed ‘masterful’ by fans.

Fans of The Other Bennet Sister, which is set to receive a three-part Christmas special, are being urged to seek out an Austen-inspired film widely celebrated as “a classic”.

Drawn from Jane Austen’s Pride and Prejudice, the opening series of the BBC’s The Other Bennet Sister pulled in 7.3 million UK viewers during its first four weeks on air.

Since its triumphant run, devotees of period drama have been desperately seeking out comparable shows and films to plug the gap while the Christmas special gears up to enter production.

A 2007 film starring Felicity Jones and JJ Feild has emerged as a firm recommendation, serving as an adaptation of Jane Austen’s 1817 novel of the same name.

Northanger Abbey is the title in question, following a young Catherine Morland (Jones), who travels with family friends to Bath and discovers she has captured the hearts of both Henry Tilney (Feild) and John Thorpe (William Beck).

When she receives an invitation to stay at Northanger Abbey, Catherine’s fanciful imagination runs wild as she muddles reality with the Gothic romance found within the pages of her beloved novels.

Viewers have flocked to IMDb to voice their opinions on the film, with one declaring: “Classic!” Another hailed it a “must-watch”, adding: “The 2007 adaptation of Northanger Abbey is a delightful and faithful rendition of Jane Austen’s novel.

“From the charming performances to the captivating storyline, the film brings Austen’s wit and satire to life. Felicity Jones shines as Catherine Morland, perfectly capturing her innocence and imagination, while JJ Feild makes a dashing and charismatic Henry Tilney.

“The adaptation stays true to the novel’s themes, blending romance, humour, and gothic intrigue seamlessly.”

One final enthusiast described it as “masterful”, elaborating: “This is a really lovely TV/film version of this book, and of course… the script is by master adapter Andrew Davies. He is just magnificent. ENJOY this masterful adaptation!”.

A Reddit user put forward the film, which is available to purchase on Prime Video for just £1.89, as a comparable watch to The Other Bennet Sister, commenting: “Surprised Jane Austen adaptations have barely been recommended, unless those are too obvious.

“The Other Bennet Sister is not only a spin-off of Pride and Prejudice with many familiar characters from that story, but in many ways it takes inspiration from other existing Austen novels, which is very Austen of the author, because her stories frequently recycled/reworked the same characters/plot-lines.”

One devotee took to Reddit to express their desire for a fresh Northanger Abbey adaptation off the back of The Other Bennet Sister’s triumph, writing: “@BBC thank you for adapting this rather than another round of endless adaptations of Austen’s books that already have so many amazing adaptations!

“@Netflix take notes! Fans don’t want you to ruin Austen’s work with crummy adaptations that don’t do the original ones justice.

“Let’s adapt other beautiful stories instead! Honestly, I would be fine with another Northanger Abbey adaptation or maybe a Mansfield Park adaptation if it’s absolutely needed.”

Northanger Abbey is available to buy on Prime Video for £1.89

The best weapon in the “Jackass’” arsenal isn’t the taser, the beehive or the booby-trapped latrine. It’s the explosion of relief when a prank ends, often in humiliation, always with hoots and claps. The first film, 2002’s “Jackass: The Movie” was slow to discover that carnage without camaraderie is painful; several injuries limped off-screen in horrified silence. Laughter heals, except for the brain hemorrhage that Johnny Knoxville suffered in 2022’s “Jackass Forever” when, dissatisfied by the clobbering he took from a bull, requested a second ramming that knocked him out cold.

Hence “Jackass: Best and Last,” the goon squad’s alleged final film, is underwhelmingly tame. Shot quickly by stalwart director Jeff Tremaine this spring, half of it is a clip reel of past hits, like the time fan favorite Steve-O slingshotted into the sky in a port-a-potty. The rest is scraps of hastily assembled chaos, the most elaborate of which is a puppet show in which veterans Ehren McGhehey, Dave England and Jason “Wee Man” Acuña dangle helplessly from strings, trying to recite cue cards while being pummeled by tropical fruit. “A pineapple!” Wee Man moans.

I’m no sadist. They’ve suffered plenty for our amusement. Still, it’s a shame that for the first time in two and a half decades of cringe comedy, the guffaws feel forced.

Acknowledging the Jackasses’ age, if not maturity, are a couple skits about prostate and rectal checkups. (The gnarliest involves clear pants, colonoscopy prep liquid and a game of Twister.) Modern technology enters the arena with a nimble-fingered robot. If the team had invested any actual energy into brainstorming this entry, they’d have played paintball with a sniper drone. At least for the sake of torch-passing, someone should have thought of something for the newish members introduced in “Jackass Forever” to do besides stand around and applaud.

These fresher faces — Jasper Dolphin, Rachel Wolfson, Zach Holmes — prove brave and resilient when allowed to participate. Only one of them, Sean “Poopies” McInerney, a surf bro so gullible that I’m not sure he’s capable of informed legal consent, fits into “Best and Last” like a well-worn punching bag. (When Poopies yelps that “my mind is getting to me” while wearing a shock collar around a sensitive area, people snort because, as sweet as he seems, the only thing rattling inside his cranium is a moth.) Early on, Poopies gets swollen lip injections that, someone claims, will last the whole movie. You expect his trophy wife pout to be a running sight gag. But his disfigurement never even gets another closeup.

“Jackass” started with a bang. In January of 1998, Knoxville, then a 26-year-old aspiring actor, strapped on a cheap bulletproof vest padded with a stack of “Hustler” magazines and fired a gun point-blank into his chest. His dumb derring-do went viral on VHS tapes, earning him an MTV show and five feature films. Watching that Rosetta Stone-cold stupid footage here, you’re struck not only by his audacity, but by the scene’s excruciating comic pacing. As there’s only one bullet in the pistol, empty chambers click multiple times before the bullet finally fires. Logically, you know Knoxville will live long enough for his hair to turn fright-wig white. Yet the lizard brain making you gawk is shrieking.

Do not attempt any of the stunts you’re about to see, the prefatory caution blares. Absolutely. The thing is, no one else could. “Best and Last’s” flashbacks are a walloping reminder that Knoxville is inimitable: a telegenic and extroverted entertainer with a charisma he wields like a skunk aims its stink. Upset him at your own risk. Like Buster Keaton before him, Knoxville has an uncanny awareness of how his death-defying escapades appear on camera. Even in that near-suicidal early segment, note how Knoxville stays on his feet, enduring agony with a magician’s “Ta-da!” He might have given himself a bruise the size of a baseball but he’s focused on the audience’s delight.

Over the years, the visuals dramatically improve, from snuff film aesthetics to confidently silly splendor. “Jackass Number Two,” released in 2006, expended major energy on a musical homage to Old Hollywood that nodded to Keaton and bathing beauty Esther Williams who, in MGM’s “Million Dollar Mermaid,” plunged 50 feet into a pool and broke her neck. By 2010’s “Jackass 3D,” which riffed on classic cartoons with Knoxville strapping himself onto an Acme-style red rocket, one could admit they went to see a Jackass movie for the cinematography with even more sincerity than if Knoxville claimed he bought “Hustler” for its life-saving properties.

The new movie doesn’t have any artistic ambition. The charitable excuse for its reliance on old material is that the gang wanted one more film that summed up their entire legacy — from the impact of seeing them age to the opportunity to include departed colleagues Ryan Dunn, who died in 2011, and Bam Margera, fired in 2020. The other explanation is it’s a cash grab made for pennies. Still, Steve-O strives for memorable moments, gathering the gang in a generic office building corridor to watch him take off his pants and pop out a ping-pong ball. There’s a lot of nudity but the setting feels half-assed.

“Best and Last’s” intro splat-tacular, typically a highlight of each film, hinges on the posse standing still on a moving floor. But the monochrome staging — white walls, white ground — looks almost like CGI, the antithesis of their appeal, and it takes us a minute to understand what’s actually going on. Worst, it lacks both suspense and surprise, that no-they-aren’t–oh-god-they-are drama that once elevated the franchise to the peak of pure cinema.

There is — and I mean this — existentialism in witnessing a person embrace shame and terror. Actors have won Oscars without achieving the transcendence of, say, misery glutton McGhehey in “Jackass Forever,” bound to a chair and coated in salmon and honey, realizing that his friends have released a bear into the room. Meryl Streep could never do that (and wouldn’t have to). McGhehey’s sole path to stardom is that he did.

Not everything in a “Jackass” movie needs to be that sublime. One of my few genuine howls in “Best and Last” came in a three-second rehash of someone stepping on a rake; another was the percussion Chris Pontius makes with his swinging nethers before attempting a naked Fosbury flop. There’s a great accidental gag in a cut bit from the original MTV pilot when a deputy pulls up to arrest Knoxville and forgets to put her car in park. Yet the snippet I keep thinking about is a throwaway beat in a new skit when McGhehey willingly gets into the wrong chair again and, once freed, attacks Knoxville who coolly knees him in the nuts. Everyone chuckles.

Once, in anthropology class, my professor lectured on an insular island tribe that cackled whenever someone got hurt. Schadenfreude was the community’s way to vent tension. I thought of that village throughout “Best and Last,” especially during Knoxville’s nonchalant disarmament of his pal. Team Jackass has stayed united even while at each other’s throats. In bad times, they’ve borne each other’s struggles with sobriety and mental health. In good, they’ve seen the inequality of success that’s left Knoxville in a better financial position to retire than the rest.

While “Best and Last” is a whiff, I can forgive this band of bozos’ urge to make it. No one seems happy to still be zapping themselves with electrodes. They just want to rally together for the final time to choke out one last laugh.

Love Island viewers missing the ITV series this Saturday should tune into this other hit show

Love Island has once again vanished from our telly schedules, but we’ve got just the programme to fill the void in its absence.

ITV viewers will be aware that the reality series broadcasts fresh episodes every Sunday through to Friday, with a blooper-style edition appearing on our screens each Saturday.

While the Unseen Bits episode has become increasingly popular over the years, it doesn’t always deliver the same dramatic impact as the main programme. So those craving a new fix of reality TV drama might well be searching for an alternative.

They’re in luck because Are You The One? is presently available to stream on Paramount Plus.

Branded as ‘unhinged’ by audiences, the dating programme first launched on MTV in 2014, before transferring to streaming platform Paramount in 2023, reports OK!.

Audiences follow a group of men and women who have been secretly paired with their ‘perfect partner’ by a matchmaking algorithm. They are then placed under one roof and must attempt to discover their other half.

If the participants successfully identify all of the perfect couples, they secure a prize fund of up to $1 million. The contestants are free to pursue any romantic connections within the house, much like in Love Island.

However, they have the distinctive option to consult the ‘Truth Booth’ to confirm if they are genuinely a match.

While the American series falls into the same category as Love Island, some audiences believe it compels contestants to genuinely pursue authentic romantic connections rather than coasting in friendship pairings until the finale.

Heading to Reddit, one enthusiastic viewer shared their thoughts: “I just watched the two seasons on Netflix and it’s what I always wanted Love Island to be. People actually mixing, doing things, partying,… Instead of policing people if they dare talk to a person, they’ve been ‘coupled up with’ for a day.”

They went on to say: “I think LI need to look at shows like that and apply some things. Give them incentive to not just pick a person at the start and then chill for weeks.”

Viewers have also posted glowing write-ups, with one social media user writing: “I love drama and cat fights so if you love to entertained I would watch it. Couples being broken up and people getting jealous it’s so interesting.”

Another enthusiastic fan declared: “Just binge watched season 1 of [Are You The One]!!!! ABSOLUTELY LOVE IT! HOW IS THIS SHOW NOT MORE POPULAR!?”

Are You The One? is streaming now on Paramount Plus

Two Weeks in August’s cast is led by none other than a Call the Midwife legend.

Two Weeks in August is drawing to a close, but the BBC has already revealed what’s stepping in to fill the gap.

Call the Midwife star Jessica Raine heads up the cast of black comedy Two Weeks in August, an eight-part series following a group of old friends who reunite for a well-deserved holiday in Greece.

However, a stolen kiss triggers a “chain reaction of infidelity, breakdowns, and escalating chaos”.

The final two 45-minute episodes air tonight, Saturday, June 27, on BBC One, with the complete boxset also available to watch on BBC iPlayer.

Ahead of its BBC One broadcast, it has now been confirmed that not one but two programmes will be stepping into its coveted Saturday primetime slot next week.

The first of the two shows taking over from Two Weeks in August on Saturday, July 4, at the slightly earlier time of 8.30pm, is The Weakest Link.

With comedian Romesh Ranganathan assuming hosting duties from the iconic Anne Robinson, celebrity contestants will include JLS star JB Gill, actress Helen Flanagan and singer Toyah Willcox.

The Weakest Link will run for 45 minutes before BBC News and Weather, paving the way for the second replacement programme at 9.30pm.

Rounding off the evening, football enthusiasts will be treated to Match of the Day Live: Fifa World Cup 2026, as the BBC broadcasts coverage of the second round-of-16 match at the Philadelphia Stadium in the US.

The official description reads: “Lionel Messi made his 1,000th career appearance and scored a 789th career goal as he inspired Argentina to a 2-1 victory over Australia at this stage in Qatar in 2022.

“Julian Alvarez capitalised on an error by Aussie goalkeeper Mathew Ryan to double Argentina’s lead in the second-half, but the Socceroos halved the deficit when Craig Goodwin’s strike took a huge deflection off Enzo Fernández with a little under 15 minutes left, and if not for the excellence of Argentine goalkeeper Emiliano Martínez could have found a late equalizer.”

Match of the Day’s broadcast will run for three hours, with the special edition due to wrap up at 12.30am.

Two Weeks in August is available to stream on BBC iPlayer.

THE two nepo-baby sons of an iconic American pop star have made their modelling debut at Paris Fashion Week – can you guess who their mum is?

Her debut single skyrocketed her to fame in the late 1990s and at the time she was just 16-years-old.

The hitmaker, from Louisiana, bagged herself nine Billboard Music Awards, one Grammy and one American Music Award throughout the years she was actively performing and making new music.

She is best known for her tunes Toxic, Baby, One More Time, Oops!… I did It Again and Gimme More.

The princess of pop thrilled her millions of fans with her high-energy performances, memorable outfits and complex dance moves.

Her most unforgettable moment was perhaps when she danced to I’m A Slave 4 You at the VMAs with a huge yellow python.

Read more on Britney Spears

A BRIT STRANGE

Britney Spears ‘BARKS & waves knife around’ freaking out restaurant diners

WALKS FREE

Britney Spears avoids jail in DUI case after taking plea deal for lesser charge

The legendary singer in question is of course Britney Spears.

Her two sons – Sean Preston and Jayden – made their official runway debut in Paris on Friday.

The 44-year-old shares her boys with her ex-husband Kevin Federline.

They married in 2004 but later divorced just three years later after Britney filed citing irreconcilable differences as the reason for their split.

Sean, 20, and Jayden, 19, looked unbelievably stylish as they walked for Vetements.

They donned the brands Y2K-leaning menswears Spring/Summer 2027 collection.

The Circus singers’ eldest son looked very chic wearing a pair of baggy blue jeans, an untucked black shirt, matching tie and a satin longline coat.

Meanwhile, Jayden’s outfit was much more rugged – he was dressed in a classic white vest top, a pair of light-wash denim jeans and some black boots.

He accessorised with a chunky brown belt, which had silver chains clipped to the side.

The nepo stars were seen strutting with confidence along the runway despite barely ever being seen publicly.

Britney was not present at the event but has been spending much more time with her boys recently after several years of public estrangement.

Sean and Jayden rallied around the music icon earlier this year after she was arrested for a DUI in California.

They flew straight to her side after finding out the news and just a month later they were spotted holidaying all together on a yacht.

Before her court date, Britney checked substance abuse and wellness treatment facility.

She successfully completed her stay and checked out right before her legal team finalised her plea deal.

The Bear fans might be wondering who Tom Skilling is in real life as the Chicago meteorologist makes a surprise appearance in the final season

The latest guest star is Chicago royalty with an unexpected family connection.

**Warning – this article contains minor spoilers for The Bear Season 5.**

UK fans of The Bear tuning in may well be seeking some background on the fifth season’s thrilling new guest star.

Jeremy Allen White, Ebon Moss-Bachrach and Ayo Edebiri headline the smash-hit FX and Disney+ series centred on a chaotic Chicago restaurant whose lofty ambitions are more than matched by the mayhem unfolding in its kitchen.

Season 5 picks up immediately after the moment Carmen ‘Carmy’ Berzatto (played by White) announced he was walking away from the restaurant business for good, breaking the news to Sydney (Edebiri), Richie (Moss-Bachrach) and his sister Natalie, known as ‘Sugar’ (Abby Elliott), reports Wales Online.

With their finances in dire straits, a fierce storm raging outside and a packed dining room to cater for, the Bear team face one final night to demonstrate they’ve got what it takes to land that much-coveted Michelin star.

Adding to the pressure, a local celebrity has secured a table for their most crucial evening yet, as meteorologist Tom Skilling has made a reservation. But just who is he?

Who is Tom Skilling?

Tom Skilling, 74, is a former weather presenter who served as WGN-TV Chicago’s chief meteorologist from 1978 until his retirement in 2024.

Though he was born in Pittsburgh, Pennsylvania, Skilling grew up in Westfield, New Jersey before his family relocated to the Chicago suburb of Aurora, Illinois, where he completed his secondary education. At just 14 years old, he started working for WKKD and WKKD-FM where he spotted that their weather reports were incorrect as they relied on forecasts for Chicago instead of Aurora.

He struck a deal with the station to deliver his own reports which, if accurate, would earn him his own weather programme.

They proved correct and he started presenting Aurora forecasts three times weekly. He subsequently secured a position at Aurora’s WLXT-TV aged only 18.

Skilling went on to work at WKOW-TV and WTSO radio while studying at the University of Wisconsin in Madison, before securing his first major television role in 1975 for WITI-TV in Milwaukee, where his forecasts were accompanied by a sock puppet named Albert the Alley Cat.

Following a return to Chicago, he became WGN-TV’s chief meteorologist in 1978, where he stayed until his retirement in 2024. He is believed to have become the highest-paid weather broadcaster in the United States and also maintained a popular column in the Chicago Tribute, Ask Tom, until 2022.

Skilling has never married and remarkably little is known about his private life. However, he is the brother of disgraced Enron CEO Jeffrey Skilling.

The energy giant, Enron Corporation, declared bankruptcy in 2001 after fraudulent practices were exposed. This resulted in the collapse of the company’s accounting firm, Arthur Andersen, which was amongst the five largest firms globally, and is regarded as one of the biggest bankruptcy reorganisations in American history.

Get Disney+ for £1.99 a month

This article contains affiliate links, we will receive a commission on any sales we generate from it. Learn more

£4.99

£1.99

Disney+

Get the deal here

Disney+ has brought back its popular deal that lets new and returning customers join its Standard with Ads plan for £1.99 per month for four months.

This means members can stream hit shows like Andor, The Bear and Alien: Earth, plus countless titles from Star Wars and Marvel, for a fraction of the usual price.

Jeffrey Skilling, who served as CEO at the time, faced 35 criminal charges linked to the scandal, encompassing conspiracy, insider trading and securities fraud.

He received a $45 million (£34 million) fine and a 24-year prison sentence. Following numerous appeals, he ultimately served 12 years behind bars before being released in 2019.

The Bear Season 5 is available to stream on Disney+.

When David Jacks published a biography of Peter Asher in 2022, the veteran record producer and manager expressed surprise that anyone would have deemed his life worthy of the treatment. Four years later, he’s no less baffled to have become the subject of a new documentary, “Peter Asher: Everywhere Man,” directed by the filmmakers Dan Geller and Dayna Goldfine.

“It just seemed to me,” he says, “that I wouldn’t be that fascinating.”

The movie, in theaters now, argues otherwise: A child actor alongside his two younger sisters, the bespectacled Asher became an unlikely pop star during the British invasion as half of the duo Peter & Gordon, whose debut single, “A World Without Love” — written by Paul McCartney — hit No. 1 on Billboard’s Hot 100 in 1964. (McCartney offered the song to Asher while the Beatle was dating Asher’s sister Jane.) In 1968, the Beatles made Asher head of A&R at Apple Records, where he signed James Taylor; the two soon moved to Los Angeles and turned Taylor into music’s biggest heartthrob folkie.

Asher went on to shepherd Linda Ronstadt to stardom and to produce records by Diana Ross, Cher, Bonnie Raitt, Randy Newman, Neil Diamond and 10,000 Maniacs, among many others. And at 82 he’s still at it: Last year he produced Barbra Streisand’s latest duets album — they’re due to start work on a new Streisand solo LP, he says — and he’ll perform a show of his own July 19 at the Grammy Museum. Asher, who broke his leg in a recent fall, spoke about it all the other morning at his home in Malibu, where he walked into the kitchen using a cane before sitting down at a table set with pastries and several of the day’s newspapers.

What unites the jobs of musician, producer, executive, manager? What’s the through line?
Love of music and admiration for the people who do it. They’re very different jobs, and I came at them from very different perspectives. Record production was something I set out to do once I understood what a record producer did. Hire musicians much better than yourself and tell them what to do? That’s a cool job — how do I get in on that racket? Whereas I never had any ambitions to be a manager. It’s just that when James and I decided to go out on our own and try to put a career together, we didn’t know who we trusted to do it, so I kind of went, I’ll do it.

What’d you discover about the job of management?
The ingredients are common sense, not being a crook and having a great client.

Which is the hardest of those three?
The last one. I got to induct the first managers inducted into the Rock & Roll Hall of Fame: Brian Epstein and Andrew Loog Oldham — the Beatles and the Stones. That’s the hard part. The only thing that would tempt me back into management would be lightning striking for a third time — to see James, to see Linda, then to see somebody comparably brilliant, which I occasionally do. But usually they have a manager already.

What’s the last new act that knocked you out?
Ed Sheeran.

Was that just because he looks like he could be your grandson?
That certainly crossed my mind.

As a producer, your records helped define the sound of rock in the ’70s.
The so-called California sound.

Then the zeitgeist shifted.
One became aware of that. Pop music got very electronic, which I loved.

Was there a place for you in that style?
I didn’t consciously try to make records in that style because I don’t think I could have — not as well as they were being made anyway.

What’s a record from the early ’80s that made you think that?
“Sweet Dreams (Are Made of This).” I couldn’t do that.

Back to the ’70s: The doc is filled with pictures of James looking —
Like a movie star. With the cover of “JT,” I finally went all the way and said, “We’re doing the the glamour shot.” Then we did “Flag,” which everyone hated.

With the maritime flag. A truly perverse album cover.
I loved it. James loved it. Everyone thought we were crazy.

How crucial do you think James’ good looks were to his whole proposition?
I don’t know.

Oh, come on.
I really don’t. I mean, how would you gauge that? There’s probably girls who fell in love with him without listening to the record.

I think you just gauged it.
If he was ugly, would he be as big a star? Probably not.

(Evan Mulling / For The Times)

Same applies to Linda, right?
When I first saw Linda, it was stages of realization. Someone said to me, “You’ve got to go down and see this girl at the Bitter End.” I walk in and she’s singing so well — unspeakably good. Then she looks incredibly great — barefoot, short-shorts. Oh, my God, my heart. Then you meet her, and it turns out she’s a remarkably brilliant woman — extremely well read. You just kind of go, “All these things together — how can it be?” It’s the same thing talking about the Beatles: If you cast it like the Spice Girls, you still couldn’t have gotten four to fit together so perfectly.

Did you like the Spice Girls?
Terrific. “Tell me what you want / What you really, really want” — it’s a smash. And yet none of them are particularly good singers, which is kind of the point.

I went to an event not long ago where Paul McCartney played his new album for a small group of fans. It was fascinating to see the spell McCartney casts over people.
He’s had to get used to it — to admit to himself that he can’t meet people who aren’t amazed that they’re meeting him. Even as someone who’s known him off and on for a long time, you still get the wave of: Holy s—.

You’re still amazed to be around him?
Of course. I get it less — I’m ready for it. But you can’t pretend he’s not Paul McCartney. And he’s gotta live with that his whole life.

You grew up a member of the upper crust, I think it’s fair to say.
I don’t think we were that crusty. But upper, probably, yes.

I wondered how that situated you to live and work among artistic types.
If anything, the upper crust have more time to be artistic — less preoccupied with getting a job and making a living. But my parents worked incredibly hard — we weren’t upper crust in the sense of inherited wealth. My father was a doctor, my mother was a professor of music. But I never struggled, to be honest. I had a comfortable allowance, and then I went to school and worked hard. Everyone talks about sharing a flat with a million people, living on borrowed sandwiches — I skipped that phase.

Did that shape you in any meaningful way?
I don’t know. But I think when people do struggle, it becomes a meaningful part of their lives to get away from it. With someone like James, the struggle was a struggle with drugs. Now he says the worst thing about drugs is they’re a complete waste of time — you waste time doing nothing except looking for drugs. And I think that made him anxious to succeed and to be taken seriously.

I’m sure you saw the New York Times’ list of the 30 greatest living American songwriters.
You knew it was gonna be silly. Randy Newman, for God’s sake — you just cannot not include him.

No Neil Diamond either.
Insane.

And no Billy Joel.
[Shrugs].

How’s your health?
High blood pressure, high cholesterol, need to work out more — old man stuff. Other than that and a broken leg, great.

You’re OK with the cane?
It’s a considerable upgrade from the wheelchair. I like the cane — it’s kind of elegant.

What seems scarier: the body going or the mind going?
The mind going. And it is, slightly. I had a stroke, and bits of my brain aren’t quite working right. But compared to other people I know, I’m fine.

We’re at a moment when a lot of foundational rock ’n’ roll figures —
Are dying. It’s all the rage.

What’s it feel like to see your friends and colleagues go?
Better them than me.

Couple more for you: You managed Courtney Love for a spell.
I met her here in Malibu. I also managed Pamela Anderson for a while because she was a neighbor and asked me to help.

What, you put a shingle out?
“Manager for hire.” I’m trying to remember how I first met Courtney — I think Merck Mercuriadis was talking to her about publishing and Kurt stuff. I liked her. Very smart. I like smart women.

She’s easy to work with? Hard to work with?
Impossible to work with.

What’s James Taylor’s best album?
“JT,” maybe.

What’s Linda Ronstadt’s best album?
“Heart Like a Wheel.” With Linda, it’s unfair because they’re so radically different. How do you compare that to a mariachi record and then to Nelson Riddle?

Working with Riddle on those albums must have been a thrill.
He told us all these incredible stories about Frank Sinatra, who he didn’t like although he admired him enormously. It was John David Souther who originally suggested Nelson. Linda had tried doing the album a different way — did some versions with Jerry Wexler and it didn’t work out. So we had a meeting with Nelson: Would he consider doing a couple of arrangements for us? He went, “No.” We said, “What?” He said, “I’ll do an album, though.”

“A World Without Love” was one of eight songs to top the chart in 1964 with “love” in the title. What’s that say about pop music in the mid-’60s?
Same thing it says about pop music of all time: It’s either “I love you” or “She loves you” or “Why don’t you love me?” Weird Al pointed out to me that when you’re looking for a parody of a song, any song that has “love” in the title, substitute “lunch” and it’s funny. “A World Without Lunch” — I mean, who would want to live in such a place?

The heartwarming murder mystery starring Hugh Jackman is on Amazon Prime Video to stream now

Amazon’s Prime Video is releasing the ideal film for those missing Clarkson’s Farm following the conclusion of Season 5.

The Sheep Detectives is a charming murder mystery film that arrived on the streaming service back on June 24, reports the Express.

The film centres on a flock of sheep assisting a bumbling police officer in solving the murder of their cherished shepherd George Hardy (portrayed by Hugh Jackman).

Expect unruly, talking sheep and abundant countryside chaos that makes Jeremy Clarkson’s Easycare sheep appear positively angelic. The Sheep Detectives features an impressive ensemble including Succession’s Nicholas Braun, Nicholas Galitzine from Purple Hearts and Masters of the Universe, Booksmart’s Molly Gordon, The Whale’s Hong Chau, and Emma Thompson.

The stellar line-up also includes Veep’s Julia Louis-Dreyfus, Bryan Cranston from Breaking Bad, The I.T. Crowd’s Chris O’Dowd, One Battle After Another actress Regina Hall, Patrick Stewart, Game of Thrones’ Bella Ramsey, and Brett Goldstein.

Despite its fantastical concept, the film holds a 95 per cent Fresh rating on Rotten Tomatoes and garnered glowing reviews on IMDb.

One viewer declared in their 10/10 review that The Sheep Detectives is “an absolute must see”.

The user explained: “The Sheep Detectives is a clever, charming, sweet, heartwarming and hilarious romp with a very intelligent script and an excellent ensemble cast (both the voice cast and the on screen live action actors).”

They added: “The biggest pleasant surprise of 2026 so far.”

A second reviewer gave the film a 9/10 rating, writing: “This is a brilliant piece of work. It is almost perfect and is the most fun I have had in the cinema this year. An absolute A+ movie. I can’t think of a single way this movie could be made better.”

Get 30 days of Prime Video totally free

This article contains affiliate links, we will receive a commission on any sales we generate from it. Learn more

£8.99

£0

Amazon

Get Prime Video here

TV lovers can get 30 days’ free access to binge great shows like Clarkson’s Farm by signing up to Amazon Prime. Just remember to cancel at the end and you won’t be charged.

A third viewer also awarded 9/10 stars, commenting: “This is an amazing film that gets you emotional and talks about grief and how we handle things while also telling us and showing us how do we deal with the grief of losing loved ones when it happens to us?”.

Clarkson’s Farm favourite Kaleb Cooper sat down with lead actor Jackman to chat about the film, even introducing some lambs into the mix — which behaved impeccably for the X-Men legend, yet proceeded to kick the farmhand square in the face before defecating on him.

The much-loved Clarkson’s Farm star wrestled with a troublesome lamb before telling Hugh: “This is bad, you’re holding a sheep perfectly fine.”

Hugh quipped about the sedate lamb in his arms: “That’s because he knows he’s loved.”

The Sheep Detectives is streaming on Prime Video now

Clarkson’s Farm Season 5 is streaming on Prime Video now.

I Will Find You stars Gilmore Girls legend Milo Ventimiglia and Severance icon Britt Lower.

Harlan Coben fans have yet another Netflix thriller to get excited about.

I Will Find You has gone down a storm with Netflix subscribers with the eight-part thriller still topping the streamer’s most-watched charts.

But that doesn’t come as too much of a surprise given that it’s based on another best-selling Harlan Coben novel, following in the footsteps of Run Away earlier this year.

But the author and Netflix showrunner doesn’t let the grass grow for very long as he’s now busy bringing to life another of his books for the small screen. And this time, it’s one of Coben’s most “iconic” characters who has starred in a whopping 12 of the author’s novels.

Watch Unchosen on Netflix

This article contains affiliate links, we will receive a commission on any sales we generate from it. Learn more

Starts at £5.99

Netflix

Watch now

Harlan Coben’s Myron Bolitar novels initially began in 1995 with the release of Deal Breaker, delving into the titular character’s world as a sports agent.

Bolitar was an NBA superstar but was forced to switch careers and so now represents other sporting heroes but often finds himself “investigating blackmail attempts, murder and more”.

The new adaptation is also going to be co-showrun, co-written and co-executive produced by Lincoln Lawyer and Big Little Lies creator David E Kelley and Suits writer and co-producer Kyle Long.

Myron Bolitar is currently in development with an expected release date window sometime in late 2027.

Netflix’s Head of Series US and Canada Jinny Howe described Bolitar as Coben’s “most personal and iconic character”.

She continued: “Bringing this story to the screen has been a big priority for us, and we knew that finding the right creative partners was essential.

“It’s been a dream to collaborate with David E. Kelley — a true master of the genre, and the talented Kyle Long on this series.

“This is a major milestone for our partnership, and we look forward to many more years of working together.”

But before viewers can get excited about Myron Bolitar, another Coben drama will be released in early 2027, once again starring Fool Me Once actress Michelle Keegan.

Based on his 2007 novel of the same name, The Woods will see Keegan’s character investigate the 20-year-old disappearance of a barrister’s sister whose traumatic past soon comes to light.

Keegan will be joined by Behind Her Eyes’ Tom Bateman, Mobland star Mandeep Dhillon and Small Prophets actor Pearce Quigley.

Harlan Coben dramas are available to watch on Netflix.

A BRIT music legend, 70, has been ‘admitted to hospital’ with a mystery illness as he reschedules gigs last-minute.

Bruce Foxton – the bassist and backing vocalist of The Jam – was set to play a gig in Kidderminster on Friday evening.

But in a post on social media, it was revealed Bruce had fallen ill and would have to reschedule the performance.

The post by AGMP Concerts read: “Due to illness, the Bruce Foxton concerts this weekend are being rearranged.

“Tonight’s concert in Kidderminster has now been cancelled. Tomorrow’s Lincoln show (Saturday 27th June) has moved to Friday 15th January 2027.

“Thanks for your understanding. We look forward to seeing you in the new year.”

HUG UP ON YOU

Madonna & Charli XCX END feud with hug weeks after ‘dancefloor is dead’ swipe

MIXING IT UP

Jesy Nelson set to join Towie as she pauses pop career after babies heartbreak

Meanwhile another post on X from a fan claimed: “Bruce’s show in Kidderminster tonight has been cancelled and not rescheduled due to the fact he has been admitted into hospital.

“Let’s hope it’s not too serious for this absolute legend.”

Bruce’s fans were quick to comment, with one writing: “Get well soon Bruce. Take a break sir, we’d prefer a happy healthy retired Bruce than a pushing himself to the limit to the detriment of his health Bruce.”

Another added: “Sending u my love Legend…TIME2RELAX NOW U WORKED YOUR A*** OFF….We have memories Bruce..enjoy your life now..we all love u and now time to enjoy your memories xx.”

A third commented: “Get well quickly Bruce. Such a great bass player, seen him in The Jam, Stiff Little Fingers and of course From The Jam.”

Bruce first came to prominence in the 1970s in The Jam before pursuing a solo career when the band broke up.

In 1990 he joined Stiff Little Fingers and was with the band until 2007, before he joined Rick Buckler and members of his tribute band, the Gift, to tour under the name From the Jam.

The Sun Online has reached out to a representative for Bruce for comment.

NEW YORK — David Clayton-Thomas, the lead singer of Blood, Sweat & Tears, whose husky, high-strung tenor on “Spinning Wheel,” “And When I Die” and other hits helped make the so-called brass rock band among the most popular acts of the late 1960s, has died at age 84.

Spokesperson Eric Alper said that Clayton-Thomas died peacefully Wednesday at St. Michael’s Hospital in Toronto. Alper did not cite a specific cause of death.

Clayton-Thomas was a onetime street fighter and petty thief from Canada who briefly became a rock superstar, the front man of a nine-member group that sold millions of records and won two Grammys for “Blood, Sweat & Tears,” which beat out the Beatles’ “Abbey Road” for best album of 1969. Calling out amid a jazzy parade of horns, keyboards and percussion, Clayton-Thomas’ urgent shout was a signature voice of the era, preaching love on the Motown cover “You’ve Made Me So Very Happy,” a lasting legacy on Laura Nyro’s “And When I Die” and a cool head on his own “Spinning Wheel.” Meanwhile, Blood, Sweat & Tears helped inspire a wave of horn-led bands, among them Chicago, the Electric Flag and Ten Wheel Drive.

“A lot of the guys [in Blood, Sweat & Tears] would play a Broadway show matinee, then go up to Harlem and play Latin music or R&B and funk at night, or come down to the Village and play pure jazz the next night,” Clayton-Thomas told Bestclassicbands.com in 2023. “I was just a blues player: Give me three chords and I’ve got a song.”

At its peak, Blood, Sweat & Tears’ appeal was so broad it helped lead to the band’s downfall.

Hip enough to perform at the 1969 Woodstock festival, where they were among the highest paid acts, they also were known enough to the establishment to tour Eastern Europe the following year on behalf of the State Department. When Clayton-Thomas and other band members denounced the Communist regimes on the other side of the Cold War, Rolling Stone’s David Felton wrote that “the State Department got its money worth.” Counterculture Yippies would turn up at a 1970 Blood, Sweat & Tears show at Madison Square Garden, carrying obscene banners outside and dumping manure by the front gate.

The band had practical reasons for going along with the government: Clayton-Thomas, who had allegedly wielded a gun at his girlfriend, had been denied a green card and faced deportation. But after topping the charts in 1970 with the album “Blood, Sweat & Tears 3,” their appeal soon faded. A burned-out Clayton-Thomas left the group in 1972, and neither he nor the remaining musicians ever regained their old stature. Blood, Sweat & Tears would continue recording over the next few years, and even briefly reunited with Clayton-Thomas, who went on to release more than a dozen solo albums and tour on his own for decades.

Beginning under a licensing agreement reached in 1984, Clayton-Thomas toured as “Blood, Sweat Tears” for 20 years with a revolving roster of bandmates. A 1994 Times review of a show at the Coach House in San Juan Capistrano reported that “BS&T’s formula has legs, that its music has withstood the test of time. Indeed, in a world full of today’s pop harmonic minimalism, the sound of trumpets, trombones, guitar and sax backing a singer somehow seems fresh, even if it has been around for so long,” and Clayton-Thomas “still has all the enthusiasm and buzz-saw roughness that gave his voice its distinctive quality way back when.”

In 2005, BS&T re-formed (without Clayton-Thomas, who continued his solo career) and has toured since with various lead singers.

Clayton-Thomas was inducted into the Canadian Music Hall of Fame in 1996. “Spinning Wheel,” covered by everyone from James Brown to TV star Barbara Eden, was voted into the Canadian Songwriters Hall of Fame a decade later.

Born David Henry Thomsett on Sept. 13, 1941, in Kingston upon Thames, near London, and raised near Toronto and Ottawa, he was the son of a Canadian World War II veteran and of a pianist-entertainer who helped inspire her son’s interest in music. Thomsett was lucky to have the chance. He fought violently with his father, was living in the streets by his mid-teens and by age 20 was serving time in a reformatory for vagrancy, assault and other crimes.

An old guitar, left behind by a fellow inmate, changed his life. He taught himself to play and began spending extensive time in the early 1960s around Toronto’s Yonge Street music “strip,” where peers included the American rockabilly star Ronnie Hawkins, a mentor to Robbie Robertson and other future members of the Band and a guide for Thomsett early in his career.

Eager to reinvent himself, he changed his last name to Clayton-Thomas while leading his own groups. In the mid-’60s, he released such albums as “Sings Like It Is” and had a hit single with the antiwar rocker “Brainwashed.” He would also befriend a rising star, Joni Mitchell, whose childlike “Circle Game” helped inspire “Spinning Wheel,” and the venerable John Lee Hooker, who would indirectly contribute to Clayton-Thomas’ breakthrough in the U.S.

The band Blood, Sweat & Tears, including David Clayton-Thomas, far right, from the documentary “What the Hell Happened to Blood, Sweat & Tears?”

(Sony Music Archives)

Hooker had encouraged Clayton-Thomas to move to New York, where the American bluesman had an engagement at the Cafe Au Go Go in Greenwich Village. When Hooker unexpectedly departed for a tour of Europe, club owner Howard Solomon needed a replacement and recruited Clayton-Thomas.

“So I played him a couple songs on the guitar,” Clayton-Thomas told Bestclassicbands.com. “He said, ‘Do you have a band?’ I said, ‘Sure,’ and went out into Greenwich Village looking for anybody carrying a guitar case or even looking like a musician, and we put together a little band and we opened there that night. We ended up staying there for several months.”

Around the same time, session man-producer Al Kooper was looking to form a jazz-rock group and was joined by such musicians as guitarist Steve Katz, drummer Bobby Colomby and horn players Randy Brecker and Jerry Weiss. They called themselves Blood, Sweat & Tears, releasing the debut album “Child Is Father to the Man” early in 1968. Although praised by Rolling Stone publisher Jann Wenner as “a fine, exemplary group,” members were torn between those allied with Kooper and those who thought his vocals too weak to attract a substantial audience.

By the end of the year, Kooper and others had departed, and the band was seeking a new singer. After Judy Collins saw Clayton-Thomas perform, she recommended him to Colomby.

“I got home and just a couple of days later, Bobby Colomby called me up and said, ‘Hey, Kooper’s gone. We got four guys left out of the nine. And we still got a record contract with Columbia. Do you want to come down and try out for the band?’ ” Clayton-Thomas told Bestclassicbands.com. ”I said, ‘You’re damn right.’ I knew [bassist] Jim Fielder real well and I knew they were superb musicians. So I was on the next plane. We had a rehearsal that afternoon, an audition, and it was instant magic. We just knew right off the bat.”

Clayton-Thomas is survived by his daughters, Ashleigh Clayton-Thomas and Christine Graham.

Italie writes for the Associated Press.

Celebrity Gogglebox returned to screens on Friday night, with a host of new stars

Viewers of Celebrity Gogglebox settled in to watch a host of famous faces participate in a landmark episode.

The Channel 4 spin-off programme returned to screens on Friday (June 26) for a new episode, which was filmed over the previous seven days, covering the week’s TV and news highlights.

In each celebrity household, Gogglebox captures their instant reactions, love/hate relationships and fierce debates on the best and worst television shows of the past week – all from the comfort of their sofas.

From the Saturday night juggernauts and the week’s big soaps, to documentaries and gritty drama, the famous households offer witty, insightful, feisty and sometimes emotional critiques of the week’s popular and topical TV shows.

The latest instalment of the hit series welcomed back firm favourites, such as Martin and Roman Kemp, James and Clair Buckley, Nick and Liv Grimshaw, Bez and Shaun Ryder, and Joe Marler and Maisie Adam.

There were several new additions too, including Strictly Come Dancing stars Amy Dowden and Carlos Gu, actor Michael Sheen and his partner Anna Lundberg, friends Georgia Tennant and Fearne Cotton, and Chris Packham and step-daughter Megan McCubbin.

Channel 4 viewers were quick to say the same thing during the landmark 50th episode of Celebrity Gogglebox.

Fans shared how much they enjoyed the show, with one person writing on X (formerly Twitter): “Who doesn’t just love a bit of @C4Gogglebox. Always such an entertaining way to spend the time. The perfect switch your brain of TV any time of day needs.”

Another added: “Watching the always delightful Celebrity @C4Gogglebox. It’s still so fascinating how watching a show about people simply watching TV can be so strangely addictive. Watching as a host of celebs give their views on what’s on the small screen.”

A third said: “I love Celeb Gogglebox.”

Someone else shared: “All hail Celebrity @C4Gogglebox. How is it therapeutic watching people watch TV? Always the much needed relief a s****y day always requires. Love the celebrity version.”

During the instalment, the celebrities tuned into new episodes of I Kissed A Girl, The 1% Club, and First Dates, as well as watching Jennifer Lopez’s Netflix film, Office Romance.

The future of the UK’s leadership also came under scrutiny in this week’s episode. The famous faces reacted to Sir Keir Starmer’s resignation as Prime Minister, and gave their opinions on the man tipped to replace him, Andy Burnham.

Reacting to Starmer’s emotional speech outside 10 Downing Street, Michael Sheen commented: “That’s got to be tough”.

Joe Marler added: “He’s finally shown us the human side to him, that would have connected more with the world.”

Celebrity Gogglebox is available to stream on Channel 4

Fans have branded the series the ‘best thing since toast’ and it’ll now be available to UK viewers.

Fans of BBC’s ‘masterpiece’ series Ghosts are about to get a new series to sink their teeth into.

The beloved sitcom starring Charlotte Ritchie and Kiell Smith-Bynoe ran from 2019 to 2023, leaving fans devastated at its axe.

But now, three years later, the Australian version will be landing on the BBC. The broadcaster has announced it has acquired the rights to the comedy series, which premiered last year.

The synopsis for the adaptation teases: “Young couple Kate and Sean inherit Ramshead Manor after the timely death of Kate’s great-uncle.

“Heading out to the country to inspect the dilapidated property, they debate whether to uproot their city lives and turn Ramshead into a boutique hotel. Unbeknownst to them, the manor is also home to an eclectic group of Ghosts…”

The cast includes Tamala as Kate and Rowan Witt as Sean, alongside Mandy McElhinney, Brent Hill, Ines English, Michelle Brasier, George Zhao and Jackson Tozer.

The eight-part series will land on BBC iPlayer and BBC Three soon, with Nick Lee, Head of BBC Programme Acquisition, saying: “It’s a fresh and very fun spin of the wheel for this beloved BBC format. Fans will really enjoy the world this new ghoulish gang create.”

Ghosts: Australia has already been hailed “excellent” by fans, with one calling it “the best thing since toast”. They went on: “With just enough familiarity to make one feel at home, but sprinkled with unique elements and spirit unlike any series seen before, Ghosts Australia is a must-watch.”

Another called the characters “magnificent”, while someone else wrote: “I’m so impressed with this adaptation! I binged the entire series in one night. The performances are outstanding, the production is stellar, and the writing is sharp, clever, and full of heart.”

Someone else said: “Call me biased because I’m Australian, but this feels like peak cinema chaotic, unforgettable masterpiece that somehow changes your life, steals your milk, borrows your sanity, and still leaves you grinning like it did you a favour in the end. Honestly, nothing else even comes close to this madness.”

The original UK sitcom Ghosts came to an end after five seasons, leaving fans heartbroken.

In a statement shared at the time, the Ghosts team said: “After five incredible years haunting the halls of Button House, we have decided that the time is right to let our beloved sitcom Ghosts rest in peace.

“We have just wrapped filming on our fifth and final series and we can’t wait to share it with you all later this year.

“We could never have imagined the reception the show has enjoyed, or the fun we have had making it, and we would like to thank our amazing cast and crew as well as everyone at BBC Comedy, BBC1 and Monumental Television for their tireless support.”

A highly-demanded feature film is now set to air, The Possession of Button House, with the cast and actors set to return.

“We never planned to come back,” the show’s creators said.

“But when we had the idea for this story, we all got so excited that we couldn’t resist returning to our haunted home for one more adventure.

“We can’t wait to be together and to welcome some brilliant new faces, to tell this soul-stirring tale of life and death.”

Ghosts is available to watch on BBC iPlayer.

In 2015, musician Roberto Carlos launched Boleros de Noche, an annual concert series held in Los Angeles that aimed at preserving and showcasing the Latin American bolero music genre.

This year, the event is celebrating its 10th anniversary with performances at the Ford on Aug. 1 by Puerto Rican singer and former Calle 13 member iLe and L.A.-based bolero trio Voz Bohemia

On Friday, the city of L.A. honored the series’ decade-long run and legacy of uplifting bolero music by declaring Aug.1 “Día del Bolero.”

Boleros are ballads noted for their slow tempo and romantic lyrics accompanied by a crooning vocal style. Though the genre originated in Cuba, it quickly gained popularity across Latin America, with each culture putting their own spin on it. In the early 20th century, the evolving sound of boleros was shaped by the Cuban group Trio Matamoros, Mexican composer Agustín Lara, Puerto Rican artist Rafael Hernández and Ecuadorian singer Julio Jaramillo.

The genre saw a resurgence in popularity in the 1980s and ‘90s when famed Mexican artists Juan Gabriel and Luis Miguel embraced the bolero sound. In recent years, the bolero movement has been modernized and electrified by artists such as Mon Laferte, Romeo Santos, Adrian Quesada and Kali Uchis. In the last five years, Quesada has released two bolero albums, “Boleros Psicodélicos” and “Boleros Psicodélicos II,” that mix the genre’s classic sounds with elements of psychedelic rock.

“Over the past decade, Boleros de Noche has presented numerous concerts featuring both local and international artists, has brought together thousands of people across the city to bask in the lush orchestration of this music,” said City Councilmember Nithya Raman, who presented Carlos with the honor. “For so many in the Latino community and beyond, this isn’t just music, it’s memory, it’s home, and perhaps most importantly, it’s heritage being carried forward.”

Raised in L.A. County by parents who immigrated from the Mexican state of Oaxaca, Carlos says he first fell in love with live performance and bolero music in his midteens, when he would frequent the now-defunct Teatro los Pinos in South Gate.

He yearned for that same level of comfort and awe at music and wanted to share that with a larger audience. The first iteration of Boleros de Noche took place in 2015 at an art gallery in Echo Park.

“Over the years, I have heard countless stories from audience members who tell me how this music reminds them of their parents, grandparents, first loves and family traditions,” Carlos said Friday at City Hall. “Ten years ago, bolero was rarely part of our city’s cultural conversation, and today bolero programming can be found across Los Angeles, and I’m honored that Boleros de Noche has been a driving force behind its growth.”

Boleros de Noche has sold out shows at the Ford over the last few years and has featured artists such as Gaby Moreno, Marisoul and the legendary trio Los Panchos. In 2025, the event made its debut at Chicago’s historic Symphony Center.

The bolero genre’s popularity and cultural significance has been spotlighted outside of L.A. in recent years as well.

On Dec. 5, 2023, UNESCO, the United Nation’s agency aimed at safeguarding social and cultural foundations, recognized the musical genre as an Intangible Cultural Heritage of Humanity.

As part of Friday’s ceremony, Carlos and his bolero group Los Rebeldes Románticos performed several tunes, including the Mexican bolero classic “Sabor a Mí.”

Last year, Carlos spoke with The Times about his ambitions for Boleros de Noche and the mentality that drives the event series.

“At Boleros de Noche, [I want] for us to speak in Spanish, to feel recognized, to do this music as a celebration for all these artists that unfortunately became background music for a lot of like weddings and quinceañeras,” he said. “How about if we celebrate them and give them recognition? How about if, through my events, I can take people back to the 1940s to my experience at Teatro los Pinos?”

Given recent attacks on Latinos on the local and national levels, Carlos said he hoped his events would create a safe and welcoming gathering place.

“It’s about bolero music. It’s about community. It’s about people. It’s about the musicians,” he said. “Many of the musicians were undocumented. They brought this music to L.A. through their hometowns.”

Tom Sandoval’s girlfriend Victoria Lee Robinson was arrested after the two had an altercation that involved her father being pushed into a lit fire pit.

Sandoval, known for the cheating “Scandoval” that erupted on the reality television series “Vanderpump Rules,” filed a restraining order against the model and her father J. Will Robinson (who goes by Will) over a June 3 incident that was partially caught on video. He was granted a temporary restraining order and a subsequent hearing was set for July 16.

According to court documents obtained by The Times, the altercation involving Sandoval, Victoria Robinson and J. Will Robinson happened in the early morning hours after the couple returned home from a night out at a bar. Sandoval claimed in the petition that since the two became a couple in February 2024, Victoria Lee Robinson has been violent and attacked him physically, as well as changing the passwords on his phone and social media and tracking him using Airtags.

“The most recent physical incident occurred on June 3 when [she] punched my face and injured my neck and ear. During this same incident, Mr. Robinson, grabbed me and punched an approximately 12-inch hole in the door of my spare bedroom where I was barricading myself,” reads the petition.

In a video, obtained by TMZ, that captured part of the June 3 incident, Victoria Robinson and Will Robinson are seen sitting next to a lit fire pit on the patio when Sandoval and Will Robinson begin arguing. Sandoval is heard yelling at Will Robinson before he asks Victoria Robinson if she is recording and approaches her. Will Robinson stands and wraps his arms around Sandoval, seemingly to get him to back away from Victoria Robinson, and Sandoval turns and pushes Will Robinson, who falls backward into the lit fire pit.

After Will Robinson gets back up, he rushes after Sandoval into the home while Victoria Robinson screams for the men to stop.

According to the petition, the fight escalated, and Will Robinson phoned the police while Sandoval hid inside a spare bedroom. When police arrived, the petition claims that they initially put Sandoval in handcuffs, but after reviewing footage, Victoria Robinson was arrested for intimate partner battery with physical violence.

Robinson bonded out and was released the same day. The Los Angeles Police Department was not able to confirm the reason for Victoria Robinson’s arrest.

Representatives for Sandoval did not immediately respond to The Times’ request for comment. Victoria Robinson could not be reached for comment.

According to the petition, both Victoria Robinson and her father have lived in the Los Angeles rental home with Sandoval. According to the filing, the reality star hopped between hotels and friends’ houses after the June 3 incident.

Will Robinson told TMZ, “The DA did not file the case for a reason. I lifted Tom off of my daughter because he was overpowering and twisting her arm and trying to take her phone aggressively after yelling at us in a very aggressive and threatening manner.”

“This is my daughter’s home and we just want Tom as far away from us as possible and to keep his lies and drunken abuse away,” Robinson said.

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

Two of my favorite movies of the year so far are opening in Los Angeles today and they both benefit from being seen with a proper audience. You will find yourself surprised by what you are laughing at, curious about what other people are laughing at and then feel the air in the room collectively shift as both films take unexpected turns toward more genuine emotional moments.

The third feature directed by Olivia Wilde, “The Invite” is a biting look at modern relationships. Wilde stars as one half of a struggling couple, unhappily married to a character played by Seth Rogen. She invites over a couple from the apartment upstairs, played by Penélope Cruz and Edward Norton, and soon all sorts of feelings start flying around.

I reviewed for the paper, noting, “It feels daring for how it wants to actually examine the emotional costs of contemporary grown-up life, bringing wincing laughs of recognition.”

Wilde will be making appearances around L.A. over the weekend, including at the Vista, where the movie is playing in 35mm.

Also opening this weekend is “Maddie’s Secret,” the debut feature as writer-director from comedian and actor John Early, who also stars as the title character, an aspiring L.A. food influencer battling bulimia. It is a truly astonishing performance, one that walks a difficult tightrope between sincerity and parody. Early will appear for Q&As around town this weekend.

I spoke to Early about the film when it played as part of the Los Angeles Festival of Movies about its unusual tone — somehow earnest, tender and very funny all at once. Joshua Rothkopf reviewed the film, which he calls the indie arrival of the year, comparing it to movies by John Waters, Todd Haynes and Douglas Sirk.

Jack meets the maestro

Jack Nicholson in the 1975 movie “The Passenger.”

(Sony Pictures Classics)

One movie I feel obligated to note whenever it plays it Michelangelo Antonioni’s “The Passenger.” Jack Nicholson stars as a disaffected journalist who assumes the identity of a dead man in an attempt to start over, only to find that his new life is even more complicated than his own. It is a powerful examination of middle-aged malaise that has Antonioni’s trademark mystery but, thanks to Nicholson, also has a directness that makes it accessible to wider audiences.

Nicholson made the film in between “Chinatown” and “One Flew Over the Cuckoo’s Nest,” at the height of his fame in the 1970s, a time when going to Europe and Africa to shoot a movie with an esoteric art-house filmmaker was a huge risk. He would personally purchase the rights to the film in the early 1980s and essentially treated it like owning an art object, very rarely allowing it to be shown publicly. It reentered circulation in 2005 with a rerelease but still has a certain air of rarity around it. The film will be showing at the New Beverly in 35mm on Saturday and Sunday.

Nicholson sat for an extended interview with The Times’ Patrick Goldstein around that 2005 reissue of the film, calling the production “the most vivid filmmaking adventure I’ve ever had.” He described his relationship to Antonioni by saying, “He’s been like a father figure to me. I worked with him because I wanted to be a film director and I thought I could learn from a master. He’s one of the few people I know that I ever really listened to.”

When the Italian filmmaker died in 2007, Nicholson got on the phone with us to say, “I don’t know how to put this: He’s just a maestro, and everybody loved him. … He was a man of joy and impeccable taste. His whole life was dedicated to modestly being a brilliant artist.”

Truffaut’s humanist warmth

Delphine Seyrig and Jean-Pierre Léaud in the movie “Stolen Kisses.”

(Janus Films)

Richard Linklater’s “Nouvelle Vague” last year didn’t exactly start a renewed wave of interest in the French New Wave of the 1960s, but then again, those movies never really went away. They’ve been inspirational to generations of film fans for more than 60 years now.

But one French director who has perhaps fallen out of favor slightly is François Truffaut. Long seen as one of the quintessential New Wave filmmakers, he has become taken for granted a little of late. Which is why it is exciting to see Brain Dead Studios showing his 1968 film “Stolen Kisses” in 35mm on Sunday.

The third in the series of films Truffaut returned to throughout his career, including his 1959 breakthrough “The 400 Blows,” the film again stars Jean-Pierre Léaud as Antoine Doinel, Truffaut’s alter ego through the stages of his life. Discharged from the army, Antoine drifts through a series of jobs. His real concern is juggling his busy love life, making the film something of a male-centered rom-com while capturing Truffaut’s warm, humanist worldview.

Rohmer’s caustic cynicism

Jean-Claude Brialy in the 1970 movie “Claire’s Knee.”

(Janus Films)

Conversely, a filmmaker of the French New Wave who has seen his stock rise during the last few years is Eric Rohmer, championed by Noah Baumbach among others. His more caustic view of the world may resonate better with more cynical modern audiences.

The American Cinematheque will begin showing Rohmer’s cycle of “Six Moral Tales” at the Los Feliz Theatre this weekend with a 35mm screening of “My Night at Maud’s” and continuing with other screenings through the end of July. Other films in the series include the sultry, summertime tale “La Collectionneuse,” the ethical dilemma of “Claire’s Knee” and the tale of infidelity “Love in the Afternoon.”

Writing about “Claire’s Knee” in 1971, Charles Champlin noted, “What redeems Rohmer’s films from a defeating sameness is the quite extraordinary charm, believability and complexity of his characters and his meticulous attention to detail and his refusal to go for gross events at the expense of the subtle shadings of human relationships.”

Honestly, if a trip to France isn’t happening for you this summer, this series makes for a not-bad substitute.

Reconsidering ’90s comedy

An image from the 2025 documentary “We Are Pat.”

(The Film Collaborative)

Fresh off its world premiere at the recent Tribeca Film Festival, Ro Haber’s documentary “We Are Pat” will screen at Vidiots on Sunday. Haber will be there along with comedians Julia Sweeney and Harper Steele and, for good measure, Alan Cumming.

“We Are Pat” examines the afterlife of Sweeney’s character from “Saturday Night Live,” a confusingly genderless person who no one can ever quite figure out how to engage with. The way Pat has been picked up by a new generation of genderfluid comedians shows how influence and inspiration can come from the unlikeliest of places, and also how comedic ideas can transform over time.

Ali in Africa

Muhammad Ali fights George Foreman in the 1996 documentary “When We Were Kings.”

(Gramercy Pictures)

Released in 1996, “When We Were Kings” depicts the 1974 boxing match in Zaire between Muhammad Ali and George Foreman known as “The Rumble in the Jungle.” Director Leon Gast was unable to complete the film at the time, so the footage languished for years until he got an assist from filmmaker Taylor Hackford in shooting contemporary interviews with the likes of Norman Mailer, George Plimpton and Spike Lee. “When We Were Kings” would go on to win the Academy Award for documentary feature. It will be screening at Vidiots on Saturday.

The core of the movie is watching the thrilling, inspiring footage of Ali training and interacting with the locals. As Kenneth Turan wrote in his original review, “Because a classic heavyweight championship fight, especially with these protagonists, epitomizes the drama inherent in sport, ‘When We Were Kings’ always compels our interest.”

New this week

• Amy Nicholson wasn’t crazy about “Supergirl,” but reserves praise for star Milly Alcock as the “one reason to see the film.”
• Johnny Knoxville and friends are back for another round of stunts and pranks in “Jackass: Best and Last.” Age has finally caught up with them, Amy Nicholson laments.
• It seems a little odd that a movie starring Angelina Jolie, “Couture,” is just sort of sneaking into theaters, but that’s movie business in 2026. We spoke to Jolie at last year’s Toronto International Film Festival about the film.

In the last decade or so, Angelina Jolie has been on screen less frequently. So when she is — and not in forgettable tentpoles like “Eternals” — it’s worth paying attention. There seems to be a thoughtful intentionality to the roles she now chooses, almost as if this astoundingly famous woman wants to tell us something vital about herself, offering clues into her understandably guarded personal life.

Take 2015’s “By the Sea,” which she wrote and directed. Coincidentally or not, that pained study of marital dissolution, co-starring Jolie’s then-husband Brad Pitt, intersected with the couple’s real-life breakup — not to mention Jolie’s grief over the death of her mother, Marcheline Bertrand. Two years ago, Jolie portrayed a version of the elusive, emotionally closed-off opera singer Maria Callas in “Maria.” The conception of the role, marked by a dim view of stardom’s suffocating alienation, was something Jolie clearly understood. Moviegoers should be careful not to read too much autobiography into an actor’s creative choices, but Jolie makes such speculation tantalizing, adding additional layers of drama to her films.

The intermittently affecting “Couture” feels similarly close to her heart, depicting a filmmaker whose life is interrupted by a cancer diagnosis — a reality Jolie knows all too well. In 2013, she underwent a preventive double mastectomy over concerns of her likelihood to develop breast or ovarian cancer. (Bertrand died of cancer in 2007.) Knowledge of Jolie’s circumstance will inform a viewer’s reaction to her wounded, resilient performance, but our inherent sympathies can only take French writer-director Alice Winocour’s ensemble piece so far.

Jolie plays Maxine, an American indie director hired to create a flashy opening film for Paris Fashion Week. Newly arrived in the City of Light, she has only a few days to put together the short, assisted by her trusted cinematographer Anton (Louis Garrel). As we deduce from the phone calls Maxine makes back home, she’s also going through an acrimonious divorce and has trouble connecting with her blasé teenage daughter. At least this Paris paycheck gig will bolster her finances — and get her ready for the feature film she’s been wanting to make for years.

Just then, though, Maxine’s future gets a rewrite. A French doctor (Vincent London) tells her she has breast cancer and needs a double mastectomy immediately. Maybe she can finish the Fashion Week film, but her passion project must wait. An artist and mother who has spent her adulthood in constant motion will have to learn what it means to stop everything and be still.

The film’s title would appear to be a reference to the story’s setting, but in French, “coutures” can also mean “stitches,” and indeed Winocour sews together three thematically linked story strands. As Maxine wrestles with her cancer diagnosis, an inexperienced South Sudanese model named Ada (Anyier Anei) works Fashion Week so she can send money home to her family. (Ada has no interest in modeling, hoping instead to become a pharmacist.) Meanwhile a makeup artist, Angèle (Ella Rumpf), longs to be an author, although she cannot get anyone interested in her writing. Each one becomes a part of the fabric of Fashion Week, but their disparate problems are a far cry from the glitzy event’s self-importance.

Winocour has often made films about women balancing their public-facing life with their private selves In 2019’s “Proxima,” Eva Green played an astronaut missing her young daughter. In 2022’s “Paris Memories,” Virginie Efira starred as an interpreter recovering from the shock of surviving a terrorist attack. Winocour shows us the intimate, vulnerable spaces within her characters that those on the outside don’t have access to.

“Couture’s” three principals rarely interact with one another, but those meaningful exchanges argue that, amid the mad clatter of the everyday, a brief, unguarded moment with a stranger can be supremely restorative. Unfortunately, the juggling of storylines ends up being more schematic than insightful. Angèle’s narrative never catches fire and while Anei is striking as Ada, that section of the film feels slightly patronizing, reducing this immigrant tale to yet another strained salute to perseverance.

This leaves Jolie as the movie’s magnetic center, with Maxine drifting through despair as she ponders what to do. Her doctor insists that the surgery cannot wait, but putting her ambitions on hold means losing a part of herself — a different kind of death sentence than the one she’s now facing.

The character is underwritten but Jolie picks up much of the slack through her silently shattered expression. As she’s gotten older, the Oscar winner has become more comfortable doing less in her performances, allowing for a fragile serenity that is belied by the anguish and anxiety roiling underneath. It’s not just our recognition of the real-life parallels that make Jolie so touching in “Couture” — it’s that ineffable star power she’s possessed for so long. In a story about a potential tragedy, what’s saddest is that Winocour’s film cannot match its lead’s effortless command.

TELLY favourites Stacey Solomon and Joe Swash are set to upgrade their Pickle Cottage home for a sprawling mansion set in 30 acres.

The couple have set their sights on an impressive eight-bedroom Victorian mansion, which is said to be central to DIY influencer Stacey’s next renovation project.

A source said the pair “fell in love” with the Essex property after viewing it as a potential new home for their family of eight.

And the news should help quash rumours that their relationship is on the rocks.

Stacey, 36, will have her work cut out transforming the already-impressive gaff, which costs almost double the £1.3million price of their current home and is more than 7,500 sq ft — complete with a pool and a lake.

Our source said the couple would be sad to leave Pickle Cottage, but are grateful to have the chance to make “new memories” with their brood.

They said: “They viewed the house and fell in love with it. It’s got extra space for the kids.

“Pickle Cottage only has five bedrooms. They have six children and then they need a room for themselves. It gives Stacey a chance to do more of her amazing DIY work as well.

“She has a great eye for interiors. This house needs a bit of love and work to make it the absolute dream home where they can make new memories.”

The family’s current Tudor-style Pickle Cottage, also in Essex, is the setting for their reality TV show, which launched to 4.2million viewers in April last year, with a second series last September.

The BBC has commissioned a third series of the show, despite scrutiny after The Sun’s revelation that the couple’s lavish 2022 wedding was never made legal.

Following the news, Stacey took to social media to tell her six million followers the pair had always been clear it was a “religious ceremony and blessing” in their garden.

She added that the couple plan to get “legally married at a later point”.

Stacey and Joe, 44, have three kids together — Rex, seven, Rose, four, and three-year-old Belle — while Stacey also has teenage sons Zachary, 18, and Leighton, 14, and Joe has son Harry, 19.

In March, after being pictured multiple times with and without her wedding ring, Stacey addressed speculation about “issues going on” in her marriage on ITV’s This Morning.

She told presenter Ben ­Shephard: “There’s a new rumour each week. Have I not been wearing my ring? I probably took it off to go to the toilet or something.”

Stacey and ex-EastEnders star Joe have built lucrative careers on their family image after first meeting on ITV’s I’m a Celebrity show in 2010.

How well do you remember your U.S. history class from high school or college? Did some of the key moments in America’s 250 years of existence involve Larry David playing a founding father? OK, maybe not, but it’s fun to imagine what that would be like. And that’s precisely what David and Jeff Schaffer have done with their new HBO series “Life, Larry and the Pursuit of Unhappiness.”

The series, premiering Friday, is a timely look at some of America’s big moments in history with a comedic twist that will remind viewers of “Curb Your Enthusiasm,” partly because it also features some cast members from the show. The series arrives on the cusp of the 250th anniversary of America’s founding, and offers an alternative history that’s still steeped in facts. Schaffer stopped by Guest Spot to talk about creating the series with David and what it was like to work with former President Obama.

Speaking of laughter, if you like yours with a whole lot of drama, FX dropped the final season of “The Bear” Thursday on Hulu. The series, which premiered in 2022 and made phrases like “cousin,” “yes, chef,” and “every second counts” memorable, ties up a lot of strings for its crew of chefs. Jeremy Allen White and Ayo Edebiri, the actors who were at the center of the show for five seasons, spoke to us about “The Bear” coming to a close, where their characters end up and what it feels like to leave them behind (be forewarned, the interview has lots of spoilers).

The finale feels like a fitting end to one of the best shows of the past decade (so far) — but we won’t say much more. Enjoy each episode like a multi-course meal at a fine-dining restaurant. You’ll want to savor each bite before it’s over.

Also in this week’s Screen Gab, our writers recommend an animated series with monsters and mystery and a documentary about one of America’s greatest bands. I’ll get my flags, fireworks and BBQ supplies ready in the meantime. — Maira Garcia

Turn on

Recommendations from the film and TV experts at The Times

Bobby and Romy in Disney+’s “The Doomies.”

(Disney)

“The Doomies” (Disney+)

If you’re missing “Widow’s Bay,” and like cartoons, here’s another tale of monsters loose in a coastal tourist town, with the difference that the town, called “Ouimpre,” is decidedly on the Atlantic coast of northwest France. (It’s a Franglais pun.) There are half-timbered buildings; what used to be a Camembert factory after it was a beret factory; a cafe that serves crepes, not pancakes; and boulangeries, not bakeries. (It’s a French production; Disney encouraged animator Andrés Fernandez to go local.) As in “Stranger Things,” which no one may be missing by now, the protagonists are kids — Romy, who is excitable and impulsive, and Bobby, who is neither — abetted by a formidable female teenage demon slayer and a lighthouse keeper with occult knowledge. The series is energetic, funny and character-driven — even the monsters. The action is well-staged and intense, the color palette moody and evocative, and the design not at all reminiscent of a hundred other cartoons, which makes the show refreshing as well as fun. — Robert Lloyd

Earth, Wind & Fire in HBO’s “Earth, Wind & Fire (To Be Celestial vs. That’s The Weight Of The World)”

(Jeffrey Mayer / HBO)

“Earth, Wind & Fire (To Be Celestial vs. That’s the Weight of the World)” (HBO Max)

Even if you think you don’t know Earth, Wind & Fire, chances are they’ve soundtracked a wedding, bar mitzvah, awkward office party or some other memorable celebration in your life. Somewhere between “Shining Star,” “Let’s Groove” and “September,” the band mastered the art of coaxing three or four generations of a family onto the same dance floor. Questlove’s new documentary explores how that happened. If his recent Sly Stone film examined how genius can curdle into self-destruction, this one asks a different question: How did Earth, Wind & Fire founder Maurice White build something that lasted? Abandoned by his mother as a child, White set out to create not just a band but a family, assembling a sprawling ensemble around a musical and spiritual vision. Questlove is too thoughtful a filmmaker to sand down the rough edges. White emerges as both inspiring and flawed: a gifted bandleader, spiritual seeker and demanding perfectionist whose drive sometimes came at a personal cost. Drawing on interviews with everyone from former bandmates to Stevie Wonder, Lionel Richie and Barack and Michelle Obama, Questlove builds a portrait of White that never shies away from his contradictions. In the process, he shows how White’s fascination with spirituality, Egyptology and the cosmic unknown shaped both the band’s music and mythology. You may occasionally wish the film lingered longer on the performances themselves (for a reminder of what made Earth, Wind & Fire such a formidable live act, start with the 1975 concert album “Gratitude”). But by the end, you have a deeper appreciation for the band’s unlikely feat: turning something so eccentric into something so universal. — Josh Rottenberg

Guest spot

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

Larry David in “Life, Larry and the Pursuit of Unhappiness.”

(John Johnson / HBO)

Is Larry David about to be the most entertaining (and crankiest) history teacher America has ever had?

To celebrate the arrival of the nation’s semiquincentennial, the comedian teamed up with Barack and Michelle Obama’s Higher Ground Productions to revisit the truth of our history with some comedic chaos. The result is “Life, Larry and the Pursuit of Unhappiness,” a seven-episode sketch comedy series from the mind of David and his longtime “Curb Your Enthusiasm” collaborator Jeff Schaffer that pairs reenactments of seminal milestones from America’s past with David’s misanthropic humor — or, as its creators dub it, “‘Curb’ in costume.” Subtitled “An Almost History of America,” it features a star-studded roster of actors dressing up in period clothes alongside David, including “Curb’s” Jeff Garlin, J.B. Smoove and Susie Essman, as well as Bill Hader, Kathryn Hahn, Jon Hamm and Jerry Seinfeld. The first episode premieres Friday at 9 p.m. ET/PT on HBO and will stream on HBO Max.

Over a video call, Schaffer discussed the show’s genesis, former President Obama’s improv skills and the British TV series that has him entertained. — Yvonne Villarreal

Tell me about getting into business with the Obamas. Their production company approached Larry. How did it evolve into this?

Larry and President Obama know each other a little bit. They really enjoy each other’s company, or at least Larry enjoys needling Obama, and Obama really enjoys needling Larry. The moment that we all met together to have our first meeting, the first thing Obama does — I’ve never met the president [prior]— he starts just ragging on Larry’s golf game, and how he wears so much sunscreen on the golf course. And Larry just goes to President Obama, “Oh, I’m sorry, my dad’s not from Kenya.” And that’s how it started. They have a great rapport and they wanted to do something special for the 250th [anniversary]. Larry says no to everything — his best friend can be having a premiere of a movie, and Larry will go, “Where is it in Hollywood?” But Larry’s not going, that’s too far. When this came around, Larry was like, “Huh, that’s actually pretty interesting.” He responded right away to the historical nature of it because, as he would say, he’s an American history buff.

The genesis for Larry and I is that we had done a tiny test run of this with that FTX ad for the Super Bowl a few years back. I don’t know, whatever happened to those people — I’m sure they’re fine — but he remembered how much fun he had being in costume. And honestly, I think he forgot how much he hated being in a wig. It’s like childbirth, enough time had passed.

Given the sort of tenor of the times, why does this type of comedic look at America’s history feel like the appropriate way to mark this anniversary?

It’s the 250th and I get that celebrating the country right now may feel like throwing a birthday party for your friend who’s in rehab — he’s all f— up — but we still love him, right? There’s a way to look at the country’s history, warts and all, the two steps forward and the one step back. And I think one of the best ways to do that is through comedy.

Going back to President Obama — what are the negotiations to get him to appear in it? Or was that on the table from the beginning?

Once I saw the two of them interact together, that became my primary mission. We’ll write the sketches, and we’ll do the documentary stuff, we’ll make it all historical and fun, whatever, but we have to get you two on screen together. It was also sort of the promise of the show, too. When I originally talked to Amy Gravitt at HBO about it, I remember I said, “What if I could give you a show that brought together two people half of America loves?”

What was it like directing them in a scene together? He gives the opening remarks at the start of the show.

He is a truly inspiring, amazing human being who also happens to have great comedic timing. He and Larry get into a groove immediately, which is very fun, and it was honestly one of the coolest things I’ve ever done in my life, directing them. The president said, “I guess I like being annoyed by Larry. Once we get together, I start sounding like him.” It’s like Larry’s this black hole of negativity that sucked Obama in for these brief periods of time; it was just fun.

Is he good at improv then on the spot like that?

Yes, he is. He’s got some really funny stuff in the sketch they’re in together that is all him — 100% the president.

Do you have a favorite moment from this first episode — it features the Declaration of Independence, segregation and Rosa Parks.

There’s different things in each of them. The thing that I’m most excited about is when you don’t know what the next one’s going to be, and then when the narration for the little documentary section starts, and it starts talking about Rosa Parks, I can just see [viewers] going, “Oh no …” That’s a great “Curb” feeling. It’s a comedy horror film — “Oh no, don’t do that, oh no.” Then you get sucked in.

We tried really hard to make sure that production-wise, there’s historical accuracy, so it really felt like you were in this moment. Then Larry gets dropped in, and all hell breaks loose. Same thing with World War I — I got to shoot a whole bunch of World War I fighting — and there’s Larry pretending to be dead. One of the things that attracted us to it in the very beginning was the idea of the juxtaposition between these big dramatic moments and then Larry. History is writ large, and Larry writes so small and that dynamic is fun for us.

One of the great things about a show like this — or what’s come before, like “Drunk History” — are the lessons that can be learned. Is there something you learned while filming this series or a takeaway you had in looking back at our history?

There are things I did not know. One of the things that was also enjoyable is being able to talk about modern things in a historical context, even with that phone. We don’t write dialog — we write some, but it’s basically like doing “Curb.” Larry knew that people were going to ask some questions about the phone, but I just was peppering these people with questions about all of the modern stuff, and just watching Larry get angrier and angrier at these people. At a certain point, the membrane of actor, of character to real human being was breached. He was so mad at them, but that’s what making the show is. Actually, at the end of the our shoot, President Obama said to me, “I see how it works. Larry makes the world uncomfortable, and you make sure the world makes Larry uncomfortable.” That’s literally how we make the show.

Would this format work for current historical events? How do you think, 250 years from now, a reboot of this show would tackle something like telling the story of the UFC fight on the White House lawn?

That’s the problem — we’ve entered an era of America parodying itself. It’s insane. One of my good friends, Dave Mandel, used to do a “Veep” and he’s like, “What do you do now?” I think what we tried to do, and you’ll see as you go further into episodes, we try to address a lot of things that are happening right now through a historical lens. So we might be back in colonial times, and we might be back in the ‘50s, but we’re actually talking about something that’s happening right now.

Before I let you go, what is the TV show or movie out right now that you’re telling everyone to watch?

I just started watching “Steve and Alice” [Hulu, Disney+]. It’s so well done; it’s so dark and funny and really engaging.

What’s the comfort show or movie you return to again and again?

I can pretty much put on any “Lord of the Rings” [HBO Max] movie anywhere and not be able to get my butt off the seat.

ICYMI

Must-read stories you might have missed

Stranger Things favourites are back again as a father-daughter duo.

Stranger Things fans are getting hyped up over an unexpected Netflix reunion.

Netflix has confirmed that David Harbour and Millie Bobby Brown, who played Jim Hopper and Millie Bobby Brown in Stranger Things, are going to be working together again.

The iconic pair will be teaming up in an untitled father-daughter spy thriller, loosely inspired by author Paul Warner’s debut novel A Spy in the Blood.

What’s even more exciting is that this upcoming series will be created by none other than Jack Thorne, co-creator of Netflix’s Adolescence, as well as other hits like His Dark Materials and the Enola Holmes franchise.

Harbour and Brown will be returning to familiar territory in the new series as they will be portraying a dad and daughter, very much like the familial dynamic between Stranger Things’ Hopper and Eleven.

Watch Unchosen on Netflix

This article contains affiliate links, we will receive a commission on any sales we generate from it. Learn more

Starts at £5.99

Netflix

Watch now

In the freshly announced series, Harbour will be playing “disgraced FBI agent turned security expert Matt Wolfe” while actress Millie Bobby Brown is behind Rebecca, his estranged daughter and FBI agent.

However, Matt is drawn back into the world that he left behind when Rebecca “vanishes on a mission, forcing him back into a field that has evolved beyond him”.

While the spy thriller has been given a straight-to-series order by Netflix, there has been no word on when subscribers can expect the series just yet.

Netflix Head of Scripted Series, US and Canada Jinny Howe said: “We are delighted to bring this spy drama to life with an extraordinary group of talent we’ve been fortunate to collaborate with before.

“Jack Thorne’s ability to find the deeply human story inside a thriller is unmatched, and watching Millie Bobby Brown and David Harbour reunite — this time as estranged father and daughter on opposite sides of a crisis — is something audiences are going to love.”

Harbour hinted at the collaboration in an interview with Variety, teasing: “You’ll see more of me and Millie. 10 years wasn’t enough,” referring to their time together on Stranger Things.

“There is a special bond there. I love her, she loves me.”

Brown also praised her former Stranger Things co-star for bringing them back together, telling the Happy Sad Confused podcast this week: “Father-daughter is where we live, but Netflix will always be our home.

“The David Harbour project is sooner than expected, and it’s David’s idea, so kudos to him.”

Stranger Things is available to watch on Netflix.

Our Yorkshire Farm star Amanda Owen has been a firm favourite on our screens for years

Amanda Owen rose to prominence on the much-loved series Our Yorkshire Farm.

The Channel 5 programme launched in 2018, chronicling Amanda’s experiences at Ravenseat Farm alongside her ex-husband Clive and their nine children. The show has since become one of the broadcaster’s most-watched offerings.

Channel 4 subsequently commissioned a ten-part series titled Our Farm Next Door, which documents the family as they renovate a 200-year-old farmhouse in the Yorkshire Dales.

The third series broadcast earlier this year, with a further instalment on the way.

As Our Farm Next Door prepares to air a repeat episode this evening (Friday, June 26), here’s everything you need to know about Amanda Owen’s life beyond the cameras, reports Yorkshire Live.

Heartbreaking losses

Amanda and her family have endured several painful losses at the farm. In 2022, the Owens bid farewell to their cherished dog, Kate, who died peacefully in her sleep.

In a series of tweets at the time, Amanda said she was “mourning” her “faithful workmate, companion, colleague and friend,” adding: “I miss her”.

Additionally, an emotional Amanda supported her children through the loss of their treasured horse, Little Joe. “Eventually, all life will come to an end, right? Anything can die; life is a truly fragile thing,” she noted.

In a previous episode of Our Farm Next Door, Amanda also battled to contain her emotions after discovering that their family dog, Chalky, had passed away.

When reflecting on the moment she learned the news, the mother of nine said: “It was really clear and obvious that Chalky was fading away. When the children came running out of the house saying that Chalky had passed away, they were absolutely bereft, and they knew it was coming, and I knew it was coming.”

Health struggles

The Yorkshire Shepherdess has spoken candidly about her struggle with an eating disorder that left her fearing for her life.

Amanda previously told Daily Mail: “I just shut down. Physical and mental health are intertwined and anxiety, depression, paranoia, agoraphobia and an eating disorder were all smooshed into one.”

She added: “I remember sitting in the sheep pens in the dark, just hiding. It’s the price you pay for living your life in the open, for being observed. It’s like having a post mortem before you’re dead.”

The television star revealed that she was repeatedly in and out of hospital during what she described as a “critical time”, with her former partner, Clive, even worrying that Amanda might not make it through to the following morning.

Amanda has since reassured her followers with the welcome news that she is “out of the woods”.

More recently, Amanda found herself back at hospital after her son, Miles, suffered a medical emergency on the farm due to his type one diabetes.

“It’s been a hard few days but we’re all here to tell the tale. I’m super proud of you @milesowen86,” the star wrote on Instagram, prompting an outpouring of support from her devoted fans.

Our Farm Next Door: Amanda, Clive and Kids is available to stream on Channel 4