SHOW BIZ

Strictly Come Dancing is reportedly getting a new spin-off show, its first new show in 22 years, and it will be led by pro dancer Dianne Buswell

Strictly Come Dancing is reportedly getting a new spin-off show, 22 years after It Takes Two launched. According to TV insiders, the BBC’s dance competition will launch Strictly Pro Dance Off, led by popular star Dianne Buswell.

The show would see Strictly’s pro dancers go head-to-head in dance challenges and would launch alongside the next series, which launches this Saturday.

In it, a ‘teacher pro’ would show a dance routine to two other stars, who would then perform it on the dancefloor, with the ‘teacher’ picking who did it best. The winner would go on to the next week to face another star. Each duel is set to last seven minutes, so the show is short and draws in the social media generation.

According to The Sun, a source said the goal was to appeal to a younger audience. “It’s obviously part of the renewed drive to bring in a younger market to the show, which, along with hiring more influencers to compete, is seen as future-proofing the contest,” the source explained.

They added that there would be “inevitable” comparisons to the US version of Dancing With The Stars, as their series, The Next Pro, also featured professional dancers competing in head-to-head challenges. The source acknowledged that they were “different formats” but said the focus on the pros would still cause some to see similarities.

The source also said that Strictly was putting more of a focus on the pro dancers as they are aware that much of the appeal of the show comes from the public’s love for pros like Dianne.

Another popular pro dancer is Johannes Radebe, but he will not have a partner this year – as he has been announced as one of the three new hosts.

Emma Willis and Josh Widdicombe are the other two, replacing Claudia Winkleman and Tess Daly. Unlike Claudia and Tess, who had fixed roles on the dancefloor and in the ‘Claudetorium’, Emma, Josh and Johannes will operate in a more fluid team.

There are set to be a lot of changes to the hosting roles this year. Emma previously revealed that she and her co-hosts would be dancing as well, which Tess and Claudia didn’t do. “We have to dance in the opening show, the three of us together have some choreography,” she said.

Johannes seemed excited by the plans. “Can you imagine?” he laughed. “For my own mental health and well-being, I need to be shaking my tush. You’ll see me, and not only me, in the launch show — there’s going to be more dancing than you’ve ever seen.”

The three of them also shared that Claudia and Tess sent them good luck messages. Emma said: “They have been in touch with all of us, sending love and congratulations and just saying enjoy it – it’s so fun.”

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Wunmi Mosaku has confirmed the birth of her second child — with style.

The “Sinners” actor posed for photos with her two children, a then-10-week-old son and nearly 3-year-old daughter, for the October issue of British Vogue. In the cover story, the 2026 Oscar nominee reflected on her childhood in Manchester, being pregnant during awards season and her commitment to maintaining a joyful workplace.

Mosaku described this past awards season as “the most inclusive red carpet run I’d ever had.”

“Designers happily embraced my growing bump with no pushback or compromise,” the British Nigerian actor said to the outlet. “I really hope designers remain equally excited about dressing regular curves, not just pregnancy bumps. I’m nervous about what comes next. I am hoping not to go back to sample sizes being sent and forking out for tailoring out of pocket. Long may it continue where designers actually dress me and my body as I am!”

But she also admitted to “struggling with pain, stretching ligaments and exhaustion” as she made the rounds for “Sinners’” awards season run. In addition to Mosaku’s Academy Award nomination for supporting actress, “Sinners’” Oscars haul included wins for filmmaker Ryan Coogler, star Michael B. Jordan, cinematographer Autumn Durald Arkapaw and composer Ludwig Göransson.

Mosaku, who is married to talent agent Tash Moseley, announced her pregnancy in January in an essay for Vogue timed to the 2026 Golden Globe Awards, where she walked the red carpet in a custom yellow dress that did not hide her baby bump.

“In my Nigerian culture, we don’t really announce this kind of news,” she wrote then. “It’s meant to be protected. Everything in me resists sharing it publicly — not because I’m not grateful or joyful, but because this feels like one of the few things that truly belongs to me.”

In addition to sharing her news, the actor also addressed her hope that “we could let women simply be” without scrutinizing their bodies as well as the specific worries that comes with pregnancy as a Black woman.

“Being pregnant as a Black woman, you’re not just worrying about whether your baby will be okay: You’re praying you will be too,” she wrote. “Holding joy and fear at the same time is not abstract; it’s rooted in lived experience, medical bias, and real statistics.”

Mosaku also discussed her forthcoming maternity wear line, Iyadé, in her latest British Vogue interview. The brand’s name is a Yoruba word that means “mother has arrived.”

“I’m so proud of all my designs,” Mosaku told the outlet. “And I know Iyadé needs to exist. I can’t be the only mother who is disappointed with maternity and nursing wear. I cannot be the only person.”

Big Brother viewers have rallied behind the reality star after she was labelled ‘disrespectful’

Big Brother fans have rushed to defend a controversial contestant amid online backlash.

American housemate Johanne, 44, was labelled ‘disrespectful’ after she walked into the storage room while Omar was praying towards the end of Wednesday night’s episode of the ITV series. She began searching for a drink, apparently unaware of what he was doing.

Once Johanne realised, she apologised and left the room. She later apologised to Omar again, explaining that she had no idea he was praying. While some viewers criticised the interruption, others argued it was a genuine mistake and questioned whether Omar had been given enough privacy in the shared house.

“Omar should have let them know he was going in to pray you could tell she genuinely didn’t know #bbuk,” one viewer wrote on X, formerly Twitter. Another suggested: “I do think Omar should probably have a more private place to pray though how are all housemates going to know #bbuk.”

The encounter nevertheless left some fans cringing. As OK! reports, one posted: “I’ve never gotten worse second hand embarrassment in my life #bbuk.” A second wrote: “Stop that was so awkward poor Omar #BBUK.”

Others took a harsher view of Johanne’s behaviour. One wrote: “Wow Joanne is so disrespectful my lord. #bbuk.” Another added: “Joanne interrupting Omar praying? ! Holy s*** that’s incredibly disrespectful #BBUK.”

The debate came just four days after the new contestants moved into the house, with tensions already emerging. Tonight’s episode also saw Charlotte, who is an amputee, and Rochelle at the centre of the drama after Rochelle revealed she had long had a phobia of people with limb differences.

Meanwhile, Millie, Pauline and Rochelle were confirmed as the housemates facing the series’ first eviction.

The trio had been offered a lifeline if they could identify Big Brother’s moles, Tays and Philip. All three failed to expose the undercover housemates, leaving them facing the public vote.

Voting is now open for Friday’s (September 18) eviction, with viewers asked to choose the housemate they want to leave.

The evicted contestant will then join presenters AJ Odudu and Will Best for a live interview.

Big Brother is available to stream on ITVX

The Country Music Assn. will put on a two-hour live TV special honoring Dolly Parton, who died last month at the age of 80.

The association said Wednesday that the television tribute — titled “CMA Presents I Will Always Love You: A Celebration of Dolly Parton” — will be recorded live at the Fisher Center for the Performing Arts, on the campus of Belmont University in Nashville.

The tribute will air Oct. 21 at 6 p.m. Pacific on ABC and Disney+, and will stream on Hulu a day later.

In a news release, CMA described the special as a “joyful, emotional celebration” dedicated to Parton, the rhinestone-studded singer whose life began humbly, in a one-room cabin at the foothills of the Great Smoky Mountains.

Robert Deaton, veteran executive producer of the Country Music Awards and Billboard Music Awards, will fill that role on the Parton project.

“Dolly gave Country Music its heart, and giving some of that heart back to her is an incredible honor,” said Deaton in a news release Wednesday. “My hope is simply that we do right by her story, her music and the people who love her, so that this evening feels like the tribute my friend deserves.”

Sarah Trahern, CMA chief executive, added that the tribute is the association’s “responsibility”: “This special is our way of saying thank you, on behalf of every artist, industry member and fan who found a piece of themselves in her music.”

The tribute is in partnership with Belmont University, which hosted the 2025 world premiere of “Dolly: A True Original Musical,” a biographical production about the “9 to 5” singer that is scheduled for its Broadway debut on Jan. 19, what would have been the Parton’s 81st birthday.

The university also previously launched “Dolly U,” an immersive educational partnership designed to connect students with hands-on opportunities in entertainment, media and creative industries.

Greg Jones, president of Belmont University, welcomed the special with a statement of his own: “It is a privilege to welcome artists, friends and fans from around the world to celebrate her extraordinary life and legacy from this stage in Nashville, honoring a woman whose love for Tennessee was woven into everything she did.”

Both the CMA and Belmont University will make a donation from the proceeds to Parton’s Imagination Library, which was launched by the Dollywood Foundation in 1995 to address childhood literacy by giving millions of children the gift of a free book each month. Disney will also support the program.

News of the television tribute follows an announcement last month by Parton’s estate that revealed plans for Dollyfest, a two-day celebration in Nashville and London next year across two consecutive weekends to honor her legacy.

Additional details for the CMA special, including performers and tickets, will be announced at a later date.

It appears Judge Judy has kicked off her retirement tour.

“Judy Justice” star Judy Sheindlin appeared with her son Adam Levy on “Good Morning America” on Wednesday to celebrate her 30th anniversary on TV, and to the hosts’ dismay, she confirmed she was “retiring from [the] in-front-of-the-camera TV bench.”

When asked why she felt now was the right time for her to conclude that chapter of her career, Sheindlin replied that there were a couple of factors.

“First of all, he was ready,” Sheindlin said, nodding toward Levy.

Levy’s syndicated courtroom TV show, “Adam’s Law,” which Sheindlin created and executive produces, premiered Monday.

“I’ve aged pretty well over the years,” she continued. “Reasonably. I look better than my grandmother did at my age, which didn’t take a lot. But it’s time for me to. I’m still going to be creative…. I’m just going to take the message and put it in a little bit of a different form. I’m going to become the Benjamin Button of court.”

Sheindlin previously mentioned that she now plans to focus on other endeavors, such as developing “Judyverse,” an adult animated series based on the viral “Baby Judge Judy” videos made with AI.

“I want to steal Baby Judge Judy back from AI,” Sheindlin told Amy Poehler on an episode of the “Good Hang” podcast last year. “I want to get more people involved with this character. Speaking through Baby Judge Judy would be a whole lot of fun, but you need the right writer.”

Sheindlin, 83, became one of the most recognized TV judges through her time on “Judge Judy.” The arbitration-based courtroom show premiered in 1995 and aired for 25 seasons before concluding in 2021. The streaming series, “Judy Justice,” launched shortly after in the same year and will wrap with its fourth season.

Kevin McCloud appeared on BBC’s The One Show to discuss the latest series of Grand Designs which will see the presenter revisit a project from the very first series

Grand Designs presenter Kevin McCloud has confessed there’s moments from the Channel 4 show which leaves him reaching for the remote control.

The 67-year-old designer and presenter returns to television screens on Wednesday (September 16) to front a brand new series of the beloved renovation programme.

He has hosted Grand Designs since it began 27 years ago back in 1999 and appeared on BBC’s The One Show tonight to chat to Alex Jones and JB Gill about the new episodes set to air which will see the presenter revisit a project from the very first series.

When discussing watching back old clips, Kevin joked: “Yeah that’s painful to watch for me! I have to skip through the fast forward button a lot through these early episodes but the house has not changed, everything is as it was, and when you make the stuff and you record a moment in time, you don’t know whether that idea, that style and approach, whether it will last and have value, and remarkably that house has remained the same and is almost a fantastic example of a mid-1990s building so sometimes it comes back to surprise you.”

Channel 4 announced earlier this month that Grand Designs and Grand Designs: House of the Year will be coming back this Autumn. The iconic and much-loved house building and design show returns with four extraordinary new builds and two long-awaited revisits, spanning across the United Kingdom.

According to bosses, the new series series embraces bold ideas and innovation, showcasing pioneering construction methods and ambitious architecture whilst never losing sight of the people behind them.

Kevin previously said: “It is always a joy to get a series of Grand Designs complete and ready for broadcast – especially when it can run alongside its sister series, House of the Year.

“Together they celebrate the very best in British architecture and remind me of the extraordinary imaginative and resilient potential of human beings. This year is no exception: there are some astonishing stories and homes to discover.”

When asked what he believes is the reason that Grand Designs keeps coming back, Kevin explained: “I think it is the unpredictability of it all. If we were restoring people’s homes for them, then we might have slipped into a predictable format but we haven’t.

“Some of the projects on this series are fascinatingly unpredictable. For example, we see Seb in North-West London, building a house which was completed in 13 months and I was so shocked because O am used to things taking forever.

“We also have a project in Edinburgh, which has been going for over 10 years, and when you look at the date stamps as we go through the programme, you sort of appreciate how some people dedicate a lot of their lives to a building.”

He added: “I thought in series one we might run out of projects. We thought that we had done an eco-project, a modern white block, a glass house, we did the eccentric thing. We thought, will people still tune in if we do another glass box? But the answer is yes, because from the beginning we set ourselves the challenge that in every episode there has to be something new – there has to be some story, some angles, something, a hook.

“Luckily, since architecture is so much about place and response to a place and so much about people and response to people and because places are so infinitely diverse, people are infinitely diverse, this is what makes every project and what keeps me on my toes every time.

“If you look at this coming series, every single project has something unique about it and i find that so fascinating, all of the individual narratives are so different. The houses are all so unique architecturally and in the way they are built.”

The One Show airs weekdays on BBC One and BBC iPlayer at 7pm and Grand Designs returns to Channel 4 at 9pm on Wednesday, September 16

Paramount Skydance will meet with California Atty. Gen. Rob Bonta’s representatives next month for court-ordered settlement talks that could clear a path for David Ellison’s $111-billion takeover of Warner Bros. Discovery.

The two sides will convene for two days, Oct. 14 and Oct. 15, according to court documents filed this week.

The talks come as both sides look for ways to resolve the pitched battle over Hollywood’s industry-reshaping deal, which would put HBO, CBS, CNN, TBS, Food Network, Comedy Central and the Paramount and Warner Bros. studios under one roof. Bonta and 11 other Democratic state attorneys general sued in July to block it, and Ellison’s team has been stoking political pressure on Bonta to retreat.

Bonta canceled preliminary last month after details of a session on ground rules leaked, accusing Paramount of “playing games” by violating a confidentiality agreement and spreading misinformation.

Bonta’s Paramount case appears to have ruffled the Trump administration. He sued one month after the U.S. Justice Department blessed the merger without demanding concessions — a decision he said showed federal officials were not doing their jobs to enforce antitrust law. This week the department weighed in on Paramount’s side.

“The United States enforces the federal antitrust laws and has a strong interest in their correct application,” the Justice Department said in a Tuesday filing, describing its unique position to bring antitrust actions. Its “statement of interest” argued that the plaintiffs had sued as “private persons,” who must clear higher hurdles than the federal government.

The department also asked the judge to force California, the other states and the Writers Guild of America to post a $1.88-billion bond, covering fees Paramount would owe Warner Bros. Discovery shareholders if the deal isn’t finalized by Oct. 1. Paramount agreed to the so-called ticking fees earlier this year, confident the deal would sail through regulatory review. Bonta’s office said Wednesday it stands by its earlier filings arguing it should not have to post the bond. A hearing is set for Sept. 24.

Paramount’s chief legal officer, Makan Delrahim, has been quarterbacking the campaign for Warner Bros. Discovery. He served as Trump’s antitrust chief in his first administration, when he led an unsuccessful effort to block AT&T’s takeover of the company, then known as Time Warner Inc. That 2018 deal was the first of two acquisitions that saddled Warner Bros. with instability, strategic misfires and a mountain of debt, paving the way for the Paramount bid — which would mark the third time in a decade the storied studio has changed hands.

Trump has been eager for Ellison to shake up CNN, a Warner property, following his reboot of CBS News, which has coincided with diminished ratings at “60 Minutes”.

Ellison’s company has won approvals from more than 65 international regulators, and Paramount expects the Trump-appointed Federal Communications Commission leadership to sign off on a foreign ownership arrangement that would give Middle Eastern royal families a nearly 50% equity stake in the merged company. Bonta’s lawsuit is the remaining obstacle to closing.

TORONTO — An actor from last year’s Toronto International Film Festival has been turning heads around town this week: Inde Navarrette, whose “Obsession” went from a modest 2025 Midnight Madness slot to a box office behemoth.

But if you had to pick this year’s Navarrette, who would it be? Among the breakout names of TIFF 2026 is unquestionably Rosalind Eleazar, the London-born 38-year-old star of “Misty Green,” the first film written and directed by Chris Rock since 2014’s “Top Five” and among the most notable world premieres at this year’s festival.

Misty is a Hollywood survivor who was never able to make the most of her own success, winning an Emmy a few years back but now losing the apartment she has been living in because the widow of the man she was cheating with wants it back. With her bad attitude and personal problems, Misty has burned many bridges along the way. There’s a chance she could be cast in a remake of “Dreamgirls” that would turn everything around for her, but Misty’s brother, Jay (Daniel Kaluuya, in his first major screen role since 2022’s “Nope”), was recently released from a mental facility and needs monitoring.

Though there are comedic moments along the way, “Misty Green” is very much a character study, as well as an unsparring examination of the systemic pressures on Black women in Hollywood — one executive interrupts Misty’s audition to ask if she is “mixed.” She does herself no favors, frequently self-sabotaging and getting in her own way.

“Being an actor is hard,” Eleazar said in an interview at The Times’ photo and video studio in Toronto on Sunday with a sense of well-earned candor. “I could totally relate to Misty’s journey and the setbacks and the constant picking yourself back up after multiple rejections and just going again. And trying not to have armor because as an actor you want to keep yourself open and you don’t want to harden too much. But it can be easy to harden yourself to an industry that can be unforgiving.”

Though “Misty Green” is Eleazar’s first lead in a film, she has had a steadily building career. She is probably most familiar to American audiences from her role as an MI5 agent on the Apple TV series “Slow Horses.” But soon she will likely be known for the explosive announcement that is “Misty Green.” The film will go on to play at the New York Film Festival and the London Film Festival and be released by distributor A24 on Oct. 9.

“It can be easy to harden yourself to an industry that can be unforgiving,” Eleazar says.

(Jason Armond / Los Angeles Times)

After her movie’s TIFF world premiere in a coveted Saturday night slot at Roy Thompson Hall, Eleazar was included among those celebrated at the annual TIFF Tribute Awards, a fundraising gala put on by the festival. She was recognized alongside such actors as Helen Mirren, Penélope Cruz and Isabelle Huppert, whom she called “extraordinary company.”

“I grew up watching them and admired their work,” Eleazar says earlier in the day. “It’s just such an honor to be considered amongst heavyweights like that. Dame Helen Mirren. Crikey.”

With a warm smile she adds, “Just went very British.”

In accepting the prize, Eleazar recalled how when she came to Toronto for the premiere of her first feature film, 2019’s “The Personal History of David Copperfield,” she stepped away from a party to call her mother at 4 a.m. London time. Not wanting to make that same mistake again, she made sure her mother was there with her in Toronto for this year’s Sunday gala, sitting at a table with Eleazar’s husband, the actor and producer Gabriele Lo Giudice.

Eleazar performs two songs in the film, a heartbreakingly vulnerable cabaret version of Radiohead’s “Creep” and a stripped-down, tender reading of “One Night Only” from “Dreamgirls.” (Eleazar does not consider herself a singer and took vocal lessons before shooting.) Then, in a scene in which Misty demands she be allowed to finish an audition, she flashes into someone else in a bit of pure craft that leaves those in the room astonished.

It was important that Misty be seen as someone who is in fact immensely talented, who may even be worth all the bother and strife that she brings along with her.

“I think we’ve seen movies before where the character isn’t talented and it’s about the hustle and the dream of making it in Hollywood,” says Eleazar. “But I think it’s really interesting seeing someone that cannot get out of their own way — someone that is railing against the industry and is fighting Hollywood, fighting herself, fighting the people around her. It becomes quite a universal subject. It is about our industry but it’s also just about someone who is trying to escape herself.”

Despite Misty’s obvious talents, acting simply may not be the best career for her anymore; it strains her emotional and mental health and enables her substance abuse. Over the course of her own career, Eleazar has at times had to check in with herself to make sure she was heading down the right path.

“There are definitely times that I’ve questioned it,” she says. “For me it does really feed my soul and therefore, at my low points, I’ve managed better. But it can be really heavy. And maybe I shouldn’t but I feel like I’m pretty happy being an actor.”

Chris Rock and Rosalind Eleazar in the movie “Misty Green.”

(A24)

To land the role, after a few meetings with Rock over Zoom, Eleazar flew herself from London to Los Angeles so she could read in the room. As it happened, it made for an intense few days: First she had a chemistry read with Ralph Fiennes in the U.K. for a stage role (she would appear opposite Fiennes in “Small Hotel” in 2025) and then immediately flew to L.A. to read with Rock.

“What a mad, amazing three days,” she recalls. Similarly, Eleazar would be ending her whirlwind few days in Toronto by heading to Los Angeles to be with the “Slow Horses” team for the Emmys on Monday.

In introducing her tribute on Sunday night, Rock recalled when Eleazar auditioned for the part.

“The room just changed,” he said. “She was funny, she was dangerous, she was moving and completely in command. Misty Green is a woman whose life is coming apart. Rosalind never played her as a victim. She made you see the intelligence, the appetite and the fight underneath all the chaos. The audition was supposed to help me decide who to play Misty, but halfway through, the decision had already been made.”

“It becomes quite a universal subject,” Eleazar says of Chris Rock’s latest movie. “It is about our industry but it’s also just about someone who is trying to escape herself.”

(Jason Armond / Los Angeles Times)

There is something poetic about the fact that playing a mid-career actress struggling to land her next job may be the very thing that brings Eleazar wider recognition.

“It’s kind of meta, isn’t it?” she says with a laugh. “Look, I’m so happy that people are responding to the film and my performance. That really is the cherry on top because for me — I know it sounds rather cheesy — but I literally felt like I won once I did that film. I had such a great time exploring who she was and working with Chris and Daniel and Adam [Driver] and that cast. So everything else is just so lovely.”

In accepting her own tribute award on Sunday, Helen Mirren went off-script from her prepared remarks to say how moved she had been by Eleazar’s earlier speech, adding, “It’s exciting to see the generations coming up, especially women.”

As Rock succinctly added in his speech, “Misty Green wishes she could be Rosalind Eleazar.”

Regardless of what happens with “Misty Green” commercially or throughout awards season, Eleazar will continue tending her steady climb. Production will begin soon on season 7 of “Slow Horses” and Eleazar is currently shooting a film role that she isn’t yet allowed to talk about.

But Misty and the experience of bringing her to life on the screen will remain transformative.

“It almost reminded me of like a Shakespearean character in a way,” Eleazar says. “She’s so self-destructive and flawed and contradictory and at times it’s hard to get onside with her. We see it a lot of the time with male roles and I’d love to see it more with female roles — these really complex and messy characters.”

MARK Wright was caught red-handed by wife Michelle Keegan after telling porkies about his whereabouts while she was at work.

The TV star told his actress wife he would be at home looking after their daughter Palma, 1, – confident he wouldn’t be rumbled.

But Mark, 39, was actually out playing golf and was spectacularly exposed when Michelle FaceTimed him live on air.

The hilarious incident unfolded on Heart Breakfast when Michelle appeared as a guest to promote her new drama The Blame.

“Shock, he’s at golf,” Michelle, 39, remarked as the star popped up on the video call before demanding: “I’ve got a question – where’s the baby?”

A flustered Mark responded: “She’s with my mum. She’s seeing her nanny today.”

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Michelle then clapped back: “You told me you weren’t golfing today. You’re in trouble!”

Mark told the other presenters: “This is what I mean, guys. You’ve got me in the doghouse!”

The couple welcomed their first child, Palma, in March 2025 after nearly ten years of marriage.

Michelle is now gearing up for the release of six-part ITV crime drama The Blame, adapted from Charlotte Langley’s debut novel of the same name.

She plays DI Emma Crane, who investigates the murder of a young figure skater while confronting corruption and misogyny within the police force.

The series marks Michelle’s first acting role since giving birth to Palma.

She said earlier this year: “Coming back to work after having a baby is quite daunting.

“But the production were so supportive and I was so looked after. It was like working with family.”

However, the actress recently pulled out of another major ITV drama amid concerns its demanding filming schedule would keep her away from Palma for too long.

Michelle had been due to play a working-class barrister but withdrew several months before filming began, with former Doctor Who star Jodie Whittaker, 44, stepping into the role.

Although Michelle had committed to the project and filming dates had been agreed, she reportedly walked away before signing a contract.

The Blame begins on ITV and ITVX on September 20.

The Latin Recording Academy has unveiled the nominees for its 27th Latin Grammy Awards. The ceremony will air live Nov. 12 on Univision from the MGM Grand Garden Arena in Las Vegas.

Edgar Barrera leads the count with a total of 10 nominations, followed by Ca7riel & Paco Amoroso, Jorge Drexler, Karol G and Rosalía, who each received seven nods.

Trailing behind them are indie folk artists Silvana Estrada and Mon Laferte, who each received six nominations.

All nominations are for recordings released between June 1, 2025, to May 31, 2026.

Hit songwriter Barrera — who now holds the record for the most Latin Grammy nominations, reaching 84 this year — could make history once more if he wins in any category.

The Texas-born composer — who has collaborated with the likes of Bad Bunny, Karol G, Shakira and Maluma, along with anglophone divas like Ariana Grande and Madonna — is currently tied with Calle 13’s Residente for the title of most-awarded individual in Latin Grammy history.

Ca7riel & Paco Amoroso took home five Latin Grammy awards last year, which tied them for the most wins that night alongside Bad Bunny — who received no nominations this year.

Now, the kooky Argentine pair are nominated in multiple top categories, following the release of their experimental 2026 LP “Free Spirits” — which features collaborations with British musicians Sting and Fred Again, as well as California’s very own Anderson .Paak and Jack Black. The duo is competing for album of the year, as well as record of the year for the song “Ha Ha.”

Karol G is also contending for top prizes, including album of the year for “Tropicoqueta,” her 2025 survey of Latin American pop. (She previously won the honors back in 2023 for her heartbreak album, “Mañana Será Bonito.”) Her tender pop duet with Marco Antonio Solis, “Coleccionando Heridas,” is also nominated for record of the year and song of the year.

Spanish singer Rosalía is up for record of the year, song of the year and pop song for the song “La Perla” — which features the música mexicana sibling trio Yahritza y Su Esencia. The band resurfaced from the shadows following a public fallout with Mexican media regarding their American-leaning tastes in cuisine; their 2026 album, “Metamorfosis,” is also nominated for contemporary Mexican music album this year.

There are several notable first-time nominees, some of whom De Los has previously profiled. This includes Xavi, whose album “Dosis” is up for contemporary Mexican music album, as well as his viral TikTok song “No Capea,” which he recorded with Grupo Frontera, in the regional song category. Working-class hero Macario Martínez is also in the running for the new artist award.

Colombian artist Ryan Castro is also nominated for the first time alongside Afrobeat singer Kapo and producer Gangsta for their song “La Villa” in the urban performance category. Castro is also nominated for urban music album for his joint LP “Omerta” alongside J Balvin.

Here’s the list of nominees in all general categories:

Record of the year

“Ha Ha” – Ca7riel & Paco Amoroso

“¿Cómo Se Ama?” – Jorge Drexler

“Dime” – Silvana Estrada

“O Amor Nos Encontrou” – Loulu Gilberto

“Coleccionando Heridas” – Karol G & Marco Antonio Solís

“Femme Fatale” – Mon Laferte

“Desde Que Te Tengo” – Carín León

“Niño” – Milo J

“La Perla” – Rosalía Featuring Yahritza y Su Esencia

“Alma” – Elena Ros

Album of the year

“Equilibrivm” – Anitta

“Free Spirits” – Ca7riel & Paco Amoroso

“Taracá” – Jorge Drexler

“Vendrán Suaves Lluvias” – Silvana Estrada

“Tropicoqueta” – Karol G

“Femme Fatale” – Mon Laferte

“Muda” – Carín León

“La Vida Era Más Corta” – Milo J

“¿Dónde Es El After?” – Rawayana

“Lux (Complete Works)” – Rosalía

Song of the year

“Coleccionando Heridas” – Edgar Barrera, Kevyn Mauricio Cruz, Luis Miguel Gomez Castaño & Karol G, songwriters (Karol G & Marco Antonio Solís)

“¿Cómo Se Ama?” – Jorge Drexler & Diego López Crespo “Mauro”, songwriters (Jorge Drexler)

“Dime” – Silvana Estrada, songwriter (Silvana Estrada)

“Femme Fatale” – Mon Laferte, songwriter (Mon Laferte)

“Hasta Jesús Tuvo Un Mal Día” – Rafa Arcaute, Renee Barri, Ca7riel & Paco Amoroso, Vicente Jimenez “Vibarco”, Martin Kierszenbaum, John Ryan, Gordon Matthew Thomas Sumner & Federico Vindver, songwriters (Ca7riel & Paco Amoroso Featuring Sting)

“Humano” – Emmanuel Briceño, Juanes, Felipe Navia & Vivir Quintana, songwriters (Juanes & Vivir Quintana)

“La Perla” – Noah Goldstein, David Rodríguez, Ryan Tedder, Rosalía & Dylan Wiggins, songwriters (Rosalía Featuring Yahritza y Su Esencia)

“Mi Gran Amor” – Edgar Barrera, Becky G, Luis Miguel Gómez Castaño, Manuel Lorente, Daniel Rondón & Carlos Santana, songwriters (Santana Featuring Becky G)

“Nilo” – Massimo Giovanardi & Zanna, songwriters (Zanna)

“Solifican12” – Santiago Alvarado, Milo J & Santiago Ruiz, songwriters (Milo J)

Best new artist

Delilah

Fabian

Loulu Gilberto

Arath Herce

Macario Martínez

maye

Sofia Monroy

Kendall Peña

Dora Sanches

Aria Vega

Zeca Veloso

When Judy Collins comes to Los Angeles, she likes to stay at the Beverly Hilton in part because “they serve a fabulous breakfast,” she says over coffee at the hotel on a recent morning. “That’s rare today,” she adds. “Too often a place will just send up a cardboard shopping bag with the things you ordered in it.”

Collins knows her amenities: At 87, the Grammy-winning singer and songwriter still plays about 120 shows a year, drawing audiences around the world with her high, clear voice and an expansive repertoire that blends the hits that made her famous in the 1960s and ’70s — Joni Mitchell’s “Both Sides Now,” Leonard Cohen’s “Suzanne,” Stephen Sondheim’s “Send in the Clowns” — with traditional folk tunes and material of her own.

Yet now she’s preparing to hang it up with a lengthy farewell tour she’s calling Sweet Judy Blue Eyes (after “Suite: Judy Blue Eyes,” the folk-rock classic her one-time lover Stephen Stills wrote about her for Crosby, Stills & Nash). The night before our interview, Collins played L.A.’s Ford Theatre; she’ll be back through Southern California for a Sept. 27 date at the Lobero Theatre in Santa Barbara and again next year for shows in Palm Springs and Aliso Viejo.

After we talk, she plans to do a bit of tai chi, for which she uses an app on her phone and which she wishes more people practiced. “Maybe that would alter civilization,” she says. “If we were all doing tai chi, we couldn’t be at war with Iran.” Then she’ll head to the airport for a flight home to New York, where she’s lived for decades — most of them with her husband, industrial designer Louis Nelson, who died in 2024.

At breakfast, Collins is wearing a patterned turquoise jacket over a matching dress and high-heeled black leather boots.

“You like these?” she asks of the boots. “These are Stuart Weitzman. I bought them 30 years ago, and I’ve never stopped wearing them.”

That’s a well-made boot.
They fit, they’re great and I reject all invitations to get rid of them.

Has your thinking about clothes changed over the decades?
I used to dress in jeans because I was a cowgirl — I hung out with rodeo riders in Colorado. As I came up, I liked what was simple. My mother made all our clothes on a Singer sewing machine for years. Now I love beaded things. I have full closets I need to go through.

Before you came onstage last night, an announcer told the audience not to take pictures or videos.
That’s my management’s doing — it’s important to them, so I go along with it. But the pictures are usually bad. Also, the phones take people’s minds off what’s going on onstage. People need the chance to focus. We’re in a period of insanity right now, so people need time to sit wherever they are. They could go to the ballet or to the theater, but they choose to come to me, and they get to sit there and they get to listen and they get to think about their own lives.

As a performer, that’s what you seek to provide.
I’m providing silence. It’s such a noisy world — so full of crappy music that plays outside all these hotels and places where we stay. It drives me nuts.

You have a line in the show where you say, “Something unexpected happened — I turned 87.” It got a good laugh.
People applaud too.

What are they saying by applauding?
They want to be acknowledged for their own ages, whether they’re 87 or 90 or 19. People are coming to see me, but they’re also coming to see their history. They’ll remember what happened 60, 70 years ago — they were probably marching at the same things I was marching at. And if they’re 19, they want to know why we’re not marching now.

Judy Collins performs on “The Smothers Brothers Comedy Hour” in 1969.

(CBS via Getty Images)

You said we’re in a period of insanity.
This country is losing so much of the depth of our origin. The fact that workers who’ve come to this country are being taken off to God knows where — it makes no sense. Number one, these people often have some sort of legality. And secondly, they do the work here. Nobody else wants to go up to the orchards in Oregon and pick the fruit. Do you?

I can’t say that I do.
I don’t want to do that.

This tour is billed as your grand farewell.
So long, you guys.

I’m always reluctant to trust that framing. Cher’s done like eight farewell tours.
I hadn’t counted them up — shame on me.

Should we really believe you?
I think we have to believe in the present tense. What you’re hearing is what’s happening.

You had a music stand onstage with you. What was on it?
All the lyrics to all the songs.

You can’t possibly need the lyrics anymore.
Oh, yes, I do.

You’ve been singing some of them for decades.
Doesn’t matter — it has to be there in case you have to look at it.

Would you say you do look? Or is it more of a security blanket?
It’s a security blanket. But my eyes wander — I like to see who’s in the audience and what’s going on. I like to look up and down the aisles, and I like to fantasize: How did this happen?

Your life and career?
I mean, I know how it happened. I was 16, and I started going to the Denver Folklore Society, which was run by a guy named Lingo the Drifter. And Lingo the Drifter had these wonderful evenings where we all played the guitar and sang and drank illegal whiskey and so on.

Judy Collins last month in Beverly Hills.

(Allen J. Schaben / Los Angeles Times)

Before Denver, you lived briefly as a kid in Los Angeles.
My father was a very eclectic and fabulous radio personality. He had a radio show for 30 years in Seattle then here in Hollywood, broadcasting out of CBS — a big deal. If we weren’t in school, we would drive up Santa Monica Boulevard into Hollywood and we’d stand around and watch them produce the radio mysteries. People would walk in a sandbox to get the sound of somebody walking up the gravel road to the door.

Are you familiar with the term “nepo baby”?
No.

It refers to the child of a famous artist who follows in their parent’s footsteps.
Oh, that’s interesting.

People use it derisively, as if to say that a kid has overly benefited from their advantages.
We certainly had advantages. For instance, the Library of Congress, which is the jewel in the crown — I don’t know what they’re doing now — but they sent us Braille books and they sent us all the shows from New York and they sent us the recordings of all the Shakespearean plays by the great Dame Judith Anderson and John Gielgud. I had all that growing up. In some ways, I wasn’t raised — I was trained. I got to see how a professional has to handle his life. My father was a professional in all ways. He drank — occasionally, not all the time — but he was absolutely organized about everything, including that.

You’ve been sober for something like half a century.
Forty-eight years. I’m in my 49th now.

You ever miss drinking?
Oh, my God, no. I was so sick — I was gone. Bye-bye.

Some people replace one addiction with another.
I had an eating disorder, which is still kind of … You know, last night, I asked for apple juice during the show — I was in trouble because I wasn’t eating. When my husband died, I stopped eating again. I’d stopped eating in the ’60s and ’70s and ’80s, but I got over that. But suddenly I didn’t want to eat again.

Would you consider that disordered eating?
I don’t know. Anyway, I have to really be careful. We had a talk about it last night. I have to eat these protein bars, and I have to eat them all the time.

Do you remember the first gig you played after your husband died?
Oh, yes — I had to go out. When my son took his life in 1992, I got a call from Joan Rivers — she and I knew each other pretty well. She was getting ready to go out and do her show in Las Vegas, and she called me in New York and she said, “I have to tell you this” — her husband had just killed himself — she said, “You cannot stay home. You have to go out.” I was canceling all my shows, and she said, “You can’t do that because you won’t ever get over this if you do.”

How did you take that advice?
I said, “Thank you,” and I called my staff and I said, “Put ’em back on.” My mother came out with me, Louis came out with me, my sister came out with me, and it was incredibly true: I had to be working or else I would die. So when it came to Louis, I was out three days later.

What did that feel like?
Well, it was wonderful because I was working. I can work and get through anything — that’s the psychological effect of what I’m doing on the stage. I’m interacting with people, I’m hearing the laughter, I’m hearing the music. What could be more healing?

This is why I’m wondering why you plan to stop touring.
But you see, I have all these other things to do — I have a life that’s not just touring. I’m working on the music for a Broadway show. And I’m doing a new book — it’s called “Singing Through the Storm,” and it’ll be out next year, I hope.

Judy Collins and Leonard Cohen attend the 41st annual Songwriters Hall of Fame ceremony in New York in 2010.

(Larry Busacca / Getty Images)

You’ve interpreted the music of so many great songwriters: Joni Mitchell, Bob Dylan, Leonard Cohen. Was there ever a writer whose work you admired but couldn’t find your way into?
No.

OK.
I’ll tell you my funniest Leonard story. In 2014, I think it was, I went to this little group in Norway called Democrats Abroad — lonely group of people. That night, this woman came up to me and said, “Hi, I’m Marianne.” I said, “Hi, Marianne.” And then she said, “I’m Leonard’s Marianne.” She said, “There’s something I’ve wanted to tell you for many years: We were living together in Spain, Leonard and I, and he was writing songs and we were swimming in the nude. And then one day he came to me and he said, ‘Marianne, I’m going to New York to sing my songs for Judy Collins,’ and he went to New York and he played you all his songs and you recorded them.” Marianne said, “I just wanted to tell you that you ruined my life.” Fortunately, we became friends on Facebook.

You opened last night’s set with “Both Sides Now.”
Oh, yes.

This might be the most famous song you do. Some artists would save it for later in the show.
I don’t want people to wonder for an hour and a half: Will she? Won’t she? What will I do if she doesn’t?

Do you still enjoy singing “Both Sides Now”?
I love it. It was Al Kooper who brought me to Joni — she sang it to me over the phone. Al is living a very sane, quiet life in the Northeast now. He’s married — never goes out anymore. It’s hard to think of Al Kooper just sitting there enjoying his marriage and his garden.

What will you do on the plane home today?
I’ll probably get out the computer and noodle around on the book and see what I can come up with.

The work never ends.
It never ends because it’s not done.

For the first time since California and Congress passed a pair of laws bolstering U.S.-based claims to Nazi-looted artwork around the world, two lawsuits have been filed in California demanding prominent museums relinquish pieces seized during World War II.

In one case, filed in federal court in Los Angeles on Monday, the daughters of Auschwitz survivor Dina Gottliebova Babbitt sued the Auschwitz-Birkenau Memorial and Museum in Poland for the return of watercolors Babbitt was forced to paint of fellow prisoners for the Nazi physician and war criminal Josef Mengele.

In the other, filed in Los Angeles Superior Court on Monday, the Jewish Federation of Greater Los Angeles and Daniel Gryczman, the federation’s board chair, sued the Norton Simon Museum in Pasadena for the return of the diptych “Adam and Eve,” a pair of 16th century masterpieces by Lucas Cranach the Elder.

The lawsuits revive legal battles waged unsuccessfully for the watercolors and the diptych for years, on the premise that their claims are newly viable under the new laws — one passed by California lawmakers in 2024 and the other signed into law by President Trump earlier this year.

Both laws were inspired in part by another legal battle over looted art between a California family and a prominent museum, which is still ongoing.

Lilly Cassirer Neubauer escaped Germany at the dawn of World War II by relinquishing to a Nazi art broker the exquisite impressionist masterpiece “Rue Saint-Honoré in the Afternoon. Effect of Rain,” by Camille Pissarro. The painting is now worth millions. Her grandson Claude Cassirer, who moved to California, and great-grandson David Cassirer have been fighting for the painting’s return from the Thyssen-Bornemisza Collection in Madrid for the last two decades.

Amid that battle, California lawmakers rewrote state law to make clear that in situations where it and another jurisdiction’s law on looted artwork are in conflict, California law applies and requires the return of the art to its original owners regardless of the passage of time. In an unusual moment of bipartisanship, Congress followed up by passing its own measure — the Holocaust Expropriated Art Recovery Act of 2025 — to further bolster such family claims.

The two new lawsuits — neither of which provide a valuation for the artwork in question — were filed just ahead of a deadline under the California law for claims to artwork with long-known locations.

David Cassirer said his father would be “extremely proud” to know a California law passed in part in response to his family’s fight has also given other families another chance “to vindicate their ancestors’ artistic legacies.”

Auschwitz watercolors

Michele Babbitt Kane, of Ben Lomond, Calif., and Karin Wendy Babbitt, of Las Vegas, say in their lawsuit that Mengele demanded their mother produce the seven watercolors in question — each depicting a Roma prisoner later murdered — to support his “pseudo-scientific” and racist work studying the Roma people. Known as the “Angel of Death,” Mengele conducted gruesome medical experiments on Auschwitz prisoners.

They said their mother obliged “with deep sympathy for her subjects,” on the condition Mengele “spare her and her mother from the gas chambers.”

After liberation, the lawsuit says, their mother moved to California and worked for nearly 20 years as an animation assistant for Hollywood studios such as MGM and Warner Bros., where she contributed to familiar cartoon characters such as Wile E. Coyote, Tweety, Daffy Duck and Speedy Gonzales.

They say theirs is exactly the sort of case California’s new law was enacted to allow — involving “a California family seeking the return of watercolors created by their Jewish mother under Nazi coercion at Auschwitz and withheld by a Polish state museum for decades despite the Museum’s own repeated acknowledgments of the family’s rights.”

Paweł Sawicki, a spokesperson for the Auschwitz Memorial, said in a statement to The Times that the Babbitt paintings “must remain in the Memorial as part of the documentation of the crimes of Mengele,” and that many in the Roma community agree.

“We fully understand the emotional approach of Dina Gottliebova’s family to the works she made on the orders of Josef Mengele in circumstances that certainly affected her life, but in carrying out our statutory responsibility, we express the deep conviction that the watercolors should remain at the Memorial,” Sawicki said. “The portraits of Roma victims are the few remaining fragments of the documentation made by Mengele as part of his criminal experiments. Therefore, they should be treated as unique documents related to the history of Auschwitz.”

‘Adam and Eve’ diptych

According to the Jewish Federation’s lawsuit, the “Adam and Eve” paintings were part of a vast collection seized from prominent Dutch Jewish art dealer Jacques Goudstikker by Hermann Göring, Hitler’s second-in-command. The collection was later recovered by Allied forces and given to the Dutch government, with the diptych being sold to the Norton Simon in 1971.

The lawsuit says Marei von Saher, Goudstikker’s surviving heir, has long sought the return of the Goudstikker collection, and years ago was successful in forcing the Dutch government to return 200 pieces still in its possession. She first demanded the “Adam and Eve” paintings from the Norton Simon in 2000, without success.

The new lawsuit says Von Saher on Monday signed her claimed rights to the paintings over to Gryczman and the Jewish Federation, which said in a statement that they will use a majority of any proceeds from the return of the paintings to “care for Los Angeles-area Holocaust survivors living in poverty.”

Von Saher’s daughter, Charlène von Saher, said in an interview that her family gave the painting rights to the Jewish Federation because of that shared mission. She said she wishes California and Congress had acted sooner but hopes a win now will help other Jewish families reclaim what is rightfully theirs in the future.

“My grandfather lost his life fleeing the Nazi invasion, and many of his family members were sent to Auschwitz and did not survive,” she said. “Victory would be justice, and a piece of the puzzle to restoring my grandfather’s legacy and his collection.”

The Norton Simon Art Foundation said in a statement to The Times that it was reviewing the new lawsuit, but that various courts, including the U.S. Supreme Court, have over decades of litigation confirmed that the foundation “has proper title” to the diptych paintings, and the foundation “will continue to make these important artworks accessible to the public.”

The Pissarro

The Thyssen-Bornemisza Collection and the Kingdom of Spain, which owns it, have fought the Cassirer family’s claims to the Pissarro painting since Claude Cassirer, now deceased, first sued for its return in 2005. Spain has argued the painting was legally obtained by the collection prior to its 1993 sale to the country by Baron Hans Heinrich von Thyssen-Bornemisza, a prolific art collector whose wealthy industrialist family helped finance Adolf Hitler’s rise.

The matter has repeatedly wound its way through the U.S. courts, including to the Supreme Court, which remanded the case to the lower courts for additional review in light of California’s new law. A hearing is set for next month.

The museum has contended California’s new law is unconstitutional, which California is contesting. David Cassirer has argued the law clearly requires the museum to return the painting — and has pledged to support other looting victims with any proceeds.

He said both California and Congress “acted decisively to guarantee that stolen art victims, and victims of political persecution in particular, can have a fair shot to recover family legacies the Nazis ruthlessly tried to destroy,” and that “the momentum at all levels of government in favor of restitution is very encouraging.”

NOUGHTIES pop singer La Roux has said “she’s back” after disappearing from the spotlight – revealing a “nervous breakdown” ended her career.  

La Roux – real name Elly Jackson – shot to fame in 2009 and is known for her number one single Bulletproof. 

But it’s been a long time since La Roux released a new album and, ahead of her upcoming LP Old Flames, she posted on TikTok to tell fans she’s back. 

She wrote: “You think you can hurt me?

“I literally wrote and sung this song, lost my voice, had a nervous breakdown and disappeared for 10 years.” 

Speaking about releasing new music, La Roux told Another: “It’s been a long time coming, so I’m very eager to get back out there. 

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“Supervision [my third album] being totally marred by the [Covid-19] pandemic wasn’t ideal, so I’m very excited.”

She added: “I’d only just finished my last album when the pandemic hit, so I wasn’t ready to start making a new record instantly. You need a gap before you make new work. 

“I started f***ing around with new sounds and new ideas. It took a couple of years to know if I even wanted to make another record or if there was any point.”

La Roux’s mum is actress Trudie Goodwin, who drama fans will know best for playing Sergeant June Ackland in ITV’s The Bill.

She previously shared the advice Trudie, 74, gave her on dealing with fame. 

La Roux said: “She’s really good at saying things like, ‘Never have a drink when you do an interview’ – which I don’t always take notice of! And ‘Only give away what you need to give away’.

“And she says that if there’s paparazzi, just give them a picture and they’ll f**k off.”

Amanda Seyfried and Thomas Sadoski are calling it quits.

The former couple, who tied the knot in March 2017, told People that they had been separated for some time.

“We have been separated for a while, and it’s proven to be the right move for us and our family unit. We’ve got each other forever — and it’s GOOD,” Seyfried and Sadoski told the outlet.

On Tuesday, Seyfried shared a piece of prose by poet and author Bianca Sparacino on her Instagram stories that read:

“Maybe in another lifetime.”

“No.

“This is all you get. So please, just fight for the things that crack light into your life, fight for the things that soften you. Protect the people you love, leave them better than you found them. Defend your heart, do whatever it takes to keep it open despite what it has been through. Forgive, not just others, but yourself, as well. Slow down. Taste, and touch, and feel and care. Create the things you want to see in this world, stay as curious as possible. Honour your joy, do not shy away from the good that is trying to reach you, do not convince yourself that you are unworthy of it. Be strong enough to be gentle. Be brave enough to break. Be all that you are. Be all that you are.”

The pair met back in 2015 while starring in “The Way We Get By,” a two-person off-Broadway play that explores love and lust and takes place the morning after a drunken hookup. It was Seyfried’s stage debut. “I feel like the luckiest guy in New York right now, to be honest with you,” Sadoski told Backstage on Broadway at the time. “I mean, I get one of the great American playwrights, one of the great American directors, and a perfect scene partner, I’m a pretty happy guy.”

The two teamed up again the same year to play love interests once more in “The Last Word.”

After spending a good portion of the year pretending to be in love with Seyfried on stage and screen, in October 2015, Sadoski split from his wife of eight years, studio casting executive Kimberly “Becky” Hope. By March 2016, the “Newsroom” actor was romantically linked to the “Mamma Mia!” star.

Seyfried, 40, and Sadoski, 50, tied the knot in a private countryside ceremony in 2017. There were no family or friends on the guest list, just their officiant and Seyfried’s dog, Finn. Shortly after the nuptials, the pair welcomed a baby girl, Nina. In 2020, they had a son, Thomas Jr.

The couple have raised their family on a farm in the Catskill Mountains of upstate New York, a property the “Mean Girls” star bought in 2013, while also maintaining properties in Los Angeles and Manhattan. But last month, Seyfried listed her 2,700-square-foot Los Angeles residence for about $3.2 million.

HELEN Flanagan has put on a busty display and risked popping out of her racy black dress on a night out.

The former Coronation Street star, 36, took to Instagram to share some new snaps as she enjoyed a meal out at Gaucho restaurant in Manchester.

She wore a long ribbed black dress as she showed off plenty of cleavage in the revealing outfit.

Helen threatened to spill out of her attire as she only had three small gold clasps holding her boobs in.

The figure hugging dress perfectly cinched her waist as she displayed her hourglass figure.

She wore her blonde locks in a curly hairstyle and opted for a chic make-up look, complete with false eyelashes, eye shadow and a pink gloss.

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Helen appeared to be in great spirits as she beamed from ear to ear and enjoyed some beverages.

The actress simply used a kissing lip emoji as the caption.

Her followers rushed to the comments section to compliment her as one gushed: “The most gorgeous woman ever.”

Another person enthused: “Stunning and classy.”

Somebody else commented: “Sydney Sweeney ain’t got nothing on you.”

Yet another joked: “I mean…..come on, give the other women a chance.”

While a fifth follower added: “You are so gorgeous.”

Helen’s night out comes just days after she joked about selling her knickers to pay for her solicitors fees, amid her ongoing feud with her ex Scott Sinclair.

The Sun revealed how she has had some recent financial concerns after the father of her kids, 37, recently sold their family home, forcing her to downsize.

In a post on Monday, she shared a video where she quipped that she was going to flog her underwear for cash.

In the short clip, Helen was seen shimmying out of her knickers from underneath a long dress, before swinging them in the air.

In the next shot, she headed into the Post Office where she purchased an envelope.

The saucy star was then seen leaving the shop empty handed, implying she had posted her knickers to a fan.

Helen wrote over the top of the video: “When you have to figure out a way to pay for solicitor fees.”

The original 7 Up kids have returned for one final series of the groundbreaking social experiment.

70 Up viewers have shared their reaction to the series coming to an end, as the groundbreaking social experiment reaches its final chapter.

14 children, consisting of ten schoolboys and four little girls, gave cameras an insight into their lives back in 1964. Every seven years since, they’ve continued to show a glimpse of their story, from education, their early careers, marriages, raising children and retirement.

ITV has now returned one final time, for 70 Up. The synopsis previously teased: “Seven decades. One extraordinary experiment. The groundbreaking documentary series returns to meet the people we first saw as 7-year-olds as they reflect on life at 70.”

As well as several of the original children returning, now in their 70s, the programme paid tribute to two who have died, Nick and Lynn, and features Charles, who stopped taking part in the franchise from his 20s.

Viewers have admitted they found the series “heartbreaking”, as one person said: “I’m bawling already knowing Nick is no longer with us.” Another agreed, saying: “I’ve watched this all my life, makes me sad and reflective I’m the same age.”

Someone else wrote: “I admit to having shed a few tears, watching tonight. I’ve grown up with them. It’s been wonderful.” Another commented: “Absolutely, life’s ups and downs, at 7 full of hope and life, I feel i know these people, I don’t.”

Someone else said: “All of it is making me very emotional. In the blink of an eye, hopes and aspirations are just distant memories and time has run out. Life is over so very quickly . Too quickly.”

Another said: “I hope you’re watching seventy Up It’s heartbreaking.” Another added: “The sadness in watching #70UP is not only the lives drawing to a close and the challenges facing individuals but also the knowledge that television will never again be this ambitious.”

One person added: “Ah even a glimpse of Neil on #70UP bring the tears, watched religiously with mum and dad growing up, comparing, dreaming, crying, feel so blessed watching but also wish these were longer eps, I could watch for hours more…. this programme was a huge part of how I learned about life and my country.”

Several others called Neil’s journey heartbreaking and sad, after he opened up about his loneliness and being homeless at times in his life, candidly sharing his struggles. One person said: “I’ve watched all of these series from the get go even though I’m no where near their age group, just to add! It’s made me feel quite reflective on my own life, quite emotional really. But watching Neil’s story has flawed me, big time! His loneliness is a hard watch.”

Another echoed: “Watching #70Up. Neil breaks my heart every 7 years. He was such a happy little boy.” Yet another wrote: “Ooh that was a hard watch at times.” One person added: “I was in tears even from the opening titles Such a touching and interesting series.”

Ahead of the series airing, Jo Clinton-Davis, controller of factual ITV and commissioner of 70 Up, said: “The 7 Up story is much more than a TV documentary, it’s a document of our times. A truly distinctive landmark piece of film-making that has become part of our cultural fabric.

“In the evolving stories of our cast we see the universal themes of life play out. It is the series that made me want to get into television. It is the series that I am beyond proud of having been involved in since 56 Up. It is a tribute to Michael Apted who will forever be associated with it and to the continued dedication and remarkable skill of Claire Lewis.

“Yet in Asif Kapadia we have an outstanding director who will bring his passion, creativity and incredible flair whilst safeguarding the very precious ‘Up’ legacy. Ultimately, this is a tribute to the courage of all the cast who continue to share their lives with us so we can see our lives in them.”

70 Up is available to watch on ITVX.

Former Gladiators star ‘Giant’ has accused the show of exploiting its power over performers and accused Holly Willoughby’s TV producer husband Dan Baldwin, 51, of double standards

Jamie Bigg, better known as Giant on the hit TV show Gladiators, has opened up about his biggest battle behind the scenes on the BBC show.

After Jamie separated from his wife, Katie Christian, late last year he began a relationship with OnlyFans model Taylor Ryan, 28. The pair first met at a Gladiators Live event in Sheffield. Taylor, from Exeter, Devon, was there as she was a fan of the show.

The pair began dating and their romance was so serious that in April Jamie, then 40, quit the programme after he was ordered to dump Taylor or lose his job. TV bosses reportedly said Taylor’s role as an online adult content creator conflicted with the show’s family-friendly image.

Jamie said at the time: “I had to choose between dating Taylor and keeping my job.”

The 6ft 5in Gladiator has now accused Holly Willoughby’s TV producer husband Dan Baldwin, 51, of double standards for interviewing adult star Lily Phillips on his wife’s new YouTube show.

In an exclusive interview with The Sun, Jamie, now 41, said the Lily interview left a bad taste in the mouth and said his exit “f***ing sucked” after insisting Dan had promised him a future on the show.

He said: “For the person who deleted or helped delete me, for his wife to do that interview, it just seemed too close to home to be comfortable with it.”

Dad-of-two Jamie said Dan allegedly told him “you’re definitely in the next series. Giant’s a huge character. We can’t imagine season four without Giant”. But when he refused to end his relationship, he was axed from the show.

Jamie is critical of the lack of duty of care shown to him, claiming the show completely washed its hands of him.

He told The Sun: “They did try and delete me from the past, present and future with no duty of care for my mental health or the ADHD or the divorce or the getting older, which I thought was very, very harsh.”

Jamie described himself as a “pawn in their game” and accused the show of exploiting its power over performers.

Dan’s media firm Hungry Bear produces Gladiators and Holly’s Together show has been approached for comment by The Mirror but at the time of publication have not responded.

Jamie is now working as a motivational speaker and wants to use his experience as a bodybuilder and former Gladiator to inspire and help people overcome adversity in their own lives. He is represented by Champions Speakers for bookings.

The Mirror has also contacted the BBC for comment.

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

RUMOURS of who will be supporting Oasis on their 2027 tour have reached fever pitch.

The Sun has already revealed that The Verve’s Richard Ashcroft will be supporting the rock band, but now bands Cast and the Manic Street Preachers have also been tipped to join the stage on the international tour.

Indie rockers Cast have already supported Oasis on their 2025 reunion to and bookies now have the at 5/4 favourites to play at Oasis’ Knebworth concerts.

Bookies William Hill also have Manic Street Preachers as the next favourite band to join the Hertfordshire gig after first supporting Oasis there in 1996.

Other rumoured acts rumoured to appear include, The Charlatans, Ocean Colour Scene, Kula Shakers, and The Chemical Brothers.

Bookies are also anticipating Noel and Liam Gallagher will release a new album as Oasis next year and have them headlining Glastonbury at 14/1.

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But they are also giving odds that the brothers will split up before the Paris leg of next year’s tour.

 “With the inclusion of Knebworth in Oasis’ 2027 tour dates announcement – on what will be 31 years since their historic concerts at the Hertfordshire venue – there’s a frenzy of speculation on who will support the Britpop titans,” spokesperson for William Hill, Lee Phelps.

“It is safe to say next year’s Knebworth gig will be nostalgic for many, and we make it 1/5 for any of their 1996 support to make a reappearance in the 2027 revival of one of Britpop’s most iconic performances.”

Liam and Noel Gallagher are taking their comeback across 11 cities, and organisers confirming there will be no general onsale, the official ballot is your only route to securing a spot in the crowd.

Oasis will kick off their live shows on 21 May next year at Celtic Park in Glasgow.

From they they will perform at Manchester City’s ground, Noel, 59, and Liam, 53, will fly to Europe for a round of shows including France, where Oasis will play for the first time in Paris since the group split in 2009.

The shows in Paris will begin on 23 July, before they fly to Italy for shows at the Stadio Olympico in Rome which start on 29 July.

Noel and Liam will then move stateside after the European shows before returning to Ireland and, as The Sun exclusively revealed earlier this year, Noel and Liam will then end their triumphant run of shows at Knebworth.

The four performances there will begin on September 11.

AMANDA Seyfried and her husband, Thomas Sadoski, have split after nine years of marriage.

The couple revealed in a statement to People on Tuesday that they’re going their separate ways.

“We have been separated for a while, and it’s proven to be the right move for us and our family unit. We’ve got each other forever—and it’s GOOD,” their joint statement read.

Amanda, 40, and Thomas, 50, first connected in 2015 while starring in the off-Broadway production of The Way We Get By.

The actors reunited months later as love interests in The Last Word and began dating in March 2016.

Their love story quickly blossomed as they got engaged later that year and quietly eloped in March 2017.

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“We eloped. We just took off into the country with an officiant and just the two of us, and we did our thing,” Thomas revealed at the time about their secret wedding.

“It was beautiful. It was everything that it should be. It was just the two of us talking to each other.”

Their daughter Nina arrived just days after they said, “I do,” followed by their son, Thomas Jr., in September 2020.

The pair had kept their relationship relatively out of the public eye while living on a farm in upstate New York.

They’ve each made brief remarks about their romance in the past, with Thomas gushing in 2017 that Amanda was “the person that I love, admire, respect most in the world.”

Amanda also boasted about her husband, saying in 2023 that their relationship was like “yin and yang.”

They certainly shared a passion for the cameras, as both have had successful acting careers for decades.

Amanda most recently starred in The Housemaid alongside Sydney Sweeney and The Testament of Ann Lee.

She’s preparing for the release of her newest film, The Life and Deaths of Wilson Shedd, next month.

Thomas is best known for playing Don Keefer in the HBO series The Newsroom.

His acting career began when he landed the role of Mark Ruffalo’s understudy in the Off-Broadway play This Is Our Youth.

The Connecticut native made his film debut in 2000, starring as Chris in Loser.

Kids’ favourite TV character Bob the Builder – complete with a voice over by actor Neil Morrissey – has been hired to encourage more people to learn green energy skills

Much-loved cartoon character Bob the Builder is making a return in his original form after 15 years – to plug green energy.

The kids TV favourite, voiced by Men Behaving Badly actor Neil Morrissey, appears in a new advert from energy giant E.on.

And he also reveals what he has been doing since the original stop motion version of the show ended in 2011, including taking up yoga, bird watching and travelling to Australia.

It is Down Under, so the new story goes, that Britain’s best known tradesman twigs the importance of green energy, such as solar panels and home batteries. On returning home, he decides to learn the skills needed to fit the new kit, with the advert ending with his famous catchphrase: “Can we fix it? Yes we can.”

The 90 second piece, which will run across E.ON UK’s social media channels, is designed to encourage many more people to learn the same type of skills.

It comes as new research commissioned by the company found that around one third of professionals in the UK energy sector believe the workforce is not yet fully equipped to install the technologies needed for the transition to green energy.

At the same time, 89% agree that greater investment and closer collaboration between government and industry are needed. And the vast majority say that upskilling the existing workforce will be just as important as attracting new talent to meet future demand.

Helen Bradbury, chief people officer at E.ON UK, said: “Bob the Builder has always inspired people to solve problems and build things that matter. Today, those same qualities are needed to help deliver the UK’s transition to clean power.

“By embracing green skills and fronting this campaign, he’s a shining example of how we can make new energy work for everyone.

“If we invest in people’s homes, we can build a new energy system from the ground up. One that uses low-carbon, connected technologies like solar panels and batteries to put customers back in control of their energy use and lower their bills.”

LONDON — Prince Harry and his wife, Meghan, have moved their two children to a new school over security concerns, a spokesperson said Tuesday, just weeks after the family returned to the U.K. to make a fresh start.

“The decision for the children to move school was taken following a discussion with the family’s security team about the practicalities of their current arrangements,” the spokesperson said in a statement.

Prince Archie, 7, and Princess Lilibet, 5, had only just started the new school year in England after the family relocated from California in late August.

British media reported that the distance of the school run and the heavy traffic on the route were among the concerns raised by the couple and their security team. The family is living at a private, non-royal residence outside of London.

“This decision should in no way be interpreted as a reflection on the school or the exceptional care the children have received there,” the statement added.

The news followed reports that Harry and Meghan were awaiting a new risk assessment from the government committee that reviews protection of VIPs, including a decision on whether the family should be entitled to publicly funded security now that they live in the U.K.

Harry and Meghan gave up their royal duties and moved to California more than six years ago, saying they wanted to earn their own living. They later signed lucrative contracts with Netflix and Spotify.

Although relations with the rest of the royal family have soured since then, Harry has recently expressed an interest in reconciliation so he could spend more time with his father, King Charles III.

Harry has fought a long-running battle with Britain’s government for the restoration of publicly funded police protection, which was canceled when the couple gave up their royal roles.

He had previously said he couldn’t “see a world in which I would be bringing my wife and children back to the U.K.” without a security guarantee.

Earlier this month, the king reiterated that Harry and Meghan remain non-working members of the royal family and would continue to refrain from using formal royal titles, such as his royal highness and her royal highness, as they have done since 2020. The couple said they were surprised by the way the monarch issued that statement because they were given little time to review it.