SHOW BIZ

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

FORMER The X Factor singer Katie Waissel has been dashed back to hospital with a suspected blood clot on her lung — less than two days after being discharged.

The 2010 reality TV star was readmitted to hospital just 36 hours after being allowed to go home.

Singer Katie is currently fighting a severe case of bacterial pneumonia and doctors now suspect a blood clot on her lung.

The 40-year-old was taken to London’s private Wellington Hospital for urgent scans and tests.

Taking to X, Katie told her followers: “After a day and a half at home, I’m now BACK at the hospital and not doing so great.”

She added in a later update: “Whilst still battling this awful bacterial pneumonia, there’s now a suspected blood clot on my lung, so I’m back in for more scans, tests and needles.

A&E DASH

X Factor star Katie Waissel rushed to hospital by ambulance in ‘excrutiating pain’

ABUSE SHOCK

Katie Waissel reveals 8 celebs told her they suffered sex abuse in industry

“I’m fairly certain I’ve run out of veins for people to poke at this point.”

The mum-of-one praised the medical team at the facility for their ‘incredible’ support.

She stated that her absolute priority is to ‘get better and get home to my little boy’.

Katie shares her seven-year-old son, Hudson, with her former partner, personal trainer Andy Speer, who was born in 2018.

This latest setback follows her emergency admission last week to St John and St Elizabeth’s Hospital in London.

Reflecting on the initial scare, the songwriter admitted she was ‘far closer to the edge than I realised’.

She called the illness ‘one of the most frightening and excruciatingly painful experiences of my life’.

The close call has given her a brand new outlook on life.

In a separate social media post on Thursday, she shared: “I’m still a little bit in shock, if I’m honest, coming to terms with just how close I came to not being here anymore.

“It’s made me realise there are still so many things I want to see, do, learn and experience, and that perhaps ‘one day’ isn’t a date we should rely on.

“So, I’ve decided it’s time to write a proper bucket list and start ticking things off.”

This is not the star’s first sudden health crisis.

Back in 2021, she needed emergency treatment for a suspected heart attack, later sharing images of herself fitted with a cardiac monitor.

Katie originally rose to fame on the seventh series of The X Factor.

She was mentored by Cheryl in the girls category and eventually finished the ITV competition in seventh place – which was won by Matt Cardle.

She also appeared as a housemate on Celebrity Big Brother in 2016.

The singer is now qualified to work as a paralegal or start vocational training to become a solicitor or barrister.

The mum-of-one and lawyer set up her own dedicated foundation, O.W.H.L, in 2023 – campaigning to reform safety standards within the showbiz world.

She was branded the “most hated contestant” when she appeared on the show and has sought therapy for post-traumatic stress disorder (PTSD) after suffering panic attacks and suicidal thoughts.

As summer heats up alongside the exhausting news cycle, it’s crucial to find ways to unplug and wind down. Golden Hour in the newly renovated sculpture garden at the Norton Simon Museum is just the thing. Taking place tonight (Friday), and on two more Fridays this season (July 31 and Aug. 28), the event lasts from 4:30-6:30 p.m. and features a different musical group each time.

Tonight is the Verbena Quartet; a North Indian ensemble and a jazz trio are upcoming.

The fun is free with museum admission, and guests are encouraged to bring blankets to relax in the grass. I took my family of four to a recent event and it proved to be the rare occurrence when both the 10-year-old and the 17-year-old were happy. The museum provides all kinds of great art supplies on a big table by the entrance, including sketch paper, clipboards, colored pencils and charcoal drawing utensils.

There are also sheets of paper encouraging creative ways to approach drawing various sculptures in the garden, alongside a family-friendly Golden Hour bingo card with squares including “Spot something framed by tree branches” and “Look at the space between two objects.”

I did some drawing with my toes in the grass while my kiddos curved their necks over their own mini masterpieces. My husband read a book. The sun slanted low as the afternoon melted into early evening, casting lovely shadows on the families, couples, friend groups and solitary artists scattered around the garden sipping wine and snacking on cheese and crackers from the nearby cafe.

When we had our fill of relaxing, we ambled into the museum. My daughter wanted to gaze at the Picassos and the Van Goghs. As did I. I never don’t cry when I look at “The Mulberry Tree.”

“Can you imagine what he was thinking?” I asked my 10-year-old as we regarded the painting. “The pain and the beauty of it?”

She nodded sagely, gently smoothing her thumb against her own recent drawing, her deep inner world a mystery to me. The beauty and the pain of it. I was glad we had cuddled together in the late afternoon sunshine.

I’m arts editor Jessica Gelt, wishing you and your loved ones peace. This is your arts and culture news for the week.

The week ahead: A curated calendar

FRIDAY

Antigone
The Bebelos Players present a back-to-basics production of Sophocles’ classic drama about a young woman who defies a king to honor her dead brother.
7 p.m. Friday-Sunday. Theosophy Hall, 245 W. 33rd St. eventbrite.com

“Horse,” by Rick Bartow, 2014, wood, tar, wax, false teeth, nails. 56 x 42 x 12 in.


(Yubo Dong, ofstudio)

Rick Bartow
Last chance to catch “All of these things have happened,” an exhibition of works on paper by the late Native American artist that touch on tragedies from throughout his life, as well as “Horse,” a 2014 sculpture covered in tar, wax, false teeth and nails that is “a study of sustained resilience.”
Noon-5 p.m. Friday-Sunday, Wednesday and Thursday (last day). Timothy Hawkinson Gallery, 7424 Beverly Blvd. timothyhawkinsongallery.com

Spencer Finch
“Balboa of House and Garden,” composed entirely of new work, is the artist’s first exhibition in Los Angeles. The show includes more than 50 unique works on paper, a site-specific skylight installation and a monumental outdoor sculpture. Finch’s “Memory Landscape (Nairobi, Chicago, Honolulu, Jakarta),” 2025, a commissioned tile wall mural inspired by places from President Barack Obama’s formative years, was recently installed at the Obama Presidential Center in Chicago.
Opening, 6-8 p.m. Friday; 10 a.m.-6 p.m. Tuesday-Saturday, through Aug. 22. Lisson, 1037 N. Sycamore Ave. lissongallery.com

Bodo Mato
The pseudonymous multidisciplinary artist uses a subconscious dreamworld to access a legendary lost city to find real-world parallels in the exhibition “Atlantis: Echoes of Hubris.”
Opening reception, 6-10 p.m. Friday. 11 a.m.-5 p.m. Saturday-Tuesday. 7811 Gallery (West), 7813 Melrose Ave. 7811gallery.com

Raymond Saunders, “Layers of Being,” 1985. Mixed media on canvas, 81 x 59 15/16 x 1 in.

(Carnegie Museum of Art, Pittsburgh / Gift of Mr. and Mrs. William Block / © 2025 Estate of Raymond Saunders)

Raymond Saunders
“Flowers From a Black Garden” is a career-spanning look at the painter (1934-2025) as he moved from Dada, expressionism and assemblage to Fluxus, Pop and postmodernism, beginning in the 1960s.
11 a.m.-6 p.m. Wednesday-Sunday, through Jan. 3. UC Irvine Langson Orange County Museum of Art, Segerstrom Center for the Arts, 3333 Avenue of the Arts, Costa Mesa. langson.uci.edu

SATURDAY

Chrysalis prototypes deployed in Joshua Tree, 1970, reproduction.

(Chrysalis Corporation)

Alternative Palm Springs: Other Desert Architectures
In some parallel reality there may exist a Coachella Valley unlike anything you’ve ever imagined. In lieu of that, this exhibition shares the unbuilt visions of prominent architects, off-grid designs of the counterculture, and private and public worlds created by the LGBTQ+ during the 20th century, yielding an expanded view of the area’s architectural ambitions.
10 a.m.-5 p.m. Friday-Sunday; noon-8 p.m. Thursday; through Jan. 4; closed June 26 and July 4. Architecture and Design Center, Edwards Harris Pavilion, 300 S. Palm Canyon Drive, Palm Springs. psmuseum.org

Declarations of Independence
Gay Men’s Chorus of Los Angeles and guest artist Justin Tranter celebrate national and individual freedom and pride for America’s 250th anniversary.
7 p.m. Saturday; 3:30 p.m. Sunday. Saban Theatre, 8440 Wilshire Blvd., Beverly Hills. gmcla.org/declarations

A Great Night in Hip-Hop
The Roots return for their third year at the Bowl, joined by Nas, with appearances from T.I., Bun B, De La Soul and more.
7:30 p.m. Hollywood Bowl, 2301 N Highland Ave. hollywoodbowl.com

Rota Fortunae
A one-night-only experimental opera featuring Jordan Slaffey reimagines the four women of the 1996 crime thriller “Set It Off” using movement, live music and fashion. Directed by Chris Emile, music by composer and DJ Cody Perkins and designs by James Flemons.
7:30 p.m. Indoor Swap Meet, 128 S. La Brea Ave., Inglewood. eventbrite.com

Peter Stampfel
An innovator of anti-folk, freak-folk and psych-folk, the 87-year-old co-founder of the Holy Modal Rounders makes a rare West Coast appearance.
8 p.m. McCabe’s Guitar Shop, 3101 Pico Blvd., Santa Monica. mccabes.com

THURSDAY

Ojai Film Society Summer Screening Series
Annual presentation of independent, foreign, documentary, critically acclaimed and classic films kicks off Thursday with Taika Waititi’s 2016 adventure comedy “Hunt for the Wilderpeople,” starring Sam Neill. Other screenings: “Selena Y Los Dinos” (July 10); “Cookie Queens” (July 17); “Best in Show” (July 24); “Arrival” (Aug. 20); and “Jurassic Park” (Aug. 27).
7:30 p.m. Thursday; various dates through Aug. 27. Libbey Bowl, 210 S. Signal St., Ojai. ojaifilmsociety.org

Tank and the Bangas
The Grammy-winning New Orleans music group shares its signature blend of funk, soul, hip-hop, rock and spoken word. Featuring an opening set by Butter Funk Family and DJ sets by Tosstones.
7 p.m. Skirball Cultural Center, 2701 N. Sepulveda Blvd. skirball.org

Arts anywhere

Meryl Streep, from left, and Amanda Seyfried, Rachel McDowall and Ashley Lilley in the 2008 movie version of “Mamma Mia!”

(Peter Mountain / Universal Pictures)

Broadway unbound

Two of the biggest hit musicals ever are in town simultaneously starting this week — “Mamma Mia!” is at the Ahmanson through July 19 and “Phantom of the Opera” plays the Hollywood Pantages through Aug. 9. If you want to bone up beforehand or relive the hits after you’ve been to the theater, the cinematic adaptations of both are widely available. The 2008 movie version of “Mamma Mia!” starring Meryl Streep and Amanda Seyfried streams on Prime through the end of June and the 2004 “Phantom” with Gerard Butler and Emmy Rossum is streaming on Prime and Apple TV. Both films are available to rent or buy on various platforms and, if you’re into physical media, relatively inexpensive Blu-ray and DVD versions can be had online. Public libraries are also great resources for arts-related content.

— Kevin Crust

Culture news and the SoCal scene

Passengers wait to board the first train to arrive at the Metro D Line at the Wilshire/Fairfax Station in Los Angeles on May 8, 2026.

(Genaro Molina / Los Angeles Times)

With the new Metro D Line subway extension up-and-running with new stations at Wilshire/La Brea, Wilshire/Fairfax and Wilshire/La Cienega, we asked architecture writer Sam Lubell to take an aesthetic look at these new displays of public art. “Suddenly the city feels different. Not transformed, exactly. But more connected,” wrote Lubell. “The fracturing grip of the city’s incomprehensible expanses, clogged arteries and stagnant governance — all intimidating barriers to healthy civic life — feels a little looser. … The stations, too, feel more connected, with art, architecture and infrastructure blending seamlessly into a cohesive experience … But above ground, it’s a tale of two (transit) cities. Outdoor plazas lack the kind of textured civic presence that’s been created below.”

The Hollywood Bowl opened its summer season with a lavish production, “The Best of Broadway,” starring Lea Salonga, Brian Stokes Mitchell, Darren Criss, Renée Elise Goldsberry and Halle Bailey, and hosted by Billy Crystal. The program including a selection of Broadway tunes old and new, was delivered with flair to an appreciative audience. “I had a lovely time,” reports Times theater critic Charles McNulty, “but I can’t say the concert lived up to its title. Not that impressive virtuosity wasn’t on display, but Broadway is truly at its best when musical numbers are embedded in a story, allowing the performers to feed off each other and reach heights that they might not be able to reach on their own. Too much of the bill required the actors to stand and deliver, ‘American Idol’-style. It was a little unfair to place such a heavy burden on them.”

McNulty also reviewed the Geffen Playhouse’s Los Angeles premiere of Pearl Cleage’s “Angry, Raucous, and Shamelessly Gorgeous,” about an American expat actor angling for her big comeback. The play, wrote McNulty, “is hamstrung with exposition. More time is devoted to setting up the dramatic situation than to activating it. … The intentions are noble and the themes are handled with admirable complexity, but the writing is sluggish. The plot is like an old car whose engine just refuses to start on a cold winter morning.”

After 20 years as LA Opera Music Director James Conlon will step down.

(Robert Gauthier / Los Angeles Times)

The final show of L.A. Opera’s production “Marriage of Figaro” last Sunday also marked the end of James Conlon’s tenure at the podium as the organization’s music director. Stepping down after 20 years, Conlon spoke to Times classical music critic Mark Swed. “I love L.A. and I’m not going to leave,” said Conlon. “I am absolutely happy at this point in my life. You know my age is 76. It is not a secret. I wear it proudly. But I’ve been a music director for 47 years, and I don’t want to be a music director any longer. I will still conduct.” Will he return regularly to L.A. Opera? “That’s the theory,” he said

Another maestro who can’t quit L.A. is Esa-Pekka Salonen. Last weekend, the beloved composer and conductor, who is back with the L.A. Phil as creative director, returned to the Ojai Music Festival after a quarter-century absence. “Salonen found renewal not from the desperation of rethinking but from freshening, illuminating the perception of exceptional young musicians first encountering greatness,” wrote Swed in his review of the four days. “In these uncertain times, that may be the most remarkable act of artistic optimism.”

Spanish artist Nieves Gonzalez stands next to one of her paintings that is part of her solo show at the Richard Heller Gallery at Bergamot Station in Santa Monica on June 18, 2026.

(Genaro Molina / Los Angeles Times)

Not yet 30, Spanish painter Nieves González is a burgeoning international art star with an exhibition at Richard Heller Gallery in Santa Monica. “Fashion inspires me,” she told writer Jane Horowitz in a recent interview. “Just as 17th century artists drew inspiration from the fashion of their day — often creating paintings that served as catalogs of current styles — I do the same. The goal is to not merely convey a specific message or ideology but to create a testament to a generation and the era in which we live.”

“California Gothic: A Bus Tour,” an avant-garde sightseeing event organized by the New Theater Hollywood, turns Tinseltown “into a stage, drawing locals for a mash-up of state history, gothic storytelling and public-intellectual riffing on the broken California dream,” wrote Times staff writer Eloise Rollins-Fife. The tour ended its latest run in mid-June, but will reopen during the last week of October for a special “ghost tour” edition.

Times columnist Patt Morrison reported from the City of Lights on Paris-born street artist JR’s “La Caverne du Pont Neuf,” which she describes as “an enormous art installation, a trompe l’oeil inflatable snow-clad mountain range … an homage to the innovative work of groundbreaking environmental artists Christo and Jeanne-Claude.” The work uses about 200,000 square feet of printed fabric on the city’s oldest bridge to create the illusion and the artist told Morrison, “Your eye wants to believe it, and for a moment you let yourself. That gap between knowing and believing is where the play happens, and people love being inside that gap.”

Stewart McLaurin, president of the White House Historical Assn., displays a newly-acquired suite of four interrelated paintings by Norman Rockwell titled, “So You Want to See the President!” at the association’s offices Wednesday, June 10, 2026, in Washington.

(John McDonnell / Associated Press)

In the 1940s, Norman Rockwell spent time in the visitor’s lobby of the White House sketching U.S. senators, members of the military, the press and a Miss America as they awaited entry into the Oval Office to see President Franklin D. Roosevelt. Eight decades later, four of the sketches have been acquired by the White House Historical Assn. for $7 million, according to the Associated Press. Titled “So You Want to See the President!” the sketches will be on public display through June 2027 at the historical association’s “The People’s House” education center near the White House.

It was a busy week for announcing some of this fall and winter’s Broadway openings. Lincoln Center Theater’s Vivian Beaumont will host a revival of Aaron Sorkin’s “A Few Good Men,” starring Bradley Whitford and Tom Blyth, directed by six-time Tony winner Michael Arlen, starting Oct. 8. In March 2027, LCT Artistic Director Lear deBessonet will helm a new production of Rodgers and Hammerstein’s “The Sound of Music,” for its first Broadway run in nearly 30 years. A revival of Richard Greenberg’s “Three Days of Rain” lands in February 2027 at a Shubert Organization-owned theater to be announced with Anna D. Shapiro directing. The cast will include “Heated Rivalry’s” François Arnaud and David Corenswet of “Superman” in their Broadway debuts, joined by Yvonne Strahovski of “The Handmaid’s Tale.” The play was previously on Broadway in 2006 with Julia Roberts, Bradley Cooper and Paul Rudd. Walter Hill’s 1979 gang saga “The Warriors” will make the leap from screen to stage as a musical, with a book, music and lyrics by Lin-Manuel Miranda and Eisa Davis. Previews begin at Broadway’s Lunt-Fontanne Theatre in March 2027 with an opening slated for April. Jenny Koons will direct.

— Kevin Crust

And last but not least

We cover a lot of awards in this space, but today we get to give a shout-out to one of our own. Times theater critic Charles McNulty was awarded the prestigious Nell Minow Award for Cultural Criticism by the National Press Club this week. His submission included a reflection on the Los Angeles wildfires through the poetry of Shakespeare’s “The Tempest”; a tribute to South African anti-Apartheid trailblazer Athol Fugard; and an essay on the complexities of Audra McDonald’s performance in “Gypsy,” among others. The Times also won the Breaking News Award in the print/online category for its reporting on the January 2025 L.A. firestorms. A presentation ceremony and dinner will take place Aug. 27 at the National Press Club in Washington, D.C. For the complete list of winners, visit press.org.

The thrilling final season of The Bear has finally arrived, but one key player is tragically missing from the last night of service

The series paid tribute to one of his most iconic films.

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

The Bear’s last ever episode pays tribute to a major star who tragically was unable to return to film the final season.

FX’s popular comedy-drama, which streams on Disney+ worldwide, follows the talented yet chaotic team of a gourmet restaurant in Chicago, led by head chef Carmy Berzatto (played by Jeremy Allen White).

Season 4 of the hit series introduced business consultant Albert Schnur, who advised grill cook Ebraheim (Edwin Lee Gibson) with his plans to franchise the restaurant’s profitable sandwich window.

Albert was portrayed by actor and director Rob Reiner, who is best known for helming a string of major films in the 1980s and 90s, including Stand By Me, This Is Spinal Tap, Misery, When Harry Met Sally…, and A Few Good Men.

Reiner, 78, was tragically killed last December with his wife Michele, 70. Their son, Nick, was charged with two-counts of first-degree murder and is awaiting a preliminary hearing after pleading not guilty.

He does not appear physically in the final season of The Bear, but eagle-eyed viewers will have spotted a touching reference to both the character and one of Reiner’s most beloved films.

After Ebraheim gets the go-ahead from Carmy to franchise The Beef, he rings up Albert to let him know his plans.

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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.

Promising to send him over some documents, he asks if there is anything else he needs. Ebraheim pauses, smiles and replies: “As you wish.”

Movie buffs will immediately recognise the quote from one of Reiner’s most iconic films, The Princess Bride. In the classic fantasy adventure, farm boy Westley (Cary Elwes) often says this to Buttercup (Robin Wright), when he really means “I love you”.

The quote has stood the test of time as an admission of love and now stands as the perfect send-off to the cherished filmmaker who played such a memorable role in the series.

Viewers who noticed the tribute have taken to social media after it left them emotional, with one fan admitting: “ugh broke my f****** heart. you know rob would’ve played the f*** out of actually coaching ebra.”

“Damn near cried through every episode of the bear final season but then they F****** THREW IN ‘AS YOU WISH’,” another exclaimed with a tearful emoji.

Another emotional post read: “EBRA’S, ‘AS YOU WISH’. YOU GUYS CAN’T DO THIS TO ME [crying emoji] I LITERALLY JUST WATCHED PRINCESS BRIDE A FEW NIGHTS AGO. RIP ROB REINER”

Someone else said: “Finally watching S4 of the Bear (S5 coming out made me finally do so) and oh my god I am so depressed knowing Rob Reiner is no longer with us.”

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

Should I stay or should I go?

It’s at once a practical and existential question that plagues the two lead chefs in FX’s “The Bear.” He was the emotionally tortured and volatile chef who left behind a rising career in Michelin-starred restaurants to return to Chicago, his hometown, to run his recently deceased brother’s floundering sandwich joint. She was a Culinary Institute of America-trained chef with potential and a steady demeanor seeking mentorship and an opportunity to work with a prodigy. Together, Carmen “Carmy” Berzatto and Sydney “Syd” Adamu — played by Jeremy Allen White and Ayo Edebiri, respectively — transformed the Original Beef of Chicagoland from a hole-in-the-wall into the titular fine-dining establishment.

But now their partnership in the kitchen has come to an end.

Created by Christopher Storer, “The Bear’s” fifth and final season picks up the morning after Syd, Richie (Ebon Moss-Bachrach) and Nat (Abby Elliott) learn Carmy is quitting the food industry and leaving the restaurant in their hands at a make-or-break moment. And the pressure mounts for Syd to decide if she’ll jump ship to pursue another opportunity. The eight-episode season, now streaming in full on Hulu, largely stretches across one day as the restaurant’s debts accumulate, suppliers cut them off and an unrelenting storm floods the kitchen and threatens to upend a night of service the chefs desperately need to have one last shot at survival and one last performance as a team to deliver an improbable turnaround.

In some ways, it’s a journey that mirrors the actors’ own trajectories. Before “The Bear” became a runaway hit, White was best known for his role on Showtime’s long-running dark comedy “Shameless,” while Edebiri primarily worked as a stand-up comedian and writer. Just as their characters have evolved and gained electric momentum in their careers, so have the actors. Both garnered Emmy Awards for their performances on “The Bear,” and they have added a multitude of film and TV credits to their résumés since. Edebiri is currently starring opposite Don Cheadle in the revival of “Proof,” her Broadway debut, while White will be starring this fall as an investigative reporter in Aaron Sorkin’s “The Social Reckoning,” a companion piece to “The Social Network” that chronicles Facebook’s whistleblower scandal.

Over separate video calls from New York, Edebiri and White reflected on “The Bear’s” conclusion and what it means to leave the characters that supercharged their careers behind. Here are edited excerpts from the conversations.

Ayo Edebiri as Sydney Adamu and Jeremy Allen White as Carmen “Carmy” Berzatto in a scene from Season 5 of “The Bear.”

(FX)

After living inside these characters’ skins for so many years, what’s it like to be done playing them?

Edebiri: They keep saying that we’re done, so I guess that really is the thing of it. Obviously I know that it’s over, but even when we were finishing our first seasons, it didn’t matter how much critical acclaim we got because we’re on a show that’s a part of a network that has a deal with the streaming service — there’s all these things that are continually in flux or that you know that you have no control over. As an actor, you’re used to this state of limbo or not totally knowing or being prepared for an ending, so I think I’m not overwhelmed by it, if that makes sense.

White: I don’t know yet. We were very lucky to understand for a long time when the show was going to end and, to a degree, how the show was going to end. It was difficult to see the direction it went — I have strong feelings about Carmy and where he ends up and how his story might continue on. So much of this season, for Carmy, is about a surrender or acceptance of his place in the world and his place in the kitchen, and it’s the first time he’s really been able to get very honest with himself since we’ve met him. And, in doing so, he chooses to leave, and that was hard for me, for Jeremy. Maybe there’s a world in which he tries this and he comes back. I think I had a different understanding for a while of Carmy’s future. I want him to be happy and healed, but it felt like … I don’t know — imagining him outside of a kitchen was hard for me.

I want to unpack that a little bit more. He wants to be happy. But it was interesting to see him wrestle with how his work hinders that — is it the crutch or the salvation? Did you find yourself having an existential moment as Jeremy taking in what Carmy was wrestling with, or have you reckoned with it before?

White: He threw himself into this work, into this world, pretty young in life. And he was really good at it. But a big part of him burying himself has so much to do with his brother, with his family. I was finishing something too. And, yes, of course, I was thinking of goodbyes, and I was thinking of moving on, and new pursuits and all of these things. I was checking in with myself and what it might feel like to just make such a hard turn in life. I thought a lot about what you get back from your work, but I think ultimately, what Carmy and I don’t share is he was causing so much chaos in his work life; it wasn’t just himself that he was punishing at times. It came down to this surrender to an easier way, a softer way, which was to turn it over to Syd, to turn it over to Richie, to turn it over to Tina in the kitchen — that part, I had an easier time understanding.

“The most beautiful thing about their relationship is their true unconditional belief in one another,” says Allen about Sydney and Carmy in “The Bear.”

(David Urbanke / For The Times)

Syd was facing a crossroads: a shiny new job that could take her to the next level or sticking with this seemingly sinking ship that has taken her to the next level, but where she’s felt unappreciated or stifled at times. Ayo, what did you think of the choice she made?

Edebiri: We’re really fortunate to have such amazing writers who thought about her and her journey. [There’s] an awareness of Sydney’s womanhood and Blackness and youth, but I think [they treated] her with the full dignity of just being a human being and getting able to be a complex character in this show and giving her the dignity of being just as flawed as the other characters. [The choice she made] just made sense to me. It made sense in the architecture of the show. It was gratifying to get to build to that with everybody.

The bulk of this final season has the team dealing with this massive storm that’s created a slew of setbacks at a make–or–break moment for the restaurant. It leads to one final symphony in the kitchen together.

White: Those days were beautiful. So much of our show is shot so quickly, but then we really get to slow down with these choreographed pieces of kitchen ballet, and that’s also when we feel really strong as a group of performers, where we’re incredibly reliant on one another, not just for the emotional beats of a scene, but in this very technical aspect as well. I remember going back to Season 1 and filming Episode 7, “The Review,” which was the single-take episode, and just how much camaraderie came from that, and how much respect came from that for everyone — that feeling of real success that we could do this. It’s a really nice thing that happens sometimes on sets, where there is such a nice mirror of what’s going on with the characters and what’s going on with the cast. In this last push, and this team effort, we want these things as the characters, and we want these things as the cast. We want these people to have what they want, what they deserve, so it was really exciting shooting that last episode or two where all those things are coming into place.

Edebiri: That’s Chris’ thing — it’s like a classical piece of music or something; there’s different movements. His own challenge that he puts on himself, and that, in turn, puts on us, is that we’re still in the same piece of music, but everything just has a different feeling. He’d been talking about it since, low-key, Season 3, but definitely started talking about it a little bit more concertedly when we were filming [Season] 4. It was really starting to take shape in his brain. This challenge of having it be in this one day, and how each episode can feel different, was really exciting to him, so in turn, it became exciting to us.

Were you hoping for more runway to chart what the characters were facing?

Edebiri: No, I think it was cool. I was just like, “Yeah, let’s see what it is.” That’s kind of what everything has been with this show. Part of her emotional journey for the last season, what was on a slower track, in a way, there was something also really fun in having the pressure cooker of one day, and everything getting to ramp up and be quite immediate, which I think has been reminiscent of Seasons 1 and 2 in a fun way.

Tina (Liza Colón-Zayas), left, Sydney (Ayo Edebiri), Richie (Ebon Moss-Bachrach) and Carmy (Jeremy Allen White) in “The Bear.” The restaurant faces multiple setbacks, including a storm that causes damage and dwindling supplies.

(FX)

Carmy and Sydney’s dynamic has been so fundamental to the series. These are two people who see something in each other that the other doesn’t. What do you admire about their relationship as friends and as co–workers?

White: The most beautiful thing about their relationship is their true unconditional belief in one another. They see the beautiful things in one another that the other one is not able to witness in themselves. Even though trust has been tested and trust has been broken at times, there is such a loyalty to the best in themselves. They know that they can rely on one another. In a lot of ways, they saved each other. That piece in the opening episode of Season 3, where Carmy gets the call about Mikey and serves the scallop to Syd without ever having met her — there is this invisible tether that was not witnessed by either of them, but it inspired Syd, and whether Carmy knew it or not, this thing was loved and enjoyed by someone that was birthed from this very traumatic moment. There’s just this beautiful, invisible tether that has always existed and will always exist between the two of them.

Edebiri: What I admire about it is the fact that they are able to bring out — through a lot of miscommunication and hard work, but ultimately, I think, with good intentions — the best in each other. They want to see each other be the best versions of themselves.

How is that reflected in your dynamic? Jeremy, who is Ayo as a scene partner and what has she brought out in you as a performer, and vice versa?

White: I was really so lucky to kind of witness Ayo in real time — everybody else had to wait some months to see her on the show. I remember genuinely being struck by her presence, her groundedness. It felt like, if this makes sense, wrong because she was doing it so well. She’s incredibly smart, she’s a wonderful writer, and she’s very skilled improvisationally, and so, in acting with her, there’s something that always makes you feel very in the moment. You can never like relax, in the best way. It’s like you always have to surrender yourself to each moment.

Edebiri: When we first started, I was coming from the comedy world, and he was coming from a much more dramatic world. Our approaches were so different. He has such amazing presence of being and a quiet focus and has such care for the work. He’s a really great leader. There are ideas in society of men in power, and what power held by men has to look like and feel like, and he’s very gentle — especially in the show, which can live so much in the space of chaos and anxiety, having a gentle spirit really helps with filming. He’s so good at making that very clear and helping teach me that as well … I’ve definitely learned from him, without realizing it, ways to protect yourself and protect your peace, and protect also the peace of your co-workers — you get the work done, you be serious about it, but it doesn’t have to be torture.

Edebiri on working with White: “When we first started, I was coming from the comedy world, and he was coming from a much more dramatic world. Our approaches were so different. He has such amazing presence of being and a quiet focus and has such care for the work.” (David Urbanke / For The Times)

What was it like to see them get this thing they’ve been after — not one, but two Michelin stars?

White: Reading that moment —there’s been so much pain and heartache … for years and years and years, and I was just so relieved to see this joyous moment on the page. It felt so, so close to the surface of me already. And we — Jeremy and Ayo — have shared so many insane, joyous moments in our lives since the show. So it felt familiar in the best way. I’m so glad for that moment for both of them — for Carmy and Syd.

Edebiri: We’re shooting it so fast. You always wish you just had more time, and that was one of the last scenes — I think it was the last thing that he and I shot. There’s obviously a bit of a preciousness and emotionality that you’re feeling in that moment, while also tapping into what’s happening to the characters. It’s this thing that, in the brain of myself, we’ve been building to this over five seasons. There’s obviously a somewhat meta reflection of what we’ve gone through — this is just such a crazy journey. But I think at the end of it, especially because of what we know is going to change in their relationship, that in their working proximity, that they are not going to be close, but they know that they were able to do this thing and build this thing together, I think [is] what felt very special, and felt very cool. I hope it’s something that people who have loved the show also feel.

Fans have intense feelings about their relationship, as I’m sure you know. Has it surprised you how strongly people feel about their dynamic?

White: I know that exists. I don’t have too much knowledge on how that all works. It’s funny, I’m very aware of it now because it’s become part of a conversation around the show, but it was nonexistent in our approach to the work. It wasn’t even a thought for either of us. It didn’t occur to us. But I understand it. There is an intimacy, of course, with these two characters. And there is this trust. They lean on each other and they admire each other so much. I’m not like — nobody’s crazy to feel that. There is love there, it’s just not a romantic partnership.

Edebiri: It surprised me the first two [seasons] because I don’t think that that’s what we were doing. Anytime that you say otherwise, I’ve learned [not to]. It’s been hard when doing press, it feels like we get asked specific questions to try to give a specific answer, but the point of art is we make it and we give it. If people are having a response, that’s great, and if I don’t agree with you, I don’t think I’m shutting it down or anything. We made something, then you’re picking something up — that’s the exchange.

White says he knows fans have intense feelings about the relationship between Carmy and Syd. “It’s funny, I’m very aware of it now because it’s become part of a conversation around the show, but it was nonexistent in our approach to the work. It wasn’t even a thought for either of us.” (David Urbanke / For The Times)

Carmy has a few heartfelt conversations this season, but one that really stands out is the one with his mom, played by Jamie Lee Curtis, while revisiting the family home he’s stayed away from for years. He cooks for her. She’s remorseful. Jeremy, what did you think of that moment for Carmy?

White: There’s resistance in it. People like Carmy, you can give them the answer, you can give them the sorry, you can give them the opportunity, and a lot of the times they don’t know what to do with it, or they push it away, or they push it down. What that scene was about, for Carm, was becoming available to even listen. That was the conflict of the scene and the moment. But he was able to eventually get to that acceptance to release some of the resentment, to release some of the anger. Then he is able to show up for her, which was what has been absent. He was able to take it and give her something. It’s been years, if ever, that he’s really been able to do that, to get out of his own way, and be of service in that way to his mother.

Ayo, it was really touching to see Syd naming Tina her chef de cuisine. How did you feel about what that sets up for where Syd and the Bear might be headed with these women as partners in the kitchen?

Edebiri: I loved it. I love getting to work with Liza [Colón-Zayas]. I’ve been so privileged to also be able to direct her — she’s just phenomenal. I think about these two characters, where they started Day 1; Tina was pretending not even to speak English just to stay away from the girl. It was rough from the get-go, but I think both for Liza and I, as two women of color as well, we felt so invested in their relationship and the community they built with each other. There’s something very moving about that to me. Part of the thing for Sydney, she doesn’t know — I think Carmy can see it — that one of her strengths is that they’re different types of leaders. Part of what I think makes Sydney a great leader is that she’s able to delegate and actually remove herself when she knows that she might not be the best in a situation, it might be somebody else.

I haven’t actually seen it. I can’t watch the episodes, but I know when we were filming it, it was both very sweet and very funny. I don’t know if they kept any of the improv from Liza.

You can’t watch because you’re emotional about it or because you just don’t have access?

Edebiri: No, I don’t want to. We were doing all this press and everybody was, “You were so emotional; you wanted to cry, right?” And I’m like, “No, I just don’t want to watch.” I’ll watch it later. The only season that I watched before [it aired], frankly, was 3 and 4 because I had episodes that I made in it. I love the show and I know the show is good. I don’t enjoy watching myself.

I do love that Syd’s ethos in the kitchen is borrowed from “Ratatouille.”

Edebiri: Yes, f—ing rat. It tracks for Sydney.

“I love getting to work with Liza [Colón-Zayas],” says Edebiri about her co-star, whose character is named chef de cuisine. “I’ve been so privileged to also be able to direct her — she’s just phenomenal.”

(FX)

Jeremy, what was your reaction when you read Carmy is in a suit interviewing for an internship at an architectural firm? And what he expresses there?

White: I understand and I’m proud of the courage that it takes [to do a life pivot], but also I tried to play that scene in a way where I didn’t want it to be entirely clear [what happens next]. I wanted the question to be like, “Is this guy still so f— up in the head that he’s trapped regardless of his place in this world, or place of work? Is it a romance that he’s saying goodbye to? Is it a love that he still has, and he’s not quite over yet?” Then I was like, “Do we snap out of that scene and we’re back on the clock?” What is this? I think the goal of the scene is it shouldn’t be all too clear and wrapped up.

What do you think?

White: I could see there’s obviously so much love. There’s love for the people he works with, and there’s love for the paces he’s gone through, but I didn’t know. … I didn’t know if it was a goodbye or an admittance. I think I was trying to find something between him coming clean and being like, you know what, I don’t belong anywhere else or I’m so in love with this thing, but it’s not good for me, and I think it exists somewhere in between that.

Ayo, what was your reaction to Carmy interviewing at the firm?

Edebiri: I was like, “Yeah, that makes sense. This boy’s a noodle.” He’s a fool, he’s ridiculous. It makes sense.

Where do you think he goes from here? Have you thought about it? Do you think he will ever find his way back to the kitchen?

White: I haven’t thought about it too much. I do think there’s something really honest about that direction that Carmy was moving into, but I would hope there’ll always be room for him somewhere in a kitchen.

Edebiri: Syd is like, “You can’t do anything else, brother. Like, what’s the plan?” I don’t know if he takes a break, if he comes back to help her, if he does his own thing.

What do you think happens to the Bear?

Edebiri: I think they do well. It’s not just her; it’s her and Sugar and Richie and Marcus and Tina. She got in it for Carmy, but I think she ended up finding her own voice. I think they keep going, at least for a few more years. I really do.

White: I have to believe that all the pain and suffering and trauma — not only that Carmy has gone through, but that everybody has gone through — is for some greater good. That there is a payoff. My hope is that it would be successful. They’ll have the endurance and the motivation to make it.

MILLIE Bobby Brown has shown off her stunning figure as she celebrated the upcoming release of Enola Holmes 3 on Thursday night.

The actress, 22, who plays the titular character in the Netflix series, donned a mesh nude ensemble while attending the premiere’s afterparty in New York.

Flashing her toned stomach in an embroidered sheer crop top with a matching satin and mesh skirt, Millie posed for snaps at the TV bash.

In the series, which began in 2020, the Stranger Things star plays the teenage sister of Sherlock Holmes – with Enola on a search for her mother.

The third season is set to be released on July 1.

The appearance comes just weeks after Millie defended her husband, Jake Bongiovi, from dad-shaming trolls.

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Millie and Jake, who wed in 2024, announced last August that they had adopted a baby daughter together.

And earlier this year, images of the couple went viral as Millie was seen laden with her daughter’s car seat and two bags, as another saw her pushing a suitcase at the same time as her daughter’s pram.

Many fans were confused as to why Jake wasn’t helping her carry anything despite being there too.

Earlier this month, Millie addressed the backlash during an appearance on Kylie Kelce’s Not Gonna Lie podcast.

On the show, she said: “Hi, I’m Millie Bobbie Brown and I’m not gonna lie, when did women become incapable of holding their own bags, car seats and stuff?…

“This stems from me holding all of my suitcases and bags and my kid and people are like, ‘Your husband doesn’t hold a single thing.’ And I’m like, ‘Because I’m three miles ahead. I have been planning this all night’….

“We’re all about empowering girls and, ‘You got it’ and ‘You don’t need a man’. But then when I’m like, ‘OK, I can carry my own things,’ people are like, ‘Where’s your husband?”

She added: “Nobody knows my husband. My husband is the most polite, sweet, will-do-anything-for-me. But he also knows I’m capable”.

Millie also shared that she hopes to one day have a biological child, but adoption was always something she wanted to do.

KELLY Osbourne has signed up to star in a new reality show documenting her life and personal struggles after the death of her father.

The daughter of belated icon Ozzy Osbourne, 41, used to feature in the much-loved show The Osbournes alongside her family.

But this time around Kelly will be taking centre stage in a show focusing on her reinvention as a single mother to son Sid, 3.

Kelly and her fiance, Sid Wilson from Slipknot, split up in March of this year.

She’s since been romantically lined to hairstylist Kiinicki but according to The Daily Mail it’s been an “on and off” relationship.

Kelly’s family and friends, including Lily Allen and DJ Fat Tony, may also be making appearances in the new programme.

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Speaking about the show’s contract, a friend said: “The deal is done, and the production company is finalising which broadcaster this will go with; most likely Disney.

“It will focus on how she is stepping back into life after the trauma of Ozzy dying last year and after breaking up with Sid. It’s about her rebuilding.”

Kelly lost her father in July last year after he suffered a heart attack in his home in Buckinghamshire.

The Black Sabbath star, 76, had only finished his farewell tour Back To The Beginning a matter of weeks before passing away.

Despite suffering a heart attack, Ozzy struggled with numerous other health conditions including Parkinson’s and complication of a quad bike accident from 2003.

Kelly and her family have since been grieving and doing their best to stay strong.

In December, marking the first Christmas without her father, an emotional Kelly shared online: “Christmas will never be the same.

“I will never be the same. The person I was before he died does not exist any more.

“It changes you. He was magical. There is no one like him.”

The Osbournes premiered its first episode in 2002 on MTV, with its first season being cited as the most-viewed series to ever hit MTV.

Lionel Richie brought the first stop on his summer tour with Earth, Wind & Fire to an abrupt stop Wednesday evening, citing his health.

The 77-year-old Grammy winner, hitmaker of “Hello” and “Say You, Say Me,” unexpectedly hit pause on the concert at the Grand Casino Arena in St. Paul, Minn., after taking a seat on stage multiple times during his performance of “Dancing on the Ceiling” and telling his audience he felt “dizzy,” according to videos shared on social media.

“What I have learned about my years of being in the business, when you are feeling dizzy, sit your a— down,” he joked, according to a TikTok posted Wednesday evening by user ynaffitmocha. “When you are feeling strange about yourself, sit your a— down.”

Moments later, saxophonist Dino Soldo informed the audience that the singer was “not feeling well” and would not continue the concert. A representative for the singer did not respond to a request for comment, but TMZ reported on Thursday the singer-songwriter was hospitalized after the health scare. Paramedics reportedly met the artist backstage and transported him to a nearby hospital out of precaution.

A spokesperson for the Saint Paul Fire Department did not immediately respond to a request for confirmation on Thursday.

Live Nation announced “American Idol” judge Richie and Earth, Wind & Fire’s joint tour in January, unveiling a 26-city circuit that includes stops in Chicago, Orlando, San Francisco and Los Angeles. Richie and the “September” group are next set to perform at the United Center in Chicago on Friday and again at Schottenstein Center in Columbus, Ohio. It is currently unclear whether Richie will resume performing for those concerts.

Richie and Earth, Wind & Fire are scheduled to play Inglewood’s Intuit Dome on Aug. 9. The tour ends Aug. 14 with a show at the Moody Center in Austin.

Netflix show, Building the Band, was Liam Payne’s last completed project before his heartbreaking death in October 2024 aged 31 when he fell from a hotel balcony

Netflix has decided not to renew Liam Payne’s final TV project according to reports. The tragic singer’s series, Building the Band – which was filmed four four months before his death – is said not to have been recommissioned, despite the music competition launching the careers of four new groups.

Liam, who tragically died in 2024 aged 31 after falling from a hotel balcony in Argentina, served as judge on the series alongside Nicole Scherzinger and Kelly Rowland, while AJ McLean hosted the contest.

The winning act, 3quency, received a global platform through Netflix, while several contestants have since secured recording contracts following the show’s release. However, there a reportedly no plans for a second series.

A source told The Sun: “Although there are currently no plans for a second season of Building The Band, bosses at Netflix are really proud of what they achieved. That’s because the show led to the creation of four amazing groups and all of them have since signed record deals.”

The source added: “The finalist groups – 3quency, SZN4, Soulidified and Midnight Til Morning – have all released original music, toured internationally – and attract hundreds of thousands of listeners each month. And Midnight Til Morning are performing at BST Hyde Park at the end of this month.”

Building the Band challenged 50 singers unknown to each other to form new groups, relying on vocal chemistry before progressing through a series of performances.

The winning act received a global platform through Netflix, while several contestants have since secured recording contracts following the show’s release.

The programme had been completed and ready for release before Liam’s death, leaving Netflix to decide whether it should proceed with the series.

After consulting the star’s grieving family, the streaming service chose to air the competition and dedicated it to the late singer.

Liam, who rose to stratospheric fame as a member of One Direction after the group was formed on The X Factor in 2010, appeared on the show mentoring aspiring singers hoping to recreate the success enjoyed by his own chart-topping band.

Since his death, tributes from his former bandmates Harry Styles, Niall Horan, Louis Tomlinson and Zayn Malik have continued to resonate with fans, while discussion around Liam’s legacy has remained a recurring topic across the music industry.

However, although Building the Band attracted significant attention because it featured the star’s final on-screen appearance, it failed to make a major impact with UK audiences, which Netflix will be aware of.

The Mirror has contacted Netflix for comment.

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

Hugh Ryan is an absolute superstar of queer history. His first two books, “When Brooklyn Was Queer” and “The Women’s House of Detention: A Queer History of a Forgotten Prison,” were magnets for awards and accolades. After spending recent years immersed in cultural stories, he’s turned his investigative eye on his own coming of age with the rollicking, raw, funny and sharp memoir “My Bad: A Personal History of the Queer Nineties and Beyond.” Pivoting from scholar of history to student of life, Ryan shares lessons learned from beloved but homophobic middle school teachers (“The nicest mother— I knew could accidentally curb-stomp my heart at any moment”) to ones acquired on the dance floor (“Dancing is sex on a communal level: an embodied ecstatic ritual of union”).

Ryan swung through L.A. on his book tour, and what better place to host a paean to the ’90s than the ASU FIDM Museum, where the exhibit “Obsessed: Fashion and Nostalgia in the ’90s” is serving Westwood plaids, Calvin Klein’s minimalist silk parachute sheath and Donatella’s zipper-slashed, leather mourning dress. A fellow survivor of the era, I interviewed Ryan and the evening was introduced by the exhibition’s sparkling curator, Christina Frank, who cheekily shared period photos of the author alongside images from the museum’s ’90s archives, asking: Who wore it best? Whether it was Ryan channeling designer inspo or fashion-snatching looks from the streets, the display — like the book that inspired it — was colorful and daring, inspired and eccentric and wholly unique. At a time when nostalgia for the ’90s is seemingly everywhere, “My Bad” places the decade into context, including its paradoxical freedoms and oppressions, with the intimate, funny rough language of your freakiest, funnest bestie.

Michelle Tea: Your previous books are this amazing, accessible scholarship. In “My Bad,” your language is so different — you’re cussing! The academic gloves are off — which isn’t to say that it’s not brainy. Was this just the voice that the book wanted? It’s like, “Oh, so we’re just like sitting on the curb having a cigarette together.”

Hugh Ryan: I actually wanted to buy a box of clove cigarettes while I was doing the research, but apparently they’re illegal now because they’re deadly and full of fiberglass.

So much of it is about writing it for people today who are younger, who look up to my books and are like, “I’m going to get my PhD and be just like you!,” and I was like, I didn’t do that, I’ve misrepresented myself somehow, and I want to be really real. Also, I had this job for four or five years where I ghost wrote a kids’ books series, and I was eventually fired, because I took a beloved character — who I am not allowed to name — and made her curse, which she had apparently never done in her 100-year history. When I made her say ‘hell’ and ‘damn’ while solving a mystery, the internet went wild, and you can find the Amazon page where I am ruined. So, the ability to curse in my work and have a real voice was something that, from very early on in my career, I was like, “Oh no, I got to be real careful about being too much myself on the page.”

Ryan in ‘90s Calvin Klein; Dave Navarro walks the Anna Sui Spring/Summer 1997 runway. (Hugh Ryan; Michel Arnaud; Gift of Arnaud Associates, 2000; From ASU FIDM Museum Collection)

MT: You needed to break that pattern of self-censoring. What was it like to shift the focus of your intellectual investigation onto yourself?

HR: Excruciating. At first I really enjoyed it, when it was just this idea. I’ve never really told these stories. In the early versions of it, everything I wrote was jokey, silly, overly stylized, not honest. I wasn’t ready to really dig in. I think that I had a lot of layers of defensiveness that I didn’t even understand I had until I had to write things down. My agent kept being, “No, no, this isn’t real, stop with these jokes, it is funny, but you have to get into the serious issues.” There was a large resistance inside me. Asking, “OK, how did my experiences relate to the ’90s as a whole?” actually let me talk about myself and the time period I emerged from. I needed that scaffolding to feel comfortable.

MT: How do you feel about Gen X’s legacy as basically the coolest generation?

HR: I mean, I kind of love it.

MT: We’re having the most sex, even though we’re so old now. And we’re tough, because we’ve survived so much queer trauma. You write in “My Bad” about having Snapple bottles thrown out windows at you.

HR: If you looked queer and you were out in the world, it was just accepted that at some point during the day someone was going to be violent towards you. Verbally, maybe physically. It just was what it was. Though I will say, having now, later in my life, thrown some Snapple bottles really hard just to feel it, it does feel very good. They’re heavy, they’re glass, they explode. If you can get your hands on some classic ’90s Snapple, just throw them, just try it.

MT: We have to have a queer, Gen X ritual of throwing Snapple bottles, like a rage room.

Ryan in the ‘90s. In his new memoir “My Bad,” Ryan looks back on this time with the intimate, funny rough language of your freakiest, funnest bestie.

(Hugh Ryan)

HR: I do think that it’s easy to forget all of that, because I think we all wanted to forget it to a certain degree. We wanted to let go of our pain. Both the people who were hurt and the people who caused those hurts had some amount of evolution. This is something I think about a lot with my family. If you read the book, in the early chapters it’s rough with my folks. They were loving, but also had no idea what to do with me. I was not just gay, I was weird and trans and confused, and always making noise and acting out and being inappropriate. There’s all this tough stuff, and then we try to forgive each other and let it go, but without saying it. Writing the book was this moment of, “Oh no, am I making us talk about all the bad times again?” It took me sitting with that and realizing — that’s the only way to get to the other side. I’ve seen this change in my family, and it felt important to document how shitty it was, so we could see the change.

MT: What sign are you?

HR: Cancer.

MT: You’re Cancer?!

HR: Yeah, tell me about it. I know so little about astrology. It’s the straightest thing about me, how little I know about astrology.

MT: I don’t even know what to say, because I’m getting such Aquarius-Virgo-Gemini from you that Cancer is just blowing my mind.

HR: I do have a shell, I know that about myself. And that was my first two books. Now I’m trying to invite people in.

MT: Will you talk about the club kid scene in New York City in the ’90s?

HR: I just touched up on the edges of it. The club kid movement really stopped after effective retrovirals come in, in 1996. Suddenly club kids saw a future for themselves, and did not all imagine that they were going to die of AIDS imminently. The ones who I’ve interviewed have said, “That’s the moment at which suddenly, dressing for Friday night no longer felt like what you spend two weeks doing.” But when it was happening, it was amazing. There were these free magazines in New York City, HX and Next, little queer rags full of party promotions and photos of half-naked people in clubs, and ads for those awful viatical companies that would buy up your life insurance if you had AIDS. They were very weird, but they’re like style bibles for me. And then you would go to the clubs.

When you went to Limelight, there would be two entrances, one for straight people and one for gay people. The bouncer at the line for the straight entrance was a giant gay guy, who — this was abusive, and probably wrong, but it was very funny — he’d be like, “You two make out if you’re gonna tell me you’re gay, make out or you don’t come in.” You only got access to half the club if you went in the straight entrance — the other half was only for queer people, and so you would have these straight folks trying to get in. It was amazing, and it was a place where I came to really love my body, because up until then the only things I had been told my body were for were sports, and that was never going to be me. There, I could dance all night.

Limelight was the coolest, but I loved Tunnel. Tunnel was 80,000 square feet of nightclub in a former railway terminal. There was a room entirely designed by the artist Kenny Scharf, and it was covered in fake fur — in a club when smoking was still allowed! It was the worst smelling place I’ve ever been in my whole life. I would sneak down there wearing giant Jnco raver pants, and watch everyone. These giant pants had these huge pockets in them, and I would put a big, gallon Ziploc bag with a clean T-shirt and clean socks inside the pant pocket. When the night was done I would go out, get food, change my clothes, and put the dirty clothes inside the Ziploc bag. I still had to have the pants on. I carried like the smell of 1,000 humid homosexuals with me everywhere I went.

The club, Ryan says, “was a place where I came to really love my body, because up until then the only things I had been told my body were for were sports, and that was never going to be me.”

(Hugh Ryan)

MT: Speaking of being grimy — you were also really affected by Burning Man.

HR: I had met this guy, we totally fell in love. He was a high school dropout computer hacker who was the epitome of the bisexual ’90s — longhaired, androgynous, everything I wanted to be. You know, that very queer thing of: Do I want you, do I want to be you, should we go on a road trip or a killing spree? We were in love and I did not want to go back to school. I had had a terrible junior year, and I was looking to make new mistakes. He was like, “I’m gonna go to this thing called Burning Man, do you want to go? It’s out in the desert, there’s all this art, and it’s super cool,” and I was like, “When is it?” And it was the very first week of classes my senior year, and I was like, “Yeah, absolutely.”

It was amazing. We got adopted by these people who called themselves the Church of Mez, or Mezbians. They were extremely rich Microsoft engineers. We were completely unprepared, because we’d f—ing come in on the Greyhound bus. You’re supposed to bring a gallon of water per person per day, just to start with, and we had nothing. We had a tent and a sleeping bag, and these people thought we were somewhere between pets and aphrodisiacs.

It felt like such an amazing thing to get to touch. And I know that all of those people ended up being like fascist tech bros of today, I’m sure, and I worry about the environmental degradation that I did not know anything about. And it was so white, so many white people with dreadlocks and those terrible tribal tattoos. Like many things in the book, I have to write about it tenderly, even though I know there are so many problems. I don’t think I would be who I was if I didn’t show some tenderness towards those spaces that made me, or at least allowed me to see myself.

Michelle Tea is the author of more than 20 books for grown-ups, teenagers and children.

For a long time, the lifestyles and foibles of the modest bourgeoisie were a mainstay of art-house cinema, with urbane, upscale audiences happy to turn out to see versions of their own lives depicted on the screen. But more recently, as ideas about what middle age looks like have shifted, along with the changing demographics of viewers, these films have largely disappeared. Which is what makes the seriocomic “The Invite” feel both fresh and something of a throwback — a movie for those who worry about losing their edge.

Directed by Olivia Wilde, “The Invite” was a clear standout when it premiered at the Sundance Film Festival in January and now arrives in theaters as one of the best dramas of the year so far. It feels daring for how it wants to actually examine the emotional costs of contemporary grown-up life, bringing wincing laughs of recognition.

The film begins with married couple Angela and Joe, played by Wilde and Seth Rogen, checking back in at their home in San Francisco at the end of the day. He has been at the teaching job he resents and she has been frantically preparing for the dinner party she may not have told him about. Their daughter is away at a sleepover for the evening and it seems they no longer fully know how to relate to each other. As they bicker and jab, their quiet dissatisfaction with their lives stops being so quiet.

Angela has invited over their neighbors from the apartment upstairs, who they do not know well and who often have loud sex. That couple, Piña and Hawk, played by Penélope Cruz and Edward Norton, seems more assured, self-possessed and adventurous, the kind of people you can absent-mindedly invent stories about, assuming their lives are much cooler than your own.

Things go in ways both expected and unexpected, the two couples warily feeling each other out as they wait to spring their own private agendas. Over the course of the evening, things will be alternately tense, flirty, vulnerable and revelatory as surprisingly little food is eaten. (Other substances get ingested instead.)

An adaptation of Cesc Gay’s 2020 Spanish film “Sentimental,” the screenplay is credited to Rashida Jones and Will McCormack. In an unusual step, the script was further workshopped and developed with the cast during rehearsals. Rogen came up with some of the biggest laugh lines and Norton wrote the deeply earnest monologue he delivers late in the film. (The popular Belgian psychotherapist Esther Perel is also credited as a consultant.)

This American version expands upon the characters more than Gay’s original film while consistently returning to the disappointment of Angela and Joe’s lives in terms both big and small. Neither of them are the people they once thought they might become. Whether two people who are each unhappy can make it as a couple becomes the overriding theme of the film.

This is Wilde’s third movie as a director and it is, by far, her most cohesive and accomplished, both contained and expansive. Her debut, 2019’s charming end-of-high-school tale “Booksmart,” had a throw-everything-at-the-wall quality, as if she wanted to get out every idea and try every trick in case she never got another chance to direct. Wilde’s follow-up, the 2022 psychodrama “Don’t Worry Darling,” became mired in behind-the-scenes gossip and tabloid speculation that overshadowed what was intended as a stylized portrait of female rage and discontent.

Her latest fulfills and exceeds the promise of those earlier movies. Shot on 35mm film by cinematographer Adam Newport-Berra, the action of “The Invite” is almost entirely confined to Angela and Joe’s apartment, which thanks to a recent renovation has plenty of rooms to explore. All four players are exceptional in their roles, playing smartly off their screen personas while exploring the nuances of the characters and their intersecting dynamics.

Wilde’s Angela is expressive and antic; Rogen’s Joe is sullen and snarky. Cruz is alluring and watchful, while Norton turns out to be the film’s secret weapon. He has a low-key comic energy and helps guide the story through a few of its trickier emotional turns. At one point he simply rises from behind a couch and it plays like a punchline.

Skip the next two paragraphs if you want to hold onto the film’s purest pleasures. Those noises from upstairs have been Piña and Hawk hosting group sex parties and they are now cruising Angela and Joe for some extramarital couples’ fun. Here, the movie pivots from passive-aggressive party conversation into farce, as Angela and Joe try to process the idea anyone else might find them desirable, as they have long since given up on seeing themselves in that way.

Wilde in particular lights up during this section, Angela’s mind racing at possibilities she never considered for herself while fumbling over the practicalities of protocols and just how this would work. Before pushing the film into its final forlorn section, the excitement that something sexy might happen charges the actors. It is very likely that streams of Sade’s seductive “By Your Side” will skyrocket.

But the focus stays very much on the struggles of married life. One of the biggest strengths of “The Invite” is the way it keeps evolving as the night progresses so it never feels claustrophobic or repetitive. There is a sense of visual invention and imagination to the film that continues all the way through, such as a moment when Wilde crouches down to check on a doomed soufflé in the oven and addresses the camera directly, looking up as if talking to Rogen. The viewer is frequently placed in an adjacent POV to the different characters, as if you are there in the room too.

The film has a propulsive rhythm to it, a relentlessness, even as Wilde and editors Yorgos Mavropsaridis and Anthony Boys know when to ease off the throttle and take it easy for a bit. The film breathes in a dynamic way, the last few beats taking a startling turn toward a somber wistfulness. The ending is just enigmatic enough to have audiences talking it through as they make their way out of the theater.

The end credits include a handwritten dedication, “For Diane,” a nod to Diane Keaton. The live-wire wit and idiosyncratic verve that she embodied in “Reds” and “Something’s Gotta Give” are very much on display here. Early in the story, Norton dryly notes, “We love a contentious environment.” Thanks to Wilde’s confident direction and the ensemble’s unpredictable performances, audiences will too.

Netflix viewers will want to add this 2022 thriller to their watch lists

Fans say this gripping thriller ruined their sleeping schedules.

Netflix viewers have been completely hooked on Harlan Coben’s latest drama, and for good reason. I Will Find You landed on the streaming platform on June 18 and has already climbed to Number 1 on the most-watched TV show charts.

It centres on David Burroughs, a father wrongfully imprisoned for his young son Matthew’s murder. But when he discovers Matthew may be alive, David is forced to escape and uncover the truth.

The show only has eight episodes, which many viewers have already devoured over the last week.

Those on the hunt for another bingeable crime drama should look no further than Black Bird, streaming now on Apple TV+.

Starring Taron Egerton, the six-episode drama was inspired by the real story of Jimmy Keene. Once an aspiring sports star, Jimmy’s life takes a turn when he starts dealing drugs. He gets caught and is unexpectedly sentenced to 10 years in prison on drug and weapon charges.

But Jimmy is soon gets a life-changing offer from the FBI: he must befriend suspected serial killer Larry Hall and coax a confession out of him to help find the bodies of over a dozen women. If successful, Jimmy would have his criminal record wiped.

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The drama dives into the dangers Jimmy faces along the way, as well as convicted killer Hall’s (played by Paul Walter Hauser) chilling crimes.

Critics and casual viewers were completely captivated by the series when it first hit screens in 2022. It bagged a stellar 98% score from Rotten Tomatoes reviewers, alongside a slightly less-generous 95% rating from audiences.

These figures are significantly higher than I Will Find You, which has earned a 60% critical rating and 65% audience score.

Raving about Black Bird, one fan said: “It was a gripping thrill ride from start to finish. Beautifully acted and very well written. The worst part about the show was that it ended!”

A second praised: “Chilling but surprisingly heroic true-crime drama! The tension never lets up, pulled along by an incredible story and great performances.”

While a third fan added: “I literally watched all six episodes in a row because I needed to know what happened. It’s gripping, intense, and at some points I just wanted it all to be over because the psychological pressure on Jimmy becomes almost too much even I felt it— but in a way that keeps you hooked.”

And a final viewer gushed: “As a guy who thought he check out one episode, Black Bird absolutely wrecked my sleep schedule—in the best way.”

Black Bird is streaming on Apple TV.

AFTER years of writing about politics, technology and the chaos of the modern world, Matt Bellamy wanted something different for Muse’s tenth album.

“The theme was to get back into mystery a little bit,” he says. “The mysteries of the universe, mysteries of spirituality and returning to the rawness of the unknown.”

Inspired by the 1977 Wow! Signal — an unexplained radio signal from space once seen as possible evidence of alien intelligence — and a turbulent period in his personal life, the record finds Bellamy searching for meaning on both a cosmic and personal level.

“I’ve turned completely apolitical,” he admits. “It’s weird when you go through things in your personal life — the news just becomes an annoying noise.

“When your life’s going great, you get drawn into the news and what’s going on in the world.

“But when you’re actually going through something yourself, the news and politics just become a headache.

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“I’m a little bit gloriously out of touch. I’ve normally been so in touch, my finger’s always been on the pulse, and a lot of the albums I’ve made talk about the rise of populism. But this album and my life for the last year-and-a-half has been different.”

Bellamy has split from US model Elle Evans, his wife of six years, who he quietly separated from in October 2025.

“I’ve been through a separation involving two young kids,” he says carefully.

“I can’t really talk about the reasons behind it, but it was not your normal run-of-the-mill situation. I became a full-time single parent for a period of eight months.

“She’s doing a lot better now and she’s getting better, but it was an unusual situation to go through. It made writing the album so much easier.

“It’s hard to talk about what’s behind the album because I don’t throw people under the bus. And I don’t want my kids to grow up reading stuff.”

Bellamy, 48, is in London for band rehearsals and when we meet, he’s just back from the gym in a bid to shape up for the tour.

“I’m not that old,” he laughs. “But I met Mick Jagger at a party and I went straight in on the fitness. I was, like, ‘What is your secret?!’ He said when he was in his 30s, he started working out a few weeks before a tour.

“By the time he got to his 40s, he was working out for the same length as the tour.

“If it was a three-month tour, he’d work out for three months before. And by the time he got to his 50s, he was just working out all the time, all year round.”

The 1977 Wow! Signal fascinates Bellamy because it remains unexplained and happened around the time the band members were born.

“The Wow! Signal is probably, to this day, still the most interesting signal that’s ever been seen in space,” he explains.

“It happened in 1977, which is basically within 12 months of all the band being born.

“Chris [Wolstenholme] and I were born in 1978 and Dom [Howard] in 1977, so I just thought it was funny that this little Wow! Signal appeared around the time we came into this world.

“I think this album was really me letting go a little bit and engaging with the unknown.

“What is this thing inside me, or all of us, that wants to not be alone? I don’t mean with a partner or friends. I mean this thing in the universe. At the moment, we appear to be so alone, and we have this drive, which you see through religion and science.

“Behind all of it, we just don’t want to be alone.”

That search drew Bellamy back to one of his formative influences.

“I grew up watching Contact, the Jodie Foster film from the 90s,” he says. “I used to read Carl Sagan’s books and that film really stayed with me.”

It has also led him into the world of AI.

He adds: “I’ve spent time in the tech world, in California’s Silicon Valley and the Bay Area, and I had some involvement in that world.

“I went to a private talk where Sam Altman (CEO of OpenAI) was talking off the record about his thoughts on AI.

“I saw (Meta CEO Mark) Zuckerberg talking about it, too, and I was interested in what they were saying.

“When you really hear them, they know they’re ushering in an intelligence which is beyond us. They start to see it as, ‘Well, we’re just kind of messengers bringing in this thing that is going to be more intelligent than us’.”

Bellamy says he enjoys asking AI philosophical questions — and that is where Hexagons began.

“That’s actually my favourite thing to do with AI, and where I got the idea for Hexagons,” he says. “And again, I think that is part of the same human condition.

“Whether it be religion, looking for aliens in space or trying to bring in artificial intelligence, it’s kind of all the same thing.”

Epic, organ-led Be With You was the first song that made the album’s direction clear.

“You can look at it as a love song, or you can look at it as a religious song, almost,” he says.

“I’m not a religious person, but I decided to play the song on a church organ.

“I went to the biggest church organ in Los Angeles, so the song was recorded in this church-like setting.

“I liked the idea that it could be perceived as searching for alien life, or searching for alien intelligence of some kind, or God. That was the first song that felt right, lyrically and musically.

“There are a lot of personal elements in the album that are quite unusual for me.”

Bellamy says the album came from a difficult period, but that made the music flow.

“This was actually the easiest album for me to write and make for 15-plus years,” he says.

“Space Debris is probably the biggest reveal of what I went through, especially lyrically at the end,” he says.

“It’s the rawest moment of explaining what really happened over the last year. I like using space analogies — space debris, things breaking up and falling apart in gravity — to describe the chaos and feeling in your life.

“It also fits the theme of connecting this search into outer space for a higher power with the chaos and feeling in your own life.

“I hope the fans don’t ask me to play that one live.”

If Space Debris is the album’s rawest confession, Bellamy says it also opened the door to bigger questions running through the record.

“What I went through threw me off into the unknown,” he explains.

“When things go wrong in your life, that’s when you’re most likely to seek meaning or search for answers.

“In my case, it was a blend between religious thought, alien intelligence and AI.

“I don’t know what it is, but you’re searching for this higher power to guide you, or to give you answers.

“Music became my catharsis. It became my way to understand my situation.

“Making this album gave me flashbacks to these periods where music was my everything.

“It wasn’t something I had to do to pay the bills. It wasn’t something I had to do for the record label. It was something that I had to do for myself.

“That’s why I think this album is probably, since the 2000s anyway, the most raw, emotionally raw and honest album I’ve done.”

Bellamy says despite the personal nature of the album, Chris and Dom were central to every song.

“I’ve always been in charge of the lyrics, and I’m the leader in terms of the concepts,” he says.

“But musically, this is the most equal album we’ve had for a long time.”

The Wow! Signal includes some of the best tracks Muse have made in years.

Cryogen has already been compared to early Muse, while Shimmering Scars shows off the vulnerability in Bellamy’s voice.

“Cryogen is deliberately Muse from 2001,” he says.

With Shimmering Scars, he explains: “I felt like I needed to do five or six takes, so we could edit the best bits in.

“But producer Dan Lancaster was, like, ‘Nah, let it be raw, let it be weird.’

“To me, it sounded a bit off — not quite what I wanted it to be. But he was, like, ‘No, that’s the whole point. That sounds a little bit raw’.

“This is the first album where we said, ‘Let’s give Dan a go at producing it’. The last two albums were self-produced, so it was nice to hand the reins to someone else.

“He did a great job keeping us towards that more raw, vulnerable state in the performances.”

Bellamy believes AI is pushing younger listeners back towards authenticity.

“My stepson with Kate [Hudson], Ryder, is 22 and he’s just graduated from NYU,” he says. “Then Bing is 14, and I’ve got the two little ones as well.

“Having a boy who’s 22 and a boy who’s 14 means I get a real sense of what’s going on in their generation.

“I think that generation is turning away from pop, hip-hop and dance a little bit. They’re seeking raw, chaotic-sounding music.

“I think the reason why is because that generation is drowned by AI. AI is dominating everything they do, from schoolwork to music and the arts.

“I could be wrong but from what I sense from them, they’re gravitating towards what they know to be real.”

Recent single Nightshift Superstar was the band wanting to go French disco.

“I love Daft Punk, Justice and ABBA,” Bellamy says. “I went to see ABBA’s show and I loved it. They’re some of the best songs ever written. So after that and seeing Justice in Paris, I was, like, ‘How do we do that? Let’s just go there’.

“The song has a late-70s feel but with a more cutting-edge tone associated with modern dance music.

“But the good thing about it is that it really is us playing.”

One surprise on The Wow! Signal is Hush — a collaboration with pop star Ellie Goulding.

“Ellie was in the studio next-door, working with Marshmello on something,” says the singer.

“We have known each other for years and always wanted to try and do something together.

“Muse fans will read online that we’ve done a song with Ellie Goulding and think it’s going to be a pop song.

“But it’s got one of the biggest, heaviest riffs we’ve done in a long time. To me, it sounds a bit like New Born or something from 2001.

“The verses get a little bit poppy, I guess, but the main riff is pretty hard rock, so I thought it was quite fun to get Ellie’s voice over that kind of heaviness.

“I think it’ll be a nice surprise.”

Bellamy says the song came together by chance.

“This was an experiment,” he says. “It’s the only song on the album that really involves multiple writers.

“Ellie popped her head in towards the end of the day, at about 11pm, and went, ‘Hey, what are you guys up to?’ We played the song and she said, ‘Oh, can I sing on it?’ We tweaked the lyrics and turned it into a duet.

“It came completely by chance. It wasn’t planned to be a collaboration.”

Bellamy says the reaction from Muse fans to the new songs has “been the best we’ve had for at least 15 years” and he’s looking forward to getting back on the road following their special Brixton Academy show in April to launch the album.

The show marked Muse’s first appearance at the venue in 25 years, just before the release of Origin of Symmetry.

“I didn’t realise it had been so long,” Bellamy says.

“I remember the last time we played there, it was around the second album and I was so nervous because it was the biggest show Muse had ever done.

“We got to debut Be With You for the first time, and we had a great time.”

Visually, Bellamy says the full Wow! Signal world will come to life properly when Muse return to Europe in November.

“The American tour starts with what I’d call a medium-level production,” he says.

“But when we come to Europe, including London and Manchester in November, that’s when we’re going to ramp it up to a really sophisticated production.

“I think there’ll be a lot of geometry, a lot of hexagons, shapes and lasers, and strange, interesting visuals.

“Hopefully we’ll build the spaceship you see on the album cover in the arena.”

• The album The Wow! Signal is out today.

The Wow! Signal

Emmerdale’s Charity Dingle has confessed all about her baby lie, Dr Todd’s blackmail and sexual assault to partner Mackenzie Boyd in dramatic scenes on the ITV soap

Emmerdale’s Charity Dingle confessed all to Mackenzie Boyd in the latest episode of the ITV soap. The Woolpack landlady, who has been played by Emma Atkins, certainly has had a lot to deal with in recent weeks and finally told her partner everything after weeks of hiding away and suffering a breakdown.

Last year, Charity tried become a surrogate for her granddaughter Sarah only to find out that she was naturally pregnant by Ross Barton. Still, she kept this all a secret and Sarah believed that all had gone to plan with the surrogacy.

Unfortunately, Dr Caitlin Todd, who had relentlessly bullied Sarah’s partner Jacob when she was in charge of him at the hospital, found out the truth and used it to blackmail Charity into handing over money. This all culminated in harrowing scenes where she sexually assaulted a drunken Charity.

Earlier this week, newcomer Serena Sugden, played by former Wicked star Casey Al-Shaqsy, made Charity see that she needed to expose Todd, even if that meant revealing everything to her family and on Thursday night’s episode, Charity bravely faced the music.

Having candidly informed Mack that Sarah’s baby was the product of a one night stand she had with Ross, Mack stormed out and looked set to tell all to Charity’s granddaughter. But when he returned home, he told Charity that he couldn’t do it.

It was then that Charity told Mack about Dr Todd’s blackmail against her after she discovered the truth about the child in question, and then disclosed that she had been the victim of rape at the hands of the retired medic.

Clearly taken aback by the shock revelation, on top of everything else he had heard that day, Mack (Lawrence Robb) calmly told Charity that the only thing they could do now was to go to the police – even after it seemed that Todd had got away with it all when she previously claimed that everything was consensual.

Charity told Mack: “The only way through this is telling the truth and facing the consequences of what I have done. No matter what.”

“I tell Sarah. And then I go back to the police. If I tell the police about the blackmail, it’s going to open a can of worms and that’s gonna drag Sarah into it. I think that girl Serena was right. I have to see this through.”

However, Mack told Charity that telling Sarah that she is not the mother of her baby might not be the best idea just yet, meaning that the secret could stay secret a little while longer – but he was absolutely convinced that she had to “fight” for justice above all else.

He said: “It’s gonna be a lot for everyone to deal with it, so maybe we cross that bridge when we come to it. What matters right now is that you go to the police.”

“I can be angry with you and still be there for you when you need me the most. Charity, I need you to listen to me for a second here because – Dr Todd is not karma. She’s a rapist who took advantage of you when you were vulnerable. So I need you to get out of that way of thinking because it lets her off the hook.

“You’re gonna fight back, you’re gonna go to the police, you’re gonna get them down here and you’re going to tell them absolutely everything.”

Emmerdale airs weeknights at 8pm on ITV1 and ITVX. * Follow Mirror Celebs and TV on TikTok, Snapchat, Instagram, Twitter, Facebook, YouTube and Threads .

Coronation Street’s Sarah Platt has confessed to Todd that she killed Theo but a short time later she was the one who had to deal with a shock truth that came her way

Sarah Platt confessed to Todd Grimshaw that she killed Theo on the latest episode of Coronation Street. The legendary Weatherfield resident, who has been played by Tina O’Brien since 1999, hit the evil scaffolder over the head with a pipe during a confrontation above the builder’s yard – seemingly sending him plunging to his death.

For months, viewers were left guessing as to who had killed Theo, who spent almost a year abusing partner Todd Grimshaw, but Sarah was never one of the official suspects and is yet to even be a person of interest to police, most likely thanks to the fact that on the night in question, she was knocked unconscious in the living room of number eight.

Viewers are aware that Jodie Ramsey (Olivia Frances-Brown) was the mystery attacker who hit her over the head with an ornament that night, but no one else is. Via the medium of a flashback, viewers learned earlier this week that Sarah had killed Theo (James Cartwright) after he insulted her, Todd and the baby they had together more than 20 years ago who died shortly after his birth.

Sarah is currently dating, and looks set to get engaged to DC Kit Green (Jacob Roberts), so she felt it was unwise to involve him. Instead, she roped Gary Windass (Mikey North) into the whole sorry mess, who has been helping her keep the whole thing secret, much to the chagrin of his wife Maria (Samia Longchambon), who thought they had been having an affair.

To make matters even worse, DS Lisa Swain (Vicky Myers), who has a habit of putting innocent people in prison, charged Todd’s adoptive daughter Summer (Harriet Bibby) with murder and, although she was recently released, Sarah said nothing and allowed her to be put behind bars.

Having had enough of Todd constantly blaming Gary for the murder, Sarah finally confessed all to her best friend in Thursday night’s instalment of the world’s longest-running TV soap.

Through tears, Sarah said: “It was me. I knocked Theo off the scaffolding.” as he looked on in shock. “You’re wrong and I’m not even gonna let you think it. He is not corrupt – he wants to marry me!

“Afterwards. I was in shock and…Theo was…dead. And I couldn’t ring Kit, I couldn’t. I didn’t know who else to turn to. “

“He was talking like he’d killed you, and I believed him because why wouldn’t I? You thought he was capable. That’s why you ran.

“Don’t look down your nose at me, Theo ruined your life and then you brought him into mine. I didn’t have the option to run – not when I was 20ft up, on scaffolding on a plank that wide with a psycho waving a bottle in my face. A psycho who was ten times stronger than me and two times the size of me.

“He got in my face and I pushed him away and then he came back at me. All the time, he had this little white fleck in the corner of his mouth when he was ripping into me and I couldn’t take my eyes off it. That I was a sl*g, a w***e, three different kids to three different men and no wonder our baby died because it was an abomination.

“Those were the words he said about an innocent, newborn child. There was a pole. It was just instinct, I closed my eyes and swung and he crumpled.”

Later on, Sarah presumed Todd was going to go to the police but when she found him in the Rovers Return later on, he admitted he just couldn’t do it – even though he angrily told Sarah she had robbed him of the chance to make sure Theo got justice for all the abuse he had subjected him to.

He added: “The most annoying thing about all of it is the fact that I love you…so much. And I can’t see you go to prison.” Todd and Sarah were teenage sweethearts amid the programme’s first coming out story in 2004 and, even after Todd came out as gay, the pair have remained close.

Initially, Sarah threw her arms around Todd as she thanked him, but he then dealt the final blow as he vowed to cut her out for good.

He said: “Listen to me Sarah, this is it, for you and me. We’re done. I don’t want you in my life anymore,” leading Sarah to march back into the pub and continue to drink as she she stumbled round to Whitney Houston’s I Wanna Dance With Somebody before her family escorted her out.

But there was another twist in store back at number eight when Sarah, sat stroking David the dog, was having a conversation with Jodie. Without realising what she was saying, Jodie said: “It’s not easy to get over an attack like that – it takes time. Maybe this wasn’t the best place to bring you to, it must be triggering.”

As Jodie stroked the dog, she said: “At least you’re not barking your head off, this time, eh?” and Sarah immediately began to put two and two together as she said: “How did you know he was barking that night?”

Jodie tried to play the whole thing down but the cogs were already turning for Sarah, who has seemingly worked out that it was Shona’s mysterious long-lost sister all along.

Coronation Street airs Monday to Friday at 8:30pm on ITV1 and is available to stream from 7am on ITV X.

* Follow Mirror Celebs and TV on TikTok , Snapchat , Instagram , Twitter , Facebook , YouTube and Threads .

The Other Bennet Sister is returning for a three-part special this Christmas, with Ella Bruccoleri reprising her role.

Star of The Other Bennet Sister Ella Bruccoleri has revealed her fears for the hit period drama to return.

The Call the Midwife actress played Mary Bennet the BBC series, the over-looked middle sister of Pride and Prejudice.

Based on Janice Hadlow’s novel, The Other Bennet Sister followed Mary living a different life to her sisters, as she left Longbourn behind and travelled to London with her aunt and uncle.

After being forgotten in the original Jane Austen novel, this time, she stepped into her own story on her journey of self-discovery.

The Other Bennet Sister captured hearts of fans and proved to be the biggest launch of a new drama in the UK in a year, and is now set to return with a three-part Christmas special following its success.

However, just before the BBC confirmed its return, Ella admitted her nerves over the possibility of a second season.

She told Variety: “When something has felt really perfect and is being received in a lovely way, I’m a bit scared of touching it again.”

Following the season finale, which saw Mary receive her happy ending and getting married, she revealed her plans for her character.

Ella told the publication: “I can see them having this beautiful, equitable, quite progressive relationship for the time, where they both make decisions equally, and prioritize each other’s happiness. And I can see Mary continuing with her governessing.”

She continued: “It felt really important to me that Mary wanted to pass something on that she’d learned being a young woman, so I think she would want to pass that on in some way. I could see them being happy together and living a kind of bohemian London life.”

The Other Bennet Sister is now set for its return this Christmas, with the BBC having teased: “The final episode of the series saw Mary agreeing to wed Tom Hayward, but fans will be keen to know what challenges the future holds for the happy couple…”

In the announcement, Jane Tranter, Executive Producer and CEO of Bad Wolf, said: “We always hoped audiences would fall in love with Mary Bennet’s story, but the response to The Other Bennet Sister has exceeded even our most optimistic expectations.

“These Christmas specials give us the chance to spend a little more time with characters audiences have taken to their hearts, and to explore what happens after the wedding bells fade and real life begins.

“Returning to the world of Mary Bennet with our brilliant partners at the BBC and BritBox feels like the perfect way to celebrate the success of the series and give viewers a treat this Christmas.”

Lindsay Salt, Director of BBC Drama also said: “It’s been incredibly exciting to see Mary Bennet cause such a sensation in 2026, and we could not be happier to announce this new three-part Christmas gift to her millions of fans.

“Marriage was just the beginning for the no-longer-so-overlooked Bennet sister, and it’s a joy to be working with Sarah, Janice and the Bad Wolf team to let viewers discover what comes next.”

Jess O’Riordan, Commissioning Executive of BritBox North America, added: “We know how much audiences have fallen in love with Mary Bennet, and we’re thrilled that her story isn’t over yet.

“We are so pleased Mary’s story will continue for three more chapters and to welcome audiences back into the world of The Other Bennet Sister this holiday season.”

The Other Bennet Sister is available to watch on BBC iPlayer.

POP superstars Madonna and Kylie Minogue get into the groove as they film a comedy bar sketch for Madge’s special with Graham Norton.

Madonna, 67, invited Kylie, 58, to take part in the top-secret filming last month, having admired her career for over a decade, the Sun can reveal.

A source said: “Madonna and Kylie have long been fans of each other, so when Kylie got the call to make a cameo in the BBC special, it was a no-brainer. Rather than a performance, Kylie actually appears in the show in a light-hearted skit.

“She plays a barmaid, though, awkwardly, Madonna doesn’t like the drink Kylie gives her. It’s all very light-hearted.”

The Sun understands the pair have discussed hitting the studio together in the future.

The TV special, Madonna & Graham, airs tonight at 10.40pm on BBC One.

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It was filmed in Camden at Koko, where Madonna performed for the first time in the UK for just 200 people in 1983 when it was called the Camden Palace.

Graham said: “As a lifelong fan it is always a thrill to interview Madonna. But to meet her on the dance floor where she first performed in London over 40 years ago felt incredibly special.”

Kylie made a surprise guest appearance at Madonna’s The Celebration Tour in LA in 2024.

They performed Gloria Gaynor’s 1978 hit I Will Survive in a nod to Kylie’s 2005 breast cancer battle.

Daryl Hall recently underwent a kidney transplant and he’s already feeling better.

The 79-year-old musician — formerly of the iconic rock duo Hall & Oates — took to social media Tuesday to share the news.

“I thought you should know that I recently received a kidney transplant from a very kind and generous living donor,” Hall wrote in an Instagram post. “It happened a couple of weeks ago, and I’m already starting to feel better. It was, according to my doctors, a complete success!”

The “Dreamtime” singer-songwriter added that he expects to be “back to normal in a few months” and promised “more music and lots of Daryl’s House shows” in the future. Hall has been hosting “Live from Daryl’s House,” a web series where he and his band perform with guest artists, on and off since 2007.

A living-donor kidney transplant is when a healthy living person donates their kidney. The recipient is usually experiencing kidney failure. According to the National Kidney Foundation, “kidneys from a living donor may last longer and are more likely to start working right away than a kidney from a deceased donor.”

Hall did not share any additional details regarding his kidney transplant.

The “Bring It On Home” singer has opened up about other health issues in the past. In 2005, Hall & Oates had to postpone a series of shows after Hall was diagnosed with Lyme disease.

Lyme disease is a bacterial infection that is spread through the bite of infected black-legged ticks — also known as deer ticks. Symptoms can include fever, rash, facial paralysis, an irregular heartbeat and arthritis, according to the CDC.

As La Cruz continues to break down barriers for the LGBTQ+ community in reggaeton, the rising Venezuelan star enjoys living out his gay fantasies in his music videos. Take the sultry video for his 2023 breakthrough single, “Quítate La Ropa,” which sees shirtless men perreando (twerking) before him in a locker room.

But at the same time, La Cruz has come to understand that his platform as a gay reggaeton artist coincides at a time when conservatism is sweeping the globe — and queer rights are receding.

“It fills me with happiness to represent a community that has been denigrated, treated badly and pushed into a corner for many years,” a bedheaded La Cruz says over Zoom from his New York City hotel room. (He had just performed at a Pride event the night before.)

“It’s a fact that [LGBTQ] rights are becoming progressive, but they’re rolled back even faster than they advance,” he adds. “This is very painful and concerning. This is happening in every country in different ways. During these difficult times, I’m going to keep putting my heart into my music more than ever.”

La Cruz is the stage name of Alfonso La Cruz. The native of La Guaira, a coastal city in Venezuela, pursued a music career after relocating to Spain in 2015. Following a brief stint on the singing competition “Operación Triunfo” three years later, La Cruz was closeted and found his momentum stifled. In 2022, he took the brave step of singing about his affection and lust for other men in his debut album, “Hawaira.”

Venezuelan reggaeton singer La Cruz released his new EP, “El Nene, Vol. 2,” on June 11.

(Maria Camila Pinzon)

Backed by the beats of reggaeton, a genre that had historically excluded the LGBTQ+ community, La Cruz found both his groove and his tribe with hits like “Te Conocí Bailando” and “Quítate La Ropa.” Early supporters included Colombian superstar Karol G, as well as Mexican American R&B singer Omar Apollo.

Alongside Puerto Rican provocateurs like Young Miko and Villano Antillano, La Cruz has continued to queer the heteronormative urbano space. He has also pushed his sound to broader horizons in his new EP, “El Nene, Vol. 2,” which includes “Sírveme,” a Brazilian funk banger with drag pop star Gloria Groove — and “Te Perdí,” a touching tribute to the victims and survivors of the 2016 Pulse nightclub shooting in Orlando, Fla.

La Cruz’s EP dropped on June 11, the day before the 10th anniversary of that tragedy, which largely impacted the queer Latino community. In an interview with The Times, he opened up about being a gay reggaetonero and “Te Perdi,” his tribute to the 49 people lost at Pulse.

It’s been three years since you first went viral with “Quítate La Ropa.” What have you learned about yourself during that time?
There are songs that have brought me a lot of love and I’m thankful to my fans that consider that song to be a classic. It’s brought me a lot of blessings. At this moment, I feel like I have the best opportunities in my life. However, I feel like the industry is a bit uncomfortable with an artist that’s openly gay and wants to be a part of this. That hasn’t stopped me at all. It’s the gasoline in my motor. It’s what pushes me to keep working hard. My fans are what’s building my career and I won’t let them down. I’m sticking with this until the end.

You connected with Karol G early in your career. Did she give you any advice when you met her?
I want to say publicly that I would love to open for her concerts on her Viajando Por El Mundo Tropitour. I’m very close to her. I love her so much. She has always treated me with so much love. I hope that something between me and her can happen sometime. I know everything happens in due time. I told her that I love the way she is and how she connects with her fans. When I see her singing and performing, I feel like she’s a sister to me. A big piece of advice that she gave me and that I’ll always carry with me is to never lose the humility and closeness that I have with my fans. The key to success is humility. I never want to be out of reach. I want people to see me and say, “I want to achieve my dreams like he has.”

How did your collaboration “Sírveme” with Gloria Groove come together?
I love her so much! I’ve always been a big fan of hers. I’ve gotten close to a lot of artists in Brazil and Gloria has been one of them. We didn’t think twice about making this song. Gloria was coincidentally traveling to the amusement parks in Orlando. I told her: “Baby, let’s go! I’m ready for you in Miami.” She told me: “Baby, I’m going to Miami!” We met one afternoon to create this song. She paused her vacation to go to the studio with me. It was very beautiful. I love my Brazilian fans.

With “El Nene, Vol. 2,” why was it important for you to also shed a light on the 10th anniversary of the Pulse nightclub shooting?
In 2016, when I recently arrived in Spain and my brother recently arrived in the U.S., we had a call with our family. My brother said, “There was a shooting close to where I live and it was in a gay club.” My family has supported me since I first told them about my sexuality. I thought that that could’ve happened to me.

I’m following up on this tragedy because it shaped my life. As the years go on, information about this attack has faded away. Each day people are talking less about it. It’s a tragedy that’s super important to remember, like 9/11 and the [2017] Las Vegas shooting, because it’s one of the worst attacks in U.S. history. Why are we not talking about it anymore? We have to keep talking about things so that they don’t happen again.

What inspiration did you pull from the Pulse tragedy for your song “Te Perdí”?
On this path, I’ve gotten to know the stories of people that survived that shooting. For example, there was a boy with his mother that lost her life and he survived. There’s a lot of stories of love from that club that have [since] come out. When I went to the studio, I was inspired by loss, or a love that’s gone away, with respect and love for the community that supports me. It is my gift, to be a voice for this situation that should never be repeated. There are people that don’t know about this tragedy and I want to let the world know that this happened. I hope that the victims’ families and the people that survived are living lives of peace and calm.

At only 24, Samuel Kim Arredondo, better known as Samuel, has lived through nearly every iteration possible in a K-pop idol’s career.

As a child growing up in L.A.’s Koreatown, he attended Wilshire Park Elementary School — but by the fifth grade he had moved to South Korea with his mother, Kyung-ju, with dreams of K-pop stardom. There, he became a trainee under Pledis Entertainment.

Now a subsidiary label of Hybe — parent company of K-pop superstars BTS — Pledis was forming what became one of the most successful “third generation” K-pop groups of all time: Seventeen. Samuel, who was in the running to debut with the group, is even captured in early footage from their “Seventeen TV” variety show.

Though he didn’t make the cut, he remained close with the members and helped write lyrics for their 10-year anniversary album. Just last week, he filmed a dance challenge with singer-MC Mingyu for the reggaeton-infused pop number “Zigi Zigi Zigi” — the lead single off of his new EP, “Samuelito,” which dropped June 8.

After leaving Pledis, Samuel — who is fluent in both English and Korean — signed to a new agency, Brave Entertainment, then formed one half of a short-lived hip-hop duo, 1Punch. (He was Punch, the other kid was One.)

In 2017 he competed on the second season of Produce 101, a globally popular Korean competition franchise, where he made it to the penultimate episode before the debut of the group Wanna One. That same year, he released his first solo album, “Sixteen,” fully showcasing his outstanding dance ability, youthful swagger and velvety tenor.

Yet before he could finally make headway, he suffered a devastating loss.

Samuel’s father, José Arredondo, who came to the U.S. from Michoacán as a child, died tragically in a 2019 case that made national and local headlines. After having spent years apart from his father while living in Korea, Samuel spent quality time with him shortly before his death.

José was a pillar of his community; he rose from washing cars to owning his own car dealership, alongside other businesses in Bakersfield. A precocious young Samuel can still be found showing off his dance and Spanish skills in an old commercial for the dealership. (“Volkswagen me hace bailar,” he says before busting a move.)

The loss of his father was made more harrowing when the news went public, Samuel recalls over a Zoom interview from Seoul, where he is promoting his new album.

“The articles went out first,” he explains. “It was everywhere before I even wanted to talk about it, so I had no choice to keep it private … of course it’s definitely hard for me.”

In the aftermath, Samuel went under the radar — but after a year or two, he started to pave a way forward. After getting out of the contract with his former label, and with the support of his mother, he launched his own company, Samuel Music Group.

“If I kept on staying in the past, I think no one would like it — even my dad wouldn’t like it,” he says. “I learned a lot through that emotion as well. Always be grateful, always be thankful every time, and try to say ‘thank you’ always, especially to parents.”

Composed of three songs and one interlude, “Samuelito” takes its name from the childhood moniker some know him by today. As the follow-up to his 2024 EP, “Now,” it is his second record release since he became independent. It’s also his first record sung predominantly in Spanish — along with the occasional sprinkle of English and Korean. (Take the onomatopoeic “Ddook Ddak,” which is Korean slang for “just like that.”)

Singing in Spanish for the first time, he tells me, to music he created himself, made his “heart race.”

“Samuelito” is not so much an exploration of Mexican musical traditions, but of Latin-influenced rhythms and sounds filtered through his uniquely multicultural lens. In the future, he dreams of working with genre-spanning Latino pop artists who crossed over culturally, like Selena Gomez, Camila Cabello and Rauw Alejandro.

In an Instagram reel from earlier this year he described his efforts as “K-tone” — a Latin and reggaeton fusion, powered by K-pop discipline. The comments below were peppered with encouraging responses from fans in multiple languages.

Wrote Liz Zeledon, from Oceanside: “As a Korean-Nicaraguan who grew up with exposure to both cultures, I love hearing Latin influences in K-pop… Korean Latines are so underrepresented in the Korean music industry.”

Reached by phone, Zeledon is a K-pop fan who has kept tabs on Samuel since his Seventeen trainee days; she is also a child of immigrant parents.”Representation is so important, because existence and visibility are not the same thing,” she says.

In the lead-up to the album’s release, Samuel posted photos and videos of himself as a young child. In one, his dad holds him up as a baby, dressed in all-white with a tam hat. Though Samuel says the EP is not an on-the-nose tribute to the elder Arredondo, his spirit resonates through the lyrics of the poignant downtempo track, “Never Say Goodbye.”

“Gritos que yo sé/Que llegan hasta El Cielo/Gotitas en el suelo/Y se me cae el mundo entero,” he sings. (“Cries that I know/Reach all the way to Heaven/Little drops on the ground/And my whole world comes crashing down.”)

“I used to listen to a lot of Spanish music while I was growing up … I used to eat a lot of Mexican food too,” he says. “While I was in the studio last year, I had [this] big vision: [‘What if] I bring back my roots and just be the true me and call this album “Samuelito?”’ It just felt fresh.”

Samuel started songwriting and producing for himself in the making of “Now.” On his new album, only three writers are credited, including himself — which is somewhat of a rarity these days in K-pop. One of them is Canadian Mexican singer-songwriter Andrea Rocha.

From her new home in L.A., Rocha said the main goal was to seamlessly blend two distinct musical cultures. Although Samuel came to the studio with the structure for his songs already in place, they worked on melodies and writing in Spanish together, since this was his first time penning lyrics in the language.

Rocha says she was taken aback by Samuel’s professionalism. “I’d be like, ‘Oh, what about this melody?’ And then he would sing it perfectly,” she says. “I did ask him about his K-pop training, because it sounds really intense. I think it shows how hard he’s worked in those years because he’s got all the star qualities. Compared to a lot of newer artists that I work with, I’m like, ‘Ooh, they’ve [done] a lot of work to get to that level.’”

These days, Samuel splits his time between Seoul and Los Angeles — once again calling Koreatown his permanent home. He also continues to spend time with his dad’s side of the family in Bakersfield.

“I think the biggest thing that I am happy about is getting back to my roots, where I started,” says Samuel.

Veteran broadcast journalist Katie Couric has leveled sharp criticism at CBS’ “60 Minutes,” detailing a culture of systemic sexism and marginalization she says she experienced during her tenure at the prestigious newsmagazine.

On this week’s episode of the “Call Her Daddy” podcast, Couric, 69, described incidents during her time at “60 Minutes” when her story ideas were reassigned to her male counterparts. She described the circumstances as “really tough situations.”

The Emmy-winning journalist said she suspected early on that Jeff Fager, the “60 Minutes” executive producer at the time, didn’t take a liking to her.

“I think maybe because he wasn’t really consulted about bringing me over,” said Couric. “I was sort of seen as somebody from a different network coming in and sort of muddying the waters. I hadn’t come up in the CBS system. So I don’t know, he just didn’t like me.”

Couric started her run at the newsmagazine as a correspondent and as an anchor at CBS News in 2006, after spending 15 years co-hosting NBC’s “Today” show. Her role at CBS made her the first female solo anchor of a national weeknight news broadcast. She stayed with the network for five years before taking on a new role as special correspondent for ABC News.

Fager remained at “60 Minutes” from 2004 to 2018. He also served as the chairman of CBS News. He was eventually fired for allegedly sending a “harsh” message to a CBS reporter. At the time, he was also facing accusations of ignoring inappropriate behavior at “60 Minutes.” He previously denied the claims. CBS could not be reached for comment.

Trouble first came to a head when Couric pitched a profile of the rising pop star Lady Gaga. Fager had initially turned down the idea until he decided to pursue the story a year later, as Gaga had gained more notoriety.

Couric said she had proposed a fresh angle on Gaga’s Catholic school upbringing, but when she arrived for the interview, she discovered her name had been replaced with Anderson Cooper’s. His interview with Gaga aired in February 2011.

“It made me crazy,” Couric said.

A similar situation occurred once again when Couric was set to interview then–Secretary of State Hillary Clinton. The confusion began when the State Department reached out to Couric, wondering why fellow correspondent Scott Pelley’s team was inquiring about Clinton.

“So I go to Jeff Fager, and I say, ‘I thought you wanted me to do Hillary. You told me explicitly that you wanted to assign that story to me,’” Couric said. “And he said, ‘Yeah, we decided to change things up.’”

Couric said she was frustrated with Fager, for repeatedly going “behind [her] back.”

“Like, without even the decency to call me and say, ‘Guess what? We decided to reassign the story, and this is why,’” she said. “Talk about getting gaslit. I mean to me, that is the definition of it.”

Couric isn’t the only former “60 Minutes” to call out sexism at the newsmagazine. Meredith Vieira, who worked as a correspondent in the late 1980s and early 1990s, said in 2018, that she’d experienced sexism at CBS.

In the last few months, “60 Minutes” has undergone a massive upheaval. Under CBS News editor-in-chief, Bari Weiss, several correspondents, including Scott Pelley, and the program’s top producers were fired. Anderson Cooper also recently resigned from his post at the newsmagazine. With the upcoming season slated to begin in September, the program is currently under pressure to replenish its ranks.

The One Show presenters Alex Jones and Roman Kemp addressed an expletive on the programme.

The One Show presenter Roman Kemp issued an apology after a guest swore live on air.

The programme returned on Thursday, June 25, with Roman joining Alex Jones on the sofa.

They welcomed guests Kate Humble, Ben Fogle and Martin Clunes to the show, before it was thrown into chaos.

The Doc Martin star had been talking about the US version of the beloved programme emerging, starring Josh Charles in the leading role.

As a preview clip of it aired, Martin was asked about Josh’s spin on playing the grumpy doctor.

He replied: “He’s completely done his own thing, much nicer than me, less awkward and abrasive… he’s warm and better-looking.”

Martin then responded to a moment he just saw from the preview, adding: “I was just looking at that bit… they wouldn’t let me call the dog the son of a b***h, which I thought was funny.”

As the studio erupted into laughter, Roman rushed to apologise, saying: “I have to apologise quickly.”

Alex jokingly chastised Martin, adding: “You’ve been on a hundred times!”

Martin then turned to Ben, arguing: “He’s a vet… it’s a female dog!”

Continuing about the programme, Martin went on to address the future of the show, saying: “They’re going again, they’re doing another series.”

The Good Wife actor Josh will be starring in Best Medicine, with Sky previously teasing: “A US remake of UK television favourite Doc Martin, Best Medicine is a heartwarming new comedy-drama about a physician who moves to a small coastal town in the hopes of a quiet life.

“Dr Martin Best packs up his surgical career in Boston, Massachusetts and heads to start a new life as a physician in the coastal fishing town of Port Wenn in Maine. His aunt, a local lobster merchant, is nearby, and his new private practice is perfect for a simple life. Or so he thinks.

“Soon he’s introduced to Port Wenn’s community, filled with quirky but loving characters with no end of ailments for him to figure out and diagnose. However, as someone who is quite introverted and likes to keep himself to himself, he struggles with the adjustment.

“He’s also got a huge blood phobia – which doesn’t help his abilities as a doctor who may need to tend to wounds from time to time.

“But behind his brusque attitude and no-nonsense approach to a bedside manner, Dr Martin hides his own personal pain that he is hiding from the world which explains why he is the way he is. Will this little town bring him out of his shell?”

The One Show airs weeknights from 7pm on BBC One and iPlayer.