SHOW BIZ

Joe McDonald, lead singer and songwriter of Country Joe and the Fish — the band known for its resounding anti-war chant at Woodstock — has died. He was 84.

His wife, Kathy McDonald, announced his death Sunday morning. He died Saturday in his Berkeley home due to complications from Parkinson’s disease.

As a formative member of the American counterculture in the 1960s and ‘70s, McDonald leaves a legacy of bridging contemporary political satire and brazen anti-war sentiments with the early sounds of acid rock.

“We’re just so proud of him. He’s our hero. He instilled in us that we have to speak up when we can, on whatever platform we can, about issues that we feel are important,” said his daughter Seven McDonald, a film producer, music manager and writer.

“While he was a very serious, earnest activist, he also had such an acute sense of cynical humor that is so fantastic and was capable of scathing satire,” her brother Devin added. “He’s most famous for that, but he also did so many heartfelt benefits for different causes.”

The siblings, who spent their childhoods on the road and in recording studios with him, joke that he was always doing a benefit show.

The musician was born on Jan. 1, 1942, in Washington to Worden McDonald and activist Florence (Plotnik) McDonald, who were both members of the Communist Party. The family soon moved to the Southern California city of El Monte, where Joe McDonald was raised.

His musical roots reach back to when his father taught him to play the guitar at 7 years old. But before embarking on his career in music, McDonald enlisted in the Navy at age 17. He served as an air traffic controller at the Atsugi, Japan, air facility for three years. Upon coming back to the states, he tried out college for a short time before dropping out and moving to Berkeley.

Before experimenting with an early variation of Country Joe and the Fish alongside guitarist Barry Melton in the mid-1960s, McDonald started a small magazine called Rag Baby. Once the group was solidified, they decided to turn their folksy roots electric and made the move to San Francisco — just before the city’s legendary Summer of Love.

The group, born out of the Bay Area psychedelic rock scene, was soon signed by Vanguard Records and in 1967 released its debut album “Electric Music for the Mind and Body.” At the time the band’s label and producer were hesitant to let the musicians fully express their politics, and excluded the soon-to-be-hit anti-war anthem “I-Feel-Like-I’m-Fixin’-to-Die Rag” with the catchy chorus that began, “And it’s 1, 2, 3 what are we fighting for?”

Instead, they went with tracks like “Superbird,” a spoof of President Lyndon B. Johnson, which received little to no backlash. When the second album came around, the band was allowed to run with “I-Feel-Like-I’m-Fixin’-to-Die Rag” as the title track. Trouble started to arise with the anti-Vietnam war anthem when the group changed the beginning chant of F-I-S-H to a more profane four letter word that starts with an “F.”

They performed this altered cheer at a gig in Massachusetts, where McDonald received a charge for inciting an audience to lewd behavior and a $500 fine. With this police run-in, Country Joe and the Fish received a slew of press, riling up the public ahead of their Woodstock performance.

The moment the band members began this chant at Woodstock became arguably the biggest moment of their careers, with over 400,000 people joining in. It’s a moment of protest that has gone down in history.

Not long after the festival, the band went their separate ways. McDonald continued to release solo music that stuck with the similar themes of politics and the Vietnam War.

“He took the toll for taking the stand,” said Seven. “He was not the biggest pop star, because he just opted to speak his mind and do his thing.”

In 1986, McDonald released “Vietnam Experience,” an album full of songs analyzing its long-term impacts on his generation. And in 1995 he was “the driving force” according to an Associated Press story, behind a war memorial to honor Berkeley veterans killed in the Vietnam War.

He told The Times in 1986 that he had “an addiction to Vietnam … I’ve been doing work with veterans now for 15 years, and I probably know more about Vietnam veterans than any other person in the entertainment industry.”

“I’ve always believed that the veterans are a basic element to the understanding of war,” he added, “and the understanding of war is the only path to peace.”

McDonald is survived by his wife of 43 years, Kathy; his five children, Seven, Devin, Ryan, Tara Taylor and Emily; a brother, Billy; and four grandchildren.

Louis Theroux has spoken to key male influencers on social media in the Manosphere for new Netflix project

As a concerned father-of-three, Louis Theroux has admitted he doesn’t know what his own kids are looking at online half the time. So this might explain why he has got involved with male content creators online, with millions of followers, who are part of what is dubbed “The Manosphere” for his new documentary.

Louis says: “These aren’t figures on the margins – anyone who’s got kids, and especially boys, will know that they are making inroads into the culture. Their influence is being felt in schools, in the workplace and all across the internet.

“Going back to the earliest days of my programmes I’ve always been interested in the taboo and people who believe things which run against the grain of values I’ve grown up with. Those in the manosphere embody a swaggering machismo that is by turns misogynistic, homophobic, antisemitic and racist. So there’s a whole bunch of red flags there which I find interesting.”

TV host Louis, 55, starts the Netflix documentary by saying he noticed a few years ago “parts of the internet were being taken over” by a collection of male influencers who claim to give young men “cheat codes to win at life”.

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Asked about his own sons and what they are watching, Louis replies honestly: “I think as a parent you hope that your influence will outweigh whatever they’re being fed online, but truthfully they probably spend more hours looking at their phones than they do talking to us and we don’t always know what they’re looking at.”

In his 90-minute film, Louis explores how key figures, including Harrison Sullivan (known online as HSTikkyTokky), Myron Gaines, Nicolas Kenn De Balinthazy (AKA Sneako), Justin Waller and Ed Matthews, are helping to reshape young men’s ideas about masculinity and fuelling a resurgent global men’s rights movement.

Louis immerses himself in their world, encountering prominent figures within the movement, each presenting their own interpretations of traditional gender roles and values.

Sullivan, 24, was handed a one-year suspended prison sentence at Staines Magistrates’ Court in November last year after pleading guilty to dangerous driving and driving without insurance.

He has also been disqualified from driving for two years. Asked what his message is, he tells Louis: “I coach boys how to be f**king boys, how to make money, how to be outside the system, how to not have a boss telling you want to do.

“I teach guys to be proper boys and not gimps that walk around in the modern world.”

These men online have similar ideas to those of influencer Andrew Tate, a self-proclaimed misogynist.

A 2025 YouGov poll suggested one in eight Gen Z men (aged 14-29) had a “favourable view” of Andrew Tate, one of the leading figures of the manosphere, while more than one in three believed misandry – hatred or discrimination against men – was widespread in the UK.

Sounding worried about their impact, Louis said: “It was my kids who first made me aware of Andrew Tate – it would have been around 2022 and they kept referencing him and what he was saying – I had no idea who he was. Four years later, he’s still got cultural influence because he has millions of hours of content sitting out there for people to discover.

“As a parent I’m obviously concerned about the impact that that has, and it would be easy to say; ‘oh well, they don’t take it too seriously’, which a lot of the time I think they don’t, but at a certain point, a joke is no longer a joke – especially when it’s unchallenged and repeated. So we try to stay on top of what they’re watching and try to have conversations with them about it, but it’s hard.”

Louis encounters difficulties in the film which see the male influencers film him for their own social media and subject him to abuse and questions they receive from their followers whilst streaming footage live. It leads to Louis being abused about his previous documentary with the late Jimmy Savile.

He also witnesses homophobic behaviour by HSTikkyTokky whilst Myron Gaines speaks in front of his girlfriend about wanting multiple wives in the future.

Sullivan says he would “disown” his own daughter if he had one and she joined Only Fans, despite claiming to own an agency that represents girls on there. He also says he could not have a son who was gay.

There is also much discussion in the documentary on the notion of ‘red-pilling’ which Louis explains can mean “that men and women are fundamentally different and that women don’t want what they say they want – all they actually care about is big, rich guys with big dicks.”

Asked why he thinks the manosphere is attractive to many teenagers, Louis said: “I think there’s a lot of lonely men out there, and there’s now a whole industry dedicated to them. There are millions of hours of podcasts that talk about the masculinity crisis – how we’ve seen a decline in manufacturing jobs in the west and how there’s been efforts to correct the patriarchal skew in society that has in turn triggered a backlash.”

Louis also defended his decision to make the documentary in the first place, which could be seen as amplifying potentially harmful ideologies and helping the men to get even more followers thanks to them being shown on Netflix.

For him it is a case of trying to understand and challenge the ideas which are being pushed to youngsters.

He said: “My view is always I’m not trying to embarrass them or trick them in any way. I am trying to tell the truth and I will confront them appropriately. I’m not trying to pick a fight. I’m just trying to understand them, get my questions answered and then challenge and push back on the parts that don’t make sense to me or strike me as dangerous. At the end of the day I’m trying to make TV that engages people – so a few fireworks don’t go amiss and some raised voices or a sense of menace is actually quite helpful.”

In the concluding moment of the documentary, after spending weeks with these male influencers, Louis concludes: “In a world that’s changing at dizzying speed with narrowing opportunities, where the old entitlements of manhood have been challenged. It is perhaps not surprising that some have sought the comfort of a simplified world of game hacks and conspiracy theories. It struck me that the matrix they rail against more accurately describes the algorithmic prison they’ve created for their followers, an illusion of endless wealth and power that actually only enriches a few at the top.

“We are in a world where the fringe is no longer fringe. Where we are all increasingly, inside the manosphere, and it’s up to us how we get out.”

* Louis Theroux: Inside The Manosphere is available on Netflix from March 11.

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JENNIFER Runyon, known for her role in the iconic 1984 Ghostbusters film, has passed away aged 65 after a battle with cancer.

The actress’ grieving family announced the heartbreaking news on social media.

Pal and fellow actress Erin Murphey said she was devastated to hear about Jennifer’s passing.

A post to Facebook, penned by Jennifer’s loved ones, reads: “This past Friday night our beloved Jennifer passed away.

“It was a long and arduous journey that ended with her surrounded by her family.

“She will always be remembered for her love of life and her devotion to family and friends.

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“I know from above she’s looking down on all of us with her beautiful smile. Rest in peace our Jenn.”

Erin Murphey wrote: “So sad to share that my friend Jennifer Runyon Corman has passed away after a brief battle with cancer.

“Some people you just know you’ll be friends with before you even meet. She was a special lady. I’ll miss you Jenn.

“My thoughts are with your family and beautiful children.”

Jennifer made her movie debut in the 1980 horror film To All a Goodnight, taking on the lead role of Nancy.

She then took on a role as Sally Frame in the American soap Another World, acting in the series until 1982.

The beloved Ghostbusters film, which featured Bill Murray, Dan Aykroyd and Sigourney Weaver, Jennifer acted in the opening scene as a student involved in an ESP experiment.

Her television career included guest appearances in Murder, She Wrote as well as roles in Magnum PI and Beverly Hills.

Jennifer’s final role was in the 2017 comedy horror film Bloodsucka Jones vs. The Creeping Death.

During the 2019 documentary, Remembering Ghostbusters, Jennifer appeared to discuss her most notable role.

NAOMI WATTS watched on proudly as her daughter showcased her model behaviour at Paris Fashion Week.

Rising fashion star Kai Schreiber – who came out as transgender last year – stole the spotlight as she towered over her Hollywood star mum at the Balenciaga show on Saturday.

Wearing a sharp tailored two-piece teamed smokey eye make-up, 17-year-old Kai made an impact with her striking look.

Proud mum Naomi, 57, wore a matching black ensemble as she supported her daughter, who has been feted as a future top model.

Also on the runway was Rebel Yell punk star Billy Idol, 70, who had on a tasseled black leather poncho.

US model Paris Jackson, 27 — daughter of late pop star Michael — was also spotted in black outside her hotel.

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Kai made her fashion runway debut at Paris Fashion Week last year by walking for Valentino.

Kai’s parents have both conquered Hollywood and are known for TV and film.

Naomi and Liev – who also have son called Sasha, 17 – were together for 11 years before they amicably split in 2016.

Liev has since married Taylor Neisen, while Naomi went on to wed Billy Crudup.

Naomi often shares how proud she is of her daughter, in sweet posts on Instagram.

When the teenager turned 16, her mum penned a heartfelt message to her.

“Darling Kai. Happy sweet sixteen. Your sweetness is pure and I’m the luckiest mommy in the world and that world is SO lucky that you are here!” the proud mum wrote.

“You blow me away with your wild spirit, strength and yes your soft sweetness too. You even let me post a baby picture!

“I thank my lucky stars I get to be your mom [sic]. I Love you to the moon.”

The already highly decorated “Sinners” was among the top winners at the 78th Writers Guild Awards on Sunday in New York City.

The Ryan Coogler-directed horror film won the award for original screenplay, and its primary Oscars best picture opponent, Paul Thomas Anderson’s “One Battle After Another,” clinched the win for adapted screenplay. “Sinners” star Miles Caton accepted the award for the former, and “One Battle” cast member Shayna McHayle for the latter.

“Sinners” star Miles Caton and “One Battle After Another” actor Shayna McHale accepted the awards for original and adapted screenplay, respectively.

(Cindy Ord / Getty Images for Writers Guild of America East)

In the TV realm, “The Pitt” made a splash with awards for drama series, new series and episodic drama.

As for lifetime achievement honors, Robert Smigel presented Stephen Colbert with the Walter Bernstein Award for critiquing the power elite on his late-night show, which will air its final episode in May. Terry George received the Ian McLellan Hunter Award for Career Achievement from Don Cheadle, and Diana Son the Richard B. Jablow Award for Devoted Service to the Guild from last year’s recipient, Kathy McGee.

Most years, the Writers Guild holds simultaneous ceremonies in New York and Los Angeles. But the East Coast edition became a solo affair after WGA West canceled its ceremony amid an ongoing strike by its own staff union, who claimed guild management had “surveilled workers for union activity, terminated union supporters, and engaged in bad faith surface bargaining.”

The L.A. ceremony was set to honor James Cameron with the Laurel Award for Screenwriting Achievement, Don Reo with the Paddy Chayefsky Laurel Award for Television Writing Achievement and Mstyslav Chernov with the Paul Selvin Award for “2,000 Meters to Andriivka,” which won the award for documentary screenplay Sunday evening.

While WGA West’s board of directors said the ceremony was postponed to give members “an uncomplicated celebration of their achievements,” the Writers Guild Staff Union characterized the cancellation as an attempt to sow division between management and unionized staff, which is ill-timed given upcoming contraction negotiations between the WGA and the Alliance of Motion Picture and Television Producers, which represents Hollywood studios and streamers. In 2023, the WGA went on its longest-ever strike, lasting 148 days.

Comedian and Emmy-nominated producer Roy Wood Jr., who this year hosted the WGA’s East Coast ceremony for the third time, during his opening monologue offered (in jest) his predictions for the negotiations, which begin later this month.

“First, I predict somebody’s gonna lose their s—,” the host said. “Cooler heads are gonna prevail, and then somebody else is gonna lose their s—.”

Here is the full list of Writers Guild Award winners:

Original screenplay: “Sinners,” written by Ryan Coogler; Warner Bro. Pictures

Adapted screenplay: “One Battle After Another,” screenplay by Paul Thomas Anderson, screen story by Paul Thomas Anderson, inspired by the novel “Vineland” by Thomas Pynchon; Warner Bros. Pictures

Documentary screenplay: “2,000 Meters to Andriivka,” written by Mstyslav Chernov; Frontline Features

Drama series: “The Pitt,” written by Cynthia Adarkwa, Simran Baidwan, Valerie Chu, R. Scott Gemmill, Elyssa Gershman, Joe Sachs, Noah Wyle; HBO Max

Comedy series: “The Studio,” written by Evan Goldberg, Alex Gregory, Peter Huyck, Frida Perez, Seth Rogen; Apple TV

New series: “The Pitt,” written by Cynthia Adarkwa, Simran Baidwan, Valerie Chu, R. Scott Gemmill, Elyssa Gershman, Joe Sachs, Noah Wyle; HBO Max

Limited series: “Dying for Sex,” written by Sheila Callaghan, Harris Danow, Madeleine George, Elizabeth Meriwether, Amelia Roper, Kim Rosenstock, Sasha Stewart, Sabrina Wu, Keisha Zollar; FX/Hulu

TV & Streaming Motion Pictures: “Deep Cover,” written by Derek Connolly and Colin Trevorrow; Prime Video

Animation: “Shira Can’t Cook” (“Long Story Short”), written by Mehar Sethi; Netflix

Episodic drama: “7:00 A.M.” (“The Pitt”), written by R. Scott Gemmill; HBO Max

Episodic comedy: “Prelude” (“The Righteous Gemstones”), written by John Carcieri, Jeff Fradley, Danny R. McBride; HBO Max

Comedy/variety series – talk or sketch: “Last Week Tonight with John Oliver,” senior writers: Daniel O’Brien, Owen Parsons, Charlie Redd, Joanna Rothkopf, Seena Vali; writers: Johnathan Appel, Ali Barthwell, Tim Carvell, Liz Hynes, Ryan Ken, Sofía Manfredi, John Oliver, Taylor Kay Phillips, Chrissy Shackelford; HBO Max

Comedy/variety specials: “Marc Maron: Panicked,” written by Marc Maron; HBO Max

Quiz and audience participation: “Celebrity Jeopardy!”, head writer: Bobby Patton; writers: Kyle Beakley, Michael Davies, Terence Gray, Amy Ozols, Tim Siedell, David Levinson-Wilk; ABC

Daytime drama: “The Young and the Restless,” associate head writers: Jeff Beldner, Marla Kanelos, Dave Ryan; writers: Susan Banks, Amanda L. Beall, Marin Gazzaniga, Rebecca McCarty, Madeleine Phillips; CBS/Paramount+

Children’s episodic, long form and specials: “When We Lose Someone” (“Tab Time”), written by Sean Presant; YouTube

Short form streaming: “The Rabbit Hole with Jimmy Kimmel,” writers: Jimmy Kimmel and Jesse Joyce; YouTube

Documentary script – current events: “Trump’s Power & the Rule of Law” (“Frontline”), written by Michael Kirk and Mike Wiser; PBS

Documentary script – other than current events: “Forgotten Hero: Walter White and the NAACP” (“American Experience”), written by Rob Rapley; PBS

News script – regularly scheduled, bulletin or breaking report: “Devastating Flooding in Texas” (“World News Tonight with David Muir”), written by David Muir, Karen Mooney and Dave Bloch; ABC News

News script – analysis, feature or commentary: “Remembering Palestinian Journalists Killed by Israeli Forces” (“Ayman”), written by Lisa Salinas; MSNBC

Digital news: “An Isolated Boarding School Promised to Help Troubled Girls. Former Students Say They Were Abused.,” written by Sebastian Murdock and Taiyler Mitchell; HuffPost

Radio/audio documentary: “Jerry Lewis’ Lost Holocaust Clown Movie” (“Decoder Ring”), written by Max Freedman; Slate

Radio/audio news script – regularly scheduled, bulletin or breaking report: “ABC News Radio Top of the Hour News”, written by Robert Hawley; ABC News Radio

Radio/audio news script – analysis, feature or commentary: “The Life and Legacy of Jimmy Carter,” written by Gail Lee; CBS News Radio

On air promotion: “CBS Comedy,” written by Dan Greenberger; CBS

Times staff writers Stacy Perman and Cerys Davies contributed to this report.

Author Diana Gabaldon knew readers had been mentally casting the timeless main couple at the center of her “Outlander” book saga since the first novel’s release in the early ‘90s — particularly its leading man, a tall and burly Scottish Highlander with striking red hair. She recalls a 50-year-old German actor who, she says, “always looked like he’d been dipped in cooking oil” among the imaginary candidates. Another was a 5-foot-4-inch race car driver. She quickly learned not to weigh in.

“They would keep asking me who I’d like to play Jamie — ‘Nobody,’ I kept saying because on the rare occasion when I mentioned some possibility, the immediate response would be shrieks of dismissive outrage and heapings of scorn that went on for days (online),” she says over email. Besides, she felt the whole notion of considering prospects was pointless because, as she puts it, it’s not like Hollywood would want to adapt a 300,000-word book anyway.

However, Ronald D. Moore and Maril Davis, longtime collaborators through their Tall Ship Productions banner under Sony Pictures Television, did. And Gabaldon was thrust back into the casting debacle, watching test videos and learning not to judge a book by its cover — or actors (in this case, Sam Heughan and Caitriona Balfe) by the photos that pop up in a Google search: “Sam doesn’t look like Jamie, and Caitriona doesn’t look like Claire, but both of them can be those people, and that’s all that matters,” she says. And they were those people.

In 2014, the duo brought to the screen the epic story of Claire Randall, a British combat nurse who is mysteriously transported back to 1743 Scotland and marries Scottish warrior Jamie Fraser to survive. Together, they ignite a passionate romance that traverses decades and endures brutal separations, wars and time travel. After spinning its own sweeping narrative for more than a decade, the Starz series is launching its eighth and final season on Friday.

In “Outlander,” Claire Randall (Caitriona Balfe) is a British combat nurse who is mysteriously transported back to 1743 Scotland and marries Scottish warrior Jamie Fraser (Sam Heughan) to survive.

(Ed Miller / Starz)

And it won’t exactly be a by-the-book ending. The final season pulls from the remaining material in Book 8, as well as Book 9 — Gabaldon is working on a 10th installment, “A Blessing for a Warrior Going Out” — leaving Matthew B. Roberts, the showrunner, and the writing team to craft an original ending for television. In a signal of how much pressure there was to do right by the beloved fictional couple, four endings were written and filmed.

“Diana’s been involved since Day 1 — she reads everything, she sees everything,” Roberts said by video conference. “I told all the endings that were going to be written. She briefed me a little bit of where she might be going, not the ending of the books, but just where the book might be going. I wanted to at least incorporate some of that in some of the endings that were written.”

Can it be anything other than a happy ending? Maybe the clue is in “I Love Lucy.” Lucy and Ricky Ricardo‘s love story was often a reference point for Roberts throughout his time on “Outlander.”

“No matter what trouble Lucy got in, no matter what she was doing, never did you think they were ever going to break up,” he says. “That’s Jamie and Claire, no matter what happens, no matter what he goes through or what she goes through, no matter what trouble or what they tell each other sometimes, we’ll never think they break up. And the audience knows that too, and we knew, if you just stayed true to that, then that love story would be successful.”

Ahead of the show’s final season premiere, The Times spoke with Balfe and Heughan to get their thoughts on bringing the historical romance to life and the journey to reach the final chapter.

In the spirit of the Season 8 premiere, which has a moment where Claire and Jamie reflect on the early days of their story, let’s travel back in time. Do you remember how this series was first presented to you and what went through your mind?

Balfe: I think the logline I saw was “nurse goes back to Scotland and then goes back 200 years in time and meets a Highlander.” I think I had two lines. That was all I had.

Heughan: It sounded like it was never gonna work. I found out it was a book series, and I think we both read it, didn’t we?

Balfe: Yeah, I read the book in four days before we tested. You’d already been cast at that point … I was living in L.A. I had tiny bit parts in a few films, and I was definitely struggling. I had booked to go on a trip to India, sent my passport into the Indian embassy. Of course, that’s exactly when I found out that maybe I had to travel to London for this test.

Heughan: At the time, I had failed attempts at pilot season, and I was back in London working in a bar and thinking, “I can’t afford to do this and I’m 34 years old. I should probably think about giving up.” Because there was no way I could support myself. I wasn’t loving it.

Balfe: You were 33, by the way.

Heughan: Oh, yes. I was younger. Then this thing came through. And actually, to be honest, the logline and perhaps the dialogue, when I read it, I just thought, “I know this guy.” There just was something very familiar.

“At the time, I had failed attempts at pilot season, and I was back in London working in a bar and thinking, ‘I can’t afford to do this and I’m 34 years old. I should probably think about giving up,’” says Heughan. (Sophia Spring / For The Times)

Tell me about the decision to say goodbye to this show and these characters. Does it feel like the right time?

Balfe: By the time we got to Season 7, that was our last season that we were contracted for, and there were conversations going around that they — the writers — felt that they had eight seasons [for this story]; that that was sort of an organic finish to it. But we were more than halfway through Season 7 before anyone came to talk to us. Actually, we had all scripts, bar the last two. And it wasn’t ending. Before they came to us, it was like, “How is this gonna happen? Are they going to wrap it up in two episodes or are they coming to us?” It was a lot of pressure in a very short amount of time to decide, “OK, do we just wrap this up in two episodes or do we try and give it a season to properly say goodbye?” There’s a lot of people’s jobs, and there’s a lot of people’s livelihoods, and there’s a whole ecosystem around it. We felt that it needed that kind of time.

Heughan: A lot of thought went into it. I think we were ready to move on or do something else. But also, there was this itch, like we hadn’t finished it and it didn’t feel satisfying for us and for the fans. We wanted to come back and really tie it up properly.

The final season focuses on Claire and Jamie’s struggles during the Revolutionary War, with the war having followed them home. What intrigued you about this final onscreen chapter of their story?

Heughan: Jamie’s concerned about himself in the foremost because he has this information that he’s going to die. But they’ve fought for eight seasons to stay together and to protect everyone they love and the greater community and I think that continues, but there’s so many more distractions or more challenges along the way in this season from the inside.

Balfe: And the Revolutionary War has been circling them for a very long time. It was time for the culmination —

Heughan: [Laughs] Instead of saying “War is coming,” it’s “War is here.’

“There’s a lot of people’s jobs, and there’s a lot of people’s livelihoods, and there’s a whole ecosystem around it. We felt that it needed that kind of time,” says Caitriona Balfe, right, with Sam Heughan, about finishing the “Outlander” story with an eighth season.

(Sophia Spring / For The Times)

The fandom around this property is active and devoted. There’s good that can come from that — the engagement, the creativity — but some bad too, like when things get toxic. What was the learning curve of playing this beloved fictional couple and navigating the fandom?

Balfe: It was a bit of a baptism of fire.

Heughan: We were both quite green when we were thrust into it and engaged wholeheartedly.

Balfe: The landscape is very different. Twitter was Twitter before it was death pit, Instagram was far more innocent as well. In the beginning, it was really nice. I wasn’t a mom. I had loads of time on my hands — well, not really, because we were shooting all the time — but anytime I did, it used to be nice and we would do these quick Q and As. That one-on-one connection with the fans was really, really lovely. I do think there was a moment where … the tide shifted, and this sort of shipper-dom got very intense. I was getting married, and that was having an impact on the people in my life and and I think I had to then step away because I was like, “OK, this doesn’t feel good for everyone in my life.”

Heughan: Look, I think it’s still there. It is a strange one to get your head around. People, in one way, are uber fans of the show, but in other ways, they’re overtly intrusive in your life. But it is a small minority. I think … perhaps we’ve done our job that well? It’s not just about Jamie and Claire, it’s about that person behind it and their life behind it, and their family behind it, that people want to get invested in. I don’t know if it’s a great thing for actors, to be honest, but in this current environment, we’re always asked to give more of ourselves to engage with fans, but it’s been something we’ve had to learn on the job.

Balfe: And I think there are times in your life when you have more capacity to be more open, and there’s times in your life where you need to shut off a little bit more. The overall reception from the fans have been so positive and so supportive of things that we’ve done in our lives, and that is the thing that I choose to focus on with it.

“Outlander” isn’t strictly a romance, but that’s what gives it power. You’ve spent more than a decade in this space. What have you learned about how that romance space functions and what the fans seek from these stories?

Balfe: I was sort of unaware of the need and the appetite that people have for it. Nowadays it’s served an awful lot better, but I think it was an underserved demographic. Or it was not given the due that people needed. It’s sometimes looked on as the second-class citizen of storytelling, in many ways, but I think it’s a genre that allows you to really look at the beauty of humanity and … the core things that we care about, which is love and family and connection.

Heughan: And comfort. It’s comforting. This show proves that there’s a real appetite.

Balfe: There’s many more shows now. Everybody’s talking about “Heated Rivalry.” There’s “Bridgerton.” Maybe it’s the emancipation of women in the last 50 years. It’s like they are finally like, “Well, we want our TV that speaks to us as sexual beings and as mothers and as matriarchs and as professionals and whole round of people.” Our show did that a lot.

“There’s many more shows now,” Balfe says of series that serve up romance. “Everybody’s talking about ‘Heated Rivalry.’ There’s ‘Bridgerton.’ It’s like they are finally like, ‘Well, we want our TV that speaks to us as sexual beings and as mothers and as matriarchs and as professionals and whole round of people.’ Our show did that a lot.” (Sophia Spring / For The Times)

Have you taken stock of just how much Claire and Jamie have gone through as a couple?

Balfe: How many near-death experiences?

Heughan: Yeah, how many times they’ve nearly died or been attacked or assaulted.

Balfe: How many people they’ve killed. Claire, she’s like a serial killer.

I was wondering, because it’s the last season, you can’t get in trouble now, where would Caitriona or Sam have called it quits in this relationship? Like, this is too much, I need to move on.

Balfe: I don’t know if Caitriona would have gone back 200 years in time.

Heughan: When she fixes his shoulder — that’s pretty painful. She gets him in a lot of trouble and he puts himself in a lot of trouble. I wouldn’t have gone past Episode 1 [he mumbles].

Balfe: See! I would have gone to Season 3.

Heughan: No, I think when he sends her through the stones and is like, “That’s it. She’s gone.” But she keeps coming back. I thought I got rid of her, finally!

Caitriona, you make your directorial debut on the show this season with Episode 2. Tell me about that experience.

Balfe: It was so fun. They gave me Episode 2, which allowed me to do my prep before we started. I was so lucky that Jan Matthys, who is the director of Episode 1, was an incredible mentor to me throughout the process. I just got to work with these guys in a totally new way, which was so amazing. I was buzzing. The whole first 10 weeks [of this season] felt like the very first 10 weeks again because you’re learning all these new skills and you’re just in such high operating point; you have to make decisions on the fly, I was also in scenes. It was just mad, but brilliant.

Heughan: You were also probably happy to take the corset off.

Balfe: To be able to walk around in proper wet weather gear and trousers and be able to go to the bathroom — not to be TMI, but it was so good.

They did not give me the easiest episode. Every day had its thing — obviously, the bear attack sequence. Three days before we were filming that, that was a cougar; we were going to have a live cougar. There was a whole thing planned. And a cougar attacks in a very different way than a bear does. So my whole shot list had to go out of the window and I had to rethink the whole thing. But that was kind of fun.

The final season of “Outlander” focuses on Claire (Balfe) and Jamie’s (Heughan) struggles during the Revolutionary War, with the war having followed them home.

(Robert Wilson / Starz)

Finales can be tough, given how viewers chime in on social media. You can’t please everyone. But what was your vision for the ending of “Outlander”?

Balfe: I didn’t really have one. I would not want to have had Matt’s job because that’s a really heavy load to bear, trying to finish this out. But I would say the season was unusual. Normally, we would get an overview of the season before we start. This season, we went into it blind so we weren’t getting sort of any info about what was going to happen. Through the whole season, it was like finding out as the scripts came what was happening. And to be honest, we still don’t really know the ending. We know bits that were filmed, but [not] how he’s going to edit it.

Heughan: I definitely had a firm belief about a certain element of it. I spoke to a few people — few other execs and producers — and there was a common consensus, and I think that might be one of the directions, but it’s going to be a surprise for us when we watch it. I don’t know when we are going to watch it.

Multiple endings were filmed.

Balfe: There was a few different things filmed.

Heughan: Hard to know what’s [going to make it] — it’s all in a same direction. But what direction that is …

Would you call it a happy ending?

Heughan: I don’t know. It was such a secret on the call sheets and stuff.

Balfe: There was different versions of scripts that went out.

Heughan: There were fake people put in. There was a reduced crew.

VICKY Pattison and her husband Ercan Ramadan are making their way back to the UK after becoming stranded in Dubai amid the Iran war.

Last Saturday (February 28), Iran launched a barrage of rockets at nations across the Middle East after vowing revenge for Trump and Israel’s huge blitz on the rogue nation.

Among their targets was Dubai, where black smoke was seen billowing across the skyline after debris from Iran’s missile blitz hit a hotel on the Palm Jumeirah.

Vicky was en-route with Ercan for a planned trip to Australia and New Zealand, and had a planned stop in Dubai when the attacks started.

She’s since only given small updates, noting how she didn’t want to speculate to scare her followers and was “limiting time spent on social media due to a growing amount of misinformation that feels really counterproductive to staying calm.”

However, she returned to Instagram today to share “a little update” on where she and Ercan were, after Dubai airport was also subject to a drone attack amid the evening of strikes, with both Iranian and Iraqi airspace closed as the conflicts intensify.

STRANDED STAR

Vicky Pattison updates fans on being stranded in Dubai amid missile strikes

stuck in dubai

Vicky Pattison and Love Island star stranded in Dubai as flights cancelled

Sharing a photograph of herself and Ercan with a group of other people on a mini-bus this afternoon, she apologised for the “radio silence” over the past week, noting things were “changing so rapidly” and she didn’t want to say anything that could be deemed insensitive.

“We really appreciate all your messages of concern and just wanted to reassure everyone that we’re fine,” she wrote.

“After three cancelled flights and the realisation that we definitely weren’t going to make it on to Australia and New Zealand we wanted to try and get home as quickly and safely as possible.

“I understand that there are a lot of people still in Dubai feeling really calm and safe however, we wanted to be back to our babies, work and normality and we felt like Oman was our best option.”

The star went on to explain that she had arranged a public transfer van with friends, with the team driving for 11 hours to get to Oman – including two to three hours to cross the border.

“For anyone stuck in Dubai and wanting to get home via Oman, I will put more information on @vickysvacays,” she said. “I just don’t want to overwhelm or bore anyone on here.

“We are going to try and enjoy our last days away and explore Oman hopefully 🥹”

“The last week has been quite unsettled and we understand people feeling unsafe and uncertain,” she added. “We have experienced moments like that, but ultimately feel like it’s important we acknowledge our position of privilege.

“We are extremely grateful to be making our way home and are thinking of anyone feeling fearful or unsettled, anywhere in a world that is rapidly becoming an increasingly scary place to be.”

“Finally just a little Thankyou to @addressbeachresort and [the UAE government] for keeping us safe, calm and informed when possible 🩵”

Friends and fans were quick to send their well-wishes to the star, saying they were glad she and Ercan were somewhere safe.

“Glad you’re both okay! Not what you had planned, but such is life. Not long until you’re reunited with the boys” wrote one.

Candice Brown added: “So glad you are on your way back darling x”

“So happy you’re both safe, sending you all the love” wrote another.

Walt Disney Co. and Pixar’s “Hoppers” took the box office crown this weekend in an encouraging sign for the company’s original animated films.

The film generated $46 million in ticket sales in the U.S. and Canada, marking the highest domestic opening for an original animated movie since 2017’s “Coco,” according to studio estimates. The global box office total for “Hoppers” was $88 million.

The zany movie features a young environmental advocate who “hops” her consciousness into a robotic beaver and bands together with other woodland creatures to stop a planned freeway expansion through a glade.

The film is directed by Daniel Chong, who created the Cartoon Network animated series “We Bare Bears.”

The muscular debut for “Hoppers,” as well as the strong performance from Sony Pictures Animation’s “Goat” last month, has been a positive sign for audience interest in original animated films.

Since the pandemic, theatrical returns for animated sequels have far surpassed that of original films. Disney’s “Zootopia 2,” for instance, has now grossed more than $1.8 billion in global box office revenue, with more than $426 million domestically. Disney and Pixar’s 2024 hit “Inside Out 2” also crossed more than $1.6 billion globally.

By contrast, Disney and Pixar’s 2025 original film “Elio” brought in about $154 million in worldwide box office revenue.

Original films are vital to Pixar’s future, as the Emeryville-based studio built its reputation on its string of nearly uninterrupted original blockbuster hits, including 1995’s “Toy Story” and 2004’s “The Incredibles.”

Paramount Pictures and Spyglass Media Group’s “Scream 7” came in second at the box office with $17.3 million in its second weekend in theaters. Warner Bros. Pictures’ “The Bride!,” Sony’s “Goat” and Warner Bros.’ “Wuthering Heights” rounded out the top five at the box office, according to data from Comscore.

With several strong releases, as well as popular holdover films from 2025 that continue to bring in revenue, the first few months at the box office have been a notable improvement over last year’s dismal first quarter.

Domestic box office revenue so far is up more than 12% compared to the same time period in 2025, according to Comscore.

JESY Nelson has shared an adorable video of her daughter’s “ballerina” leg exercises amid her twins’ SMA diagnosis.

The singer gave birth to her little girls prematurely at 31 weeks last year.

And, back in January, Jesy bravely revealed the twins, Ocean Jade and Story Monroe, have since been diagnosed with Spinal Muscular Atrophy Type 1 (SMA1).

It is a genetic condition that weakens the muscles by damaging motor nerve cells in the spinal cord.

It leads to progressive muscle wasting, and if untreated, the life expectancy of a baby with SMA Type 1 is just two years.

Jesy and her ex-fiancee Zion Foster have been told it is unlikely the girls will ever walk, and may face serious breathing and swallowing difficulties.

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The brave mum-of-two has been keeping her fans updated on the twins condition on social media.

Jesy, 34, has now shared a sweet clip of the twins doing their “ballerina” exercises to keep their legs mobile.

Speaking to one of the twins in the video, she said: “Are you gonna show them how you move your legs? Your a little ballerina, come on.

“Good girl. Little ballerina, yes you are.”

Progressive resistance training (PRT) with a little resistance band has the potential to increase strength and increase motor function in children and young adults with SMA, according to the National Institute of Health.

Jesy panned the camera up to her daughter’s face and she seemed super chilled as she bent and unbent her leg.

The tot was spotted with her feeding tube in her nose as it helps to clear their chests.

The former Little Mix singer recently released a fly-on-the-wall Amazon Prime documentary.

The series, which climbed to number one in Amazon’s viewing charts, follows her shock departure from Little Mix in 2020 and her journey to motherhood with her now ex-boyfriend Zion.

Since revealing her twins’ diagnosis, Jesy is now campaigning for the NHS to expand the standard heel prick test to screen for SMA1.

She says the test, which costs around £1, could have “saved their legs” by giving them access to treatment sooner.

If the twins had been tested and treated in time, there was a chance they would have avoided disability.

HARRY STYLES has reason for plenty more disco dancing after scoring the biggest opening week of sales for a UK artist since Adele four years ago.

He released his album Kiss All The Time. Disco, Occasionally on Friday and I can reveal he sold 125,000 copies in the UK in the first two days alone.

The massive figure means he has already eclipsed the first week sales of his last album Harry’s House, which sold 113k copies in seven days in 2022.

It’s likely to be the third fastest selling British album of the last decade and the biggest since Adele’s 30 which shifted 261k in its first week in 2021.

Over on the singles chart, he looks set to occupy all three top spots with American Girls currently in the lead at No1, followed by former chart topper Aperture at No2 and Ready, Steady, Go! at No3.

And the figures globally are massive too, as Harry scored the biggest album debut of 2026 on Spotify worldwide with 63million streams on Friday.

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The killer news comes after former One Direction star Harry smashed his One Night Only performance in Manchester’s Co-op Live on Friday night.

Fans who didn’t manage to get their hands on the £20 tickets, which were sold in a ballot, can now watch the show back on Netflix after it premiered on there last night.

Following the gig, Harry flew to the US to be in the audience for Saturday Night Live, where he will perform and host the show this weekend.

Chatting with Ryan Gosling, who was in the hot seat, Harry, who previously hosted and sang during an episode in 2019, said: “It’s been awhile, so I wanted to watch, get a feel for it.”

Insiders said the stripped back set, which saw Harry performing his new album from start to finish, will be ramped up for his upcoming 12 Wembley Stadium shows.

A source said: “Harry is celebrating this new era with an incredible stage set up.

“His team are building an epic set for the Wembley residency. Because he’s not moving around, they can really go to town.

“There will be enormous big screens and likely fireworks at the end of the shows.

“Harry gave his fans a taste of what is to come from the shows during the Brit Awards when he did an amazing choreographed routine as he sang Aperture.

“These shows are going down in history.”

I was lucky enough to be in Manchester’s Co-op Live to see Harry in action on Friday night and can confirm this album sounds incredible live.

His decision to lock away camera phones was masterful, as I could see the 20,000-odd fans properly connecting with his music – rather than watching him through an iPhone screen.

I think Harry should keep the ban in place when it comes to his Wembley shows, which kick off on June 12.

Enjoying music in the moment is the best feeling in the world — and Harry has reminded everyone, myself included, of that.

LIZZO is back and she’s riding higher than ever.

The About Damn Time singer headlined the Houston Livestock Show and Rodeo’s Black Heritage Night six years after her performance there was cancelled because of Covid.

And she made up for lost time and entered the ring to the sounds of the Texas Southern University Ocean of Soul marching band playing Chamillionaire’s 2005 hit Ridin.

During her set, Lizzo whisked punters through her hits including Truth Hurts and Good As Hell and gave fans a thrill as she pulled out her flute to play the melody of Houston native, American rapper Mike Jones’s song Still Tippin’.

Speaking after her set, Lizzo said: “You have no idea how much this night means to me.

“This night will forever change my life.”

I’m a massive fan of Lizzo’s and last saw her on stage at Glastonbury back in 2023.

Please can she come back soon?

LOLA AND JAMES ON TRACK

LOLA YOUNG is showing no signs of slowing down.

Just last week she performed a near sell-out show at the London Palladium and now I can reveal she’s back in the studio.

Insiders tell me Lola has been getting to work with James Blake with the pair recording after a chance meeting last year.

A source said: “James and Lola have been in the studio working on a few songs and hopefully at least one of the tracks will end up on her next album.”

After being forced to cancel her tour last year to focus on her health, Lola has also announced she will play Manchester, Birmingham, Glasgow and London in June.

It’s great to see her back.

Rita’s got our hearts racing

RITA ORA isn’t a woman who does things by halves.

And when she performed at the Formula 1 Australian Grand Prix in Melbourne over the weekend she dressed up like a chequered flag.

Rita teamed her black and white jacket with a pair of tiny black pants and stockings for her performance, which saw her singing some of her biggest hits – including her 2012 breakout song Hot Right Now.

Over the weekend, Basement Jaxx also performed a headline set at the race – which was won by British racing driver George Russell – with DJ Duke Dumont putting on the final show last night with an epic turn on the decks.

BOY GEORGE is to appear on Eurovision – but will be representing San Marino instead of the United Kingdom.

The Culture Club legend will feature on the tune Superstar, performed by Italian singer Senhit, who has qualified for the tiny nation.

He didn’t appear at the regional selection event on Friday night, in which Senhit won her place, but I’m told he does intend to be on stage in Vienna at the contest in May.

She previously represented San Marino in 2021 with the track Adrenalina, which had another famous feature, as American rapper Flo Rida joined her on stage.

Despite the special guest that year she finished 22 out of 26, so Boy George will be hoping to improve on that.

But given the UK came 19th last that year, perhaps George has the right idea singing for somebody else.

LADY GAGA has hinted she will marry fiancé Michael Polansky any day now.

Gaga, whose tour ends in the US on April 13, sent a note into pal Bruno Mars’s iHeartRadio livestream.

She said: “Me and my fiancé have been travelling all year, but we’re getting married soon. We were hoping you could choose a special song for us.”

TRAITOR ALAN SAYS TOO MUCH

ALAN CARR has called his upcoming comedy tour, Have I Said Too Much, and I can confirm he has.

But it’s bloody hilarious. During a small gig at the Soho Theatre in London on Saturday night, he took pops at his Celebrity Traitors co-stars – and had the crowd in stitches.

Alan said: “Wasn’t I good in The Traitors? Was I good or were the other celebrities just s**t?

“They were thick as mince and as stupid. When I laughed in their face and said: ‘I’m a faithful,’ I went home and packed.

“What more could I have done? I could have come down in that cloak with the severed head of CLAUDIA WINKLEMAN and they still would have gone: ‘I think it’s JOE MARLER.’”

Alan added: “Do you think I killed Paloma Faith first? No – I killed Clare Balding. We shoved her in the coffin but could not get the lid down because of that quiff.”

DR CALL FOR MUSO PETE

HE went from playing foul-mouthed Malcolm Tucker in The Thick Of It to becoming Doctor Who, and then trying his hand at music.

And after his second album, Sweet Illusions, was released last year, I’m told Peter Capaldi is already lining up his third record.

Peter worked with Blow Monkeys frontman Dr. Robert for album two and now they’re teaming up again, following the end of Peter’s debut run of headline shows.

A source said: “Peter finished his final show at the 100 Club in London last night, and the plan is to get back into a studio and lay down some new tracks.

“He has been blown away by the response to his first ever live shows with his band, and he already has a host of tracks for a new record.

“More than anything he finds making music fun.

“Peter doesn’t need to get to the top of the charts for this all to be a success for him.

“He would never have even recorded one track if it wasn’t for his friend Dr. Robert urging him to remember his student days as a punk and write some new songs.

“He trusts Dr. Robert and can’t wait to get to work with him again.”

Peter’s first foray into music was when he was at art college and he was the lead singer and guitarist in a punk rock band called the Dreamboys.

His biggest music moment so far came last year when Franz Ferdinand frontman Alex Kapranos pulled Peter up on stage at Glastonbury to perform Take Me Out with them.

LIZ Hurley has barely aged a day in 27 years – and strutted out in a gown from 1999 to prove it.

The star gave fans a blast from the past during her latest trip to India for an event, bringing out a plunging black dress with a thigh high split.

Initially worn to the 1999 Met Gala in New York City, which celebrated ‘Rock Style’ that year, Elizabeth’s dating look was given a pop of colour with a bejeweled red and pink embellishment across the stomach, resembling a bursting firework.

She wrote alongside the comparison pic: “Viva Versace! For this weekend’s adventure in India, I dug into my archives and unearthed one of my favourite pieces, which I last wore to the Met Gala in 1999 😳

“27 years may have passed, but some loves never fade.”

The look got the seal of approval from Donatella Versace, who commented emojis of a kissing face, a bang, and stars.

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Boyfriend Billy Ray Cyrus also approved, posting a string of hearts to her.

Her son, Damian Hurley, commented: “Hell yeaaaaaa ❤️”

While other fans also praised her incredible look and how after 27 years, she still knows how to show off her style.

“Elizabeth Jane time stopped for you still as gorgeous as always” wrote one.

“GORGEOUS!!!!!! And timeless! 🔥” noted another.

While a third wrote: “that’s insane… you look incredible 🙌”

Elizabeth is never one to shy away from a killer look and a jetset lifestyle, and has vowed to not stop taking bikini pictures anytime soon.

Last year, she credited stretching as the secret to taking flattering pics.

“If in doubt, arms up or lie down ♥️ (and remember your sun block),” she joked.

Kicking off the year in style, Liz posed with a gun slipped into her bikini bottoms as she rung in 2026 at a wild party with her boyfriend Billy Ray Cyrus.

In January, she showed off her rock-hard abs in a bikini while on holiday in the Maldives with her son, Damian.

At the Basement, a haunted escape room experience in Sylmar, patrons attempt to evade a deranged serial killer by solving puzzles.

Now the actors, who work as game masters and perform as distressed abductees at the venue, will be frightening their guests while under union protection.

This week, the Basement’s union voted unanimously to ratify its first working contract, making it the first and only escape room to have a union and operate under a collective bargaining agreement. The group is recognized as part of the Actors’ Equity Assn., which represents more than 51,000 actors and managers in live entertainment.

Jenna Wagner, an actor at the Basement, said the new contract, bargained by a dozen employees including herself, will “improve general unit morale.” It addresses higher wages and greater safety provisions as well as scheduling and media protections.

The Basement’s workers are the first escape room actors to successfully unionize.

(THE BASEMENT: A Live Escape Room Experience and Elwood Walker)

“It’s, of course, setting a precedent. A lot of people don’t see working at an escape room as something worthy of being recognized. Sometimes when you say, ‘I’m an actor at an escape room.’ People just say ‘Oh, OK,’” Wagner said. “It feels very validating [to unionize like this] because we are actors. We are performing every day.”

The Basement’s union was formed two years ago. Management, led by founder and chief executive Kayden Ressel, voluntarily recognized its workers’ efforts to join Actors’ Equity. Ressel said he used to work as a scare actor at haunted attractions so he understood where his employees were coming from.

“Their values seemed to be in alignment with what I really wanted my business to be in the first place. So, we were excited” about the union efforts, Ressel said. He’s hoping the finalized contract “will raise the bar” for other escape rooms.

The Sylmar attraction first opened in 2014 and employs 15 people. Across 3,000 square feet, it offers four interactive room choices where groups get to decide between escaping different areas of the haunted house. Live actors are involved in three of the four experiences. (The Basement is one of the few escape rooms to hire actors.) Two other Basement locations can be found in Las Vegas and Kansas City, Mo.

Ressel said he’s considering offering a discount of 10% to 20% for customers who belong to unions.

The popularity of escape rooms in the U.S. goes back to the early 2010s, when interest in interactive experiences was at an all-time high. Today, there are around 75 escape rooms in the L.A. area and more than 2,000 across the country. According to data from the media company Room Escape Artist and the escape room app Morty, the industry stabilized at the current facility count in 2022, after shrinking more than 10% during the pandemic.

The Basement’s workers are the first escape room actors to successfully unionize.

(THE BASEMENT: A Live Escape Room Experience and Elwood Walker)

Noah Nelson, a professor at the California Institute of the Arts and founder of immersive arts publication No Proscenium, said Actors’ Equity’s recognition of the Basement’s workers is a step in the right direction as the union welcomes more nontraditional units.

“There’s something to be said about the value of live entertainment being recognized. It goes beyond the venues that people would traditionally associate with that whether that is a regional theater, a Broadway house or a concert venue,” Nelson said. “There is an industry here that stretches beyond just the big houses, and at the end of the day, I view the signs of organizing in these spaces as nothing but a good sign for the overall health of the industry.”

The Actors’ Equity Assn. was founded in 1913 and is known for representing live performers typically in theatrical productions. In recent years, the definition of live entertainment has expanded, and Actors’ Equity has recognized performers at the Griffith Observatory, Drunk Shakespeare companies and even the dancers at the Star Garden Topless Dive Bar in North Hollywood. There also are ongoing negotiations for Disneyland’s cast members and the entertainers at the Casa Bonita restaurant in Denver.

Stefanie Frey, the director of organizing and mobilization at Actors’ Equity, said in a statement that the union views “escape rooms and similar immersive entertainment experiences as another live stage.” She also said the union expects “others in this growing community will seek out our union for representation.”

Actress Brooke Shields, the president of Actors’ Equity, said, “Negotiating a first contract is always a challenge, and in this case, we had no other unionized escape rooms to use for a model.”

“These workers stuck together through a long process, and seeing what they’ve achieved, I’m sure they agree it was worth it,” she said in a statement. “They have made history for a swiftly growing sector of our industry.”

KERRY Katona wants to “up and leave to Spain” with boyfriend Paolo Margaglione after a receiving a telling sign.

The 45-year-old revealed her plans to relocate to the warmer climate last month with her and Paolo’s blended families.

But now she’s admitted that the move could be happening sooner than expected because her youngest daughter Dylan Jorge’s school is closing down.

Writing in her column for New! magazine, she said: “I recently got a message announcing they are shutting DJ’s school down in July. Molly, Lilly and Heidi all went to that school, so I am truly gutted.

“Now we’re running around trying to get her into a different school, but they favour pupils who already have siblings who attend, so DJ’s been put on a waiting list.

“I’m in touch with another school but we keep missing each other, so I’m wondering if this is a sign to up and leave to Spain and start fresh…”

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Kerry is mum to children, Molly, 24, Lilly-Sue, 22, Heidi, 18, Max, 17 and 11-year-old Dylan-Jorge.

Meanwhile, Paolo is dad to two daughters, Milani and Nola.

The couple revealed their future plans last month and admitted they were considering moving overseas.

During a joint interview with OK! magazine, he said: “Hopefully somewhere hot and sunny. The idea is, at some point, to potentially move away from the UK.

“It’s something I wanted to do and something Kerry’s wanted, too,” as Kerry expressed: “We do have a plan.”

The pair fell in love while filming for Celebs Go Dating last year, despite Kerry having reservations about the 12-year age gap.

He met Kerry’s daughter Heidi on the show as well as her best pal Danielle Brown, with both of them giving him a thumbs up.

Since filming wrapped, Kerry and Paolo have gone from strength to strength and are now living together.

They’re all set to return for Celebs Go Dating’s upcoming series, which will star Coleen Nolan, Gabby Allen and Lucinda Light.

The loved-up pair will sit down with dating experts, Paul C Brunson, Anna Williamson and Dr Tara Suwinyattichaiporn to discuss their whirlwind romance.

In an exclusive for The Sun earlier this year, Kerry opened up on the sexual chemistry she shares with her other half.

She gushed: “Oh, it’s f****** unbelievable. Honestly, even now I get stuck with words!

“I was adamant I wasn’t interested in meeting anybody. I was not f****** interested in anybody. Honest to God,

“I was, “I’m doing it on my own era,” and now when I’m not with him, I actually ache.”

She added: “Whether this works out or not, how I feel right now, I can’t deny these feelings. It’s electric.

“I’ve never felt that. I’ve never felt giddiness and my hands shake, it really excites me.”

FANS have been left shocked to discover that a stunning influencer is actually the daughter of a Hollywood star.

The online personality regularly posts lifestyle videos with her dedicated fan base, but would you guess who her A-list dad is?

Shayla Gibson boasts over 7 million likes on her TikTok page and over 130k followers.

From ‘Day In The Life’ videos to health and nutrition clips, the star appears to be carving out a career for herself on social media.

But a deeper delve into 18-year-old Shayla’s account revealed that she’s also the daughter of Fast and Furious actor Tyrese Gibson.

Alongside appearing in the famous film franchise, Tyrese is also famed for his R&B singing career.

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And Shayla is even the inspiration behind one of TikTok’s most famous sound.

A clip of Tyrese exclaiming, “Oh, my Shayla”, in reference to his daughter became one of social media’s most used sounds when it surfaced in 2017 during Tyrese’s custody battle with ex-wife Norma Mitchell.

The clip – initially an emotional video by Tyrese – continues to be one of TikTok’s most popular sound bites.

Poking fun at the viral sensation, Shayla’s TikTok bio reads: “Yes I’m Shayla”.

Tyrese often appears in Shayla’s videos, with the pair clearly boasting a close father-daughter relationship.

He is most famous for appearing in the Fast and Furious franchise as Roman Pearce.

According to IMBD, Tyrese is working on a number of new projects to be released in the coming years.

Following his split from ex-wife Norma, Tyrese married Samantha Lee in 2017, but split just three years later.

The couple, who are parents to daughter Soraya, announced their split via Instagram in a joint statement.

They said at the time that they were to remain “best of friends” and were “deeply grateful” to be married for the last few years.

The actor has continued to appear in action films over recent years, and is currently working on several projects.

The birthday surprise was not subtle.

Eva Mendes and Ryan Gosling showed up together in public Thursday evening for the first time in more than a decade, with Gosling enlisting “The Tonight Show Starring Jimmy Fallon” host for help in surprising his longtime partner for her 52nd birthday.

Gosling was on the show to promote his upcoming film, “Project Hail Mary,” in which he plays a high school teacher tasked with saving the world. So he asked Fallon to arrange for an audience full of — you guessed it — high school teachers. Because Mendes absolutely loves teachers, he said.

And then there was the request that they surprise Mendes by singing “Happy Birthday” when she came out on stage. It was unclear whether Gosling also ordered up the marching band that played backup, but Fallon wound up crediting him for the whole deal, which we assume included the, um, confetti cannon.

So back to Gosling, who along with Mendes is very private about their relationship and hasn’t been seen at a public event with her (His partner? His wife? Who knows, who cares) since they promoted their 2013 movie “The Place Beyond the Pines.”

He talked about the movie, of course, sharing some funny video from a promotional spot he recorded.

“This was crazy,” the “Crazy, Stupid, Love” actor told Fallon and the “Tonight Show” audience. “I swear, this is not a paid ad. I swear this happened. This was not planned. I had to do a little thing with Alexa, where I just was supposed to ask her facts about the movie. … And this is what happened. This is what she said, I swear.”

In the video, Gosling quizzed Alexa about why people should see the movie in theaters instead of waiting for it to stream at home.

“Because the Imax visuals are absolutely stunning,” Alexa said. But it was what she said next that warmed Gosling’s heart.

“Plus, Eva Mendes herself called it a masterpiece that brings back the magic of the big screen experience that you just can’t get the full impact of on your couch at home,” Alexa said.

“That Eva Mendes is great, isn’t she?” Gosling said in his trademark slight-smirk delivery.

“Absolutely. She’s got this incredible range that people don’t always give her credit for” — at this point Gosling blurted an enthusiastic “Thank you!” — “from her breakthrough in ‘Training Day’ to that beautiful performance in ‘The Place Beyond the Pines’ with Ryan Gosling, she brings this authentic vulnerability to every role.”

At this point, Gosling kissed Alexa, who was made out of red plastic and had a “Project Hail Mary” image emblazoned on her speaker.

“Plus, she’s been smart about stepping back from acting to focus on family,” Alexa continued, “which shows she’s got her priorities straight.”

“I couldn’t agree more,” said Gosling, who’s been with Mendes since 2011 and welcomed two daughters with her. Whether they are officially married is, of course, a mystery. And he did kiss Alexa, which could complicate things. That Alexa, she’s a hustler.

But married or not, Gosling was 100% committed to surprising Mendes on her 52nd trip around the sun. Turns out she was backstage at the show, thinking she was going to get the opportunity to tell the audience full of teachers how much she appreciated what they do every day. So someone brought her to the set, where Gosling greeted her with a “Hi, sweetheart” and held her hand as he pulled her to center stage.

Mendes, apparently thinking her appearance wouldn’t be part of the show, immediately burst into a paean to teaching, telling the educators who were assembled, “I love teachers so much, you guys. We owe so much to you guys. You’re so underpaid and you’re so — I just — thank you so much. I had so many amazing teachers.”

Then she turned to Fallon and said, “You’ll cut all this, right?” Seems she hadn’t put two and two together when Gosling pointed her toward the mark on the floor where she was supposed to stand for the cameras.

Nope, the host said. We love this.

So Mendes went on. “I had so many amazing teachers mentor me,” she said, speaking rapidly and enthusiastically, “and I just want to say thank you to you guys.”

But Fallon reminded her that this was her day — her birthday. And Gosling pointed out that among the educators there were some band directors.

“Yes, we have band directors from North Bergen High School,” Fallon announced. “Ladies and gentlemen, here to play ‘Happy Birthday’ to Eva Mendes, we have the North Bergen High School marching band.”

And there they were, a dozen or two members of that marching band, in full regalia, with two people holding a “Happy Birthday Eva!” banner and the rest blasting out the familiar tune. The entire audience joined in serenading the woman of the hour as they clapped along. Mendes clapped along as well.

As a finale, yup, confetti blasted out over those onstage. And Fallon gave credit where it was due.

“That’s all him,” he said, indicating Gosling, which prompted Mendes to grab her beau’s face and start whispering into his ear. And that’s the most fans are likely to see the twosome behaving like a twosome in public, at least until maybe 2039 or so. Maybe for her 65th birthday. Or her 70th. Or perhaps their AI holograms will one day reveal whether they said “I do.”

By the way, all those teachers were the ones who got the birthday gift last night. Fallon announced they would be going to a special screening of “Project Hail Mary” after the taping, and the teachers’ delight was palpable.

Very nice, “Tonight Show.” You and Ryan Gosling made some people very happy Thursday. Including one Eva Mendes.

“Project Hail Mary” hits theaters March 20.

Bruce Johnston, a six-decade member of the Beach Boys’ live band, announced he will step away from the group.

The 82-year-old Johnston told Rolling Stone that “It’s time for part three of my lengthy musical career! I can write songs forever and wait until you hear what’s coming! As my major talent beyond singing is songwriting, now is the time to get serious again.”

The Beach Boys’ Mike Love also said in a statement that “Bruce Johnston is one of the greatest songwriters, vocalists, and keyboardists of our time. We’ve had the honor of his performance and participation for many many years with the Beach Boys. Change is always promised in life; today we find ourselves in a chapter of change, but not an end.”

Johnston originally joined the group in 1965, filling in as a live vocalist in place of frontman Brian Wilson, and earning a vocal credit on “California Girls.” He left the band in 1972 to pursue solo work, and penned Barry Manilow’s hit “I Write The Songs.”

Johnston returned to the Beach Boys in 1978, and continued to tour as the only member besides Love from the band’s original era. He also wrote several songs for the group, including “Disney Girls (1957),” “Deirdre” and “Tears in the Morning.” Johnston will be replaced by Chris Cron, vocalist for the Beach Boys tribute band Pet Sounds Live.

After Wilson’s death last year, Beach Boys fans still have several occasions to hear the catalog live. Love’s long-running edition of the Beach Boys will play three nights at the Hollywood Bowl over July 4 weekend (which Johnston said he’ll sit in on). Founding member Al Jardine is touring with Brian Wilson’s former backing ensemble, now called the Pet Sounds Band, with a set focused on the1977 LP “The Beach Boys Love You.”

In “Rooster,” a genial comedy premiering Sunday on HBO, Steve Carell, comfortable as an uncomfortable person, plays Greg Russo, the author of a best-selling series of books whose hero is named Rooster. He has come to leafy, fictional Ludlow College to give a reading, but also because it’s where his daughter, Katie (Charly Clive) teaches art history, and because it’s all over school that her husband, Archie (Phil Dunster), a history professor, has left her for Sunny (Lauren Tsai), a graduate student in neuroscience. He’s a concerned father.

“They are light; they are fun. The characters that you like have sex, the ones you don’t get shot in the face,” Greg tells poetry professor Dylan (Danielle Deadwyler) of the “beach read” books he writes, as she ushers him to an auditorium. Unlike his fictional alter ego, Greg is by his own account a self-conscious introvert, heightened by the fact that his ex-wife, Elizabeth (Connie Britton) — “a philanthropist, a pioneer in corporate gender equality and an accomplished CEO” whose name adorns the school’s new student center — left him five years earlier and he never moved on. Additionally, Greg likes nuts and cocoa, can toss a penny into a jar from across a room, and played minor league hockey, which will put him back on skates here.

College president Walter Mann (John C. McGinley) decides it would be “a feather in his cap” to hire a reluctant Greg, “a best-selling author that the parents have actually heard of,” as an artist-in-residence — a deal he makes impossible to refuse by agreeing to keep Katie on staff after she accidentally burns down Archie’s house. (She was only trying to burn his first edition of “War & Peace.”) It’s a role quite like the one McGinley played/plays on “Scrubs,” but more politic and better dressed, when dressed — he takes meetings in his backyard sauna.

And they’re off.

Poetry professor Dylan (Danielle Deadwyler) and author Greg (Steve Carell) become colleagues when Greg is named artist-in-residence.

(Katrina Marcinowski / HBO)

The series was created by Bill Lawrence (“Ted Lasso,” “Shrinking,” “Scrubs,” “Bad Monkey”) and frequent collaborator Matt Tarses, and as men of at least a certain age, the view is slanted from experience back toward innocence; students play a secondary, though not insignificant role in the story. There are some pro forma jokes about the sensitivities of the young, with Greg getting into not-very-hot water over misunderstood references to “white whale” and the Bangles’ “Walk Like an Egyptian.” (“Liberal arts college used to be havens for free thought, Greg,” says Walt. “When did you and I become the bad guys?”) Not that the olds are reliably smart about life — the ways in which they’re not power the series — but they have a better notion of where they’re stupid.

“No one must be humiliated,” Greg says to Archie, quoting Chekhov, as Archie goes off to talk to Katie. (The quote is in the animated opening titles as well, so you can take it as important.) But no one here is out to humiliate anyone, which is nasty and unkind and not at all the sort of humor Lawrence trades in. Of course, characters will be put into embarrassing positions, or embarrass themselves, embarrassment being the root of all comedy, or near enough. (There’s a good bit of slapstick knitted in.) And though we’re told that “there are real villains lurking around this place,” niceness reigns — at least through the six episodes, of 10, available to review — with the possible exception of Alan Ruck as the dean of English. (“There’s no way she wrote all these poems,” he says of Emily Dickinson.)

Though there are couples, and ex-couples and new couples, one doesn’t necessarily feel invested in their getting together, or staying together, or getting back together. Indeed, as in other Lawrence projects — which typically feature divorced or separated characters — romance is a sort of side dish, less the issue than whether people are managing to treat one another well. We knew Ted Lasso wasn’t going to get his wife back, but it wasn’t the point (nor was winning games, really); kindness was what mattered. Greg’s possibly pre-romantic friendship with Dylan is no more significant than his cross-generational friendship with a group of goofball students (led by Maximo Solas as Tommy); they treat each other as peers, while knowing they aren’t. He teaches them that peanut butter can make celery better, and they teach him that he’s cooler than he thinks.

Katie, who says she still loves Archie — who says he still loves her — will also call him “a run-of-the-mill narcissistic a— who sometimes smells like wildflowers.” (As for Sunny, practical and deadpan — that no one gets her jokes is a running joke — not even Archie can see what she sees in him, a problem you might have as well, but, as is true of most everyone here, we’re not meant to merely write him off. Funny secondary characters, who get some of the best business, notably include Rory Scovel as a cop who can’t keep track of his gun, Robby Hoffman as Sunny’s intense, anti-Archie roommate and Annie Mumolo (co-writer of “Bridesmaids”) as Walt’s arch assistant.

Old-but-not-that-old-fashioned, “Rooster” has a tinge of Gen X nostalgia, underscored by the ’80s college radio classics that line the soundtrack. (R.E.M.’s Michael Stipe co-wrote and sings the series’ theme, and Greg, drunk and in a mood, will kill a party getting the DJ to play “Everybody Hurts.” Directed by Jonathan Krisel (“Portlandia,” “Baskets”), it’s low stakes, soft-edged, humane, basically gentle, a little fantastic, a little farcical, well cast and well played in every instance — qualities I happen to like, and maybe you do, too.

NOEL Gallagher has reportedly grown close to socialite Tori Cook following his split from long-term girlfriend Sally Mash.

Friends of the pair have told the Mail on Sunday: “Tori and Noel are getting on really well and are enjoying each other’s company.”

According to the publication, Tori split from her husband three years ago, with whom she has two daughters with.

Noel, 58, and Tori, 44, are said to have been friends for almost a decade and she’s also pals with Sally.

She was on hand to support him at the Brit Awards where he was awarded Songwriter Of The Year in his home city of Manchester.

The two celebrated his win at an after-party at Soho House, along with his daughter Anais, 26, who she has “formed a bond” with, according to pals.

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She shared a snap at one of his Oasis tour dates last year with a group including the man himself and Sally.

The Sun have contacted Noel’s representatives for a comment.

It was announced this week that the Oasis singer had split from now-ex Sally after two years together.

Friends claimed that the pair called it a day earlier this year but insisted there was no “bad blood” between them.

A pal told The Sun: “Noel and Sally split earlier this year.

“There was nothing dramatic, it was amicable. They just weren’t right for each other.

“Noel and Sally have stayed the best of friends. There’s no bad blood there.”

The Sun first revealed the couple were dating back in October 2023.

Sally, whose exes include former Pop Idol judge Neil Fox, was Noel’s first public relationship since the end of his marriage to Sara MacDonald.

Noel confirmed it the following April, saying: “I’ve punched above my weight several times in my life. I think if you can make a girl laugh the battle is more than won.”

Noel also said she was “cool” about 1996 Oasis hit Don’t Look Back in Anger, on which he famously belts out the line: “So Sally can wait.”

Sally joined Noel on the Oasis tour last year — the band’s first since Noel and brother Liam’s bitter break-up in 2009 — including backstage at the momentous opening night in Cardiff in July.

The following month, Sally, who runs a private members’ club in Chelsea, was with Noel and ex-Doctor Who star Matt Smith at dinner in London.

Noel is dad to three children – he had daughter Anais with his first wife Meg Mathews and sons Donovan and Sonny with his second wife, Sara MacDonald.

The icon took to the stage at the Co-op Live Arena in Manchester last week to accept his Songwriter Award.

During his short acceptance speech Noel thanked his Oasis bandmates, including his brother Liam Gallagher.

“They brought those songs to life, without them I’d just be a singer-songwriter and no one gives a s**t about singer-songwriters,” Noel began.

He also said a big thank you to their millions of fans.

“More importantly, I’d like to thank you, the people who’ve kept those songs alive for the last 35 years.

“Without you, you’ve given us the most extraordinary life, and thank you very much for that. Have a great night,” Noel concluded.

They knew he was going to break. And they leaned into it.

That’s the only explanation for this week’s Ryan Gosling-hosted episode of “Saturday Night Live,” which at times felt more like an inside cast joke than a typical “SNL” episode. But maybe it’s the “Project Hail Mary” actor’s innate charm or that there were genuine laughs to be mined from Gosling breaking character again and again throughout the show (as he did just two years ago) that made it somehow work.

Gosling kept his cool for the most part in a well-executed monologue that focused on next week’s host and musical guest Harry Styles, who was sitting in the front row and inadvertently driving Gosling to distraction with his coolness. But after that, it was a short trip to Giggle Town as Gosling tried valiantly to play a flamboyantly dressed disruptor at a wedding who keeps tapping his glasses so the bride and groom (and others) will kiss.

In a fantasy sketch, he played one of three very dumb cyclops who can’t solve easy riddles, much to the dismay of two maidens — one of them, the usually unflappable Ashley Padilla, caught the giggles from Gosling and couldn’t stop laughing. Padilla and Gosling were a teacher and principal in another sketch reading passed notes out loud that, according to text on screen, were swapped out since rehearsal, causing both to crack up uncontrollably. It was the first “SNL” sketch in a long time, not counting “Weekend Update,” that felt like a prank on the performers.

Gosling stayed in character for the most part as an annoyed hotel patron who’s been overcharged for visits from the “Goo Goo Man.” And he had less opportunity to lose his cool in some pre-taped sketches, one a violent and sad Willy Wonka parody, the other about a sentient and weird treatment for psoriasis, “Otezla.”

Whether you enjoyed the episode would depend a lot on your tolerance for “SNL” performers breaking character and causing cast members to do the same. Gosling may be one of the few hosts who can get away with it since by this point, it’s his fourth time hosting and it’s completely expected.

The show concluded with “Lies,” a video sketch from Please Don’t Destroy’s Martin Herlihy in which, among other things, Herlihy stole Colin Jost’s identity by wearing a giant head modeled after the “Weekend Update” host.

Musical guests Gorillaz performed their 25-year-old hit “Clint Eastwood” with Del the Funky Homosapien and new song “The Moon Cave” with Asha Puthli, Anoushka Shankar and Black Thought. A memorial card before the goodbyes honored Sandy Wernick, Adam Sandler’s longtime manager, who died this week.

Jost returned as Secretary of Defense Pete Hegseth, who was introduced doing a keg stand (but full of Sprite, he claimed), before launching into an explainer about the conflict in Iran. “We’re treating Iran like the breathalizer in my car and blowing it the hell up!” he said. He paraphrased Papa Roach’s “Last Resort” (“Cut Iran into pieces!”) and described the U.S. in Iran as not a war but a “situationship” where if the United States gets bored, it will go hook up with Cuba next. After shouting out “Grand Theft Auto,” Megan Fox’s return to Instagram and Quagmire from “Family Guy,” Hegseth introduced former Secretary of Homeland Security Kristi Noem, whom he said was “reassigned under the bus.” Noem (Padilla) said she wasn’t fired, she self-deported and will soon be working out of a WeWork outside of Denver. “As I told my plastic surgeon, the work is never done,” she said, “you miss 100% of the dogs you don’t shoot.” It must be said: it was a relief to have a cold open that didn’t feature a rambling President Trump.

In his monologue, Gosling began going through the motions of singing a song about Earth (with a planetary model hanging down as a visual) before getting distracted by pop star Harry Styles in the front row. Styles, next week’s “SNL” host, said he just wanted to get a feel for it. Before long, smitten cast members, including Sarah Sherman and a cameraman wearing an I (Heart) Harry shirt who kept focusing on Styles, proved too much for Gosling, who called off a big song and dance number featuring most of the cast in silver space attire. Gosling started to sing “Sign of the Times” which is featured in his film “Project Hail Mary” before realizing it’s a Harry Styles song. “I’m just Ken!” Gosling flailed. Cast members consoled him, including a kiss on the cheek from Mikey Day that sent Gosling into a spontaneous giggle attack. Gosling thanked Kenan Thompson for coming out to support him. “We just came to get a better look at Harry,” Thompson replied.

Best sketch of the night: Riddle me this, why are these cyclops so dumb?

In a sketch based on a fictional book, “The Treasure of Darlor,” three cyclops led by Gosling must get past two maidens (Padilla and Veronika Slowikowska) in order to get the key to a cave that will grant them, presumably, the treasure of the book’s title. But the cyclops can’t solve the simplest of riddles and the increasingly exasperated maidens, who’ll be free once a riddle is solved, can’t get them to stop approaching the cave or from making terrible guesses. It’s hard to tell how far off script the sketch went once Gosling and Padilla began breaking character, but the characters are so silly and dumb that precision actually doesn’t matter too much and the result is a ramshackle hilarity as they keep going in semantic circles.

Also good: No notes. Seriously, no more notes, please

Maybe this was funnier for those on stage than for those watching at home, but the audacity of a sketch in which material is swapped out before air time (as we’re told in an on-screen warning) to unaware cast members and the host, breathed life into what would have otherwise been a pretty routine sketch about a teacher (Padilla) and a principal (Gosling) trying to discipline unruly students. Padilla almost never breaks in sketches; she’s a rock-solid performer, but without any advance knowledge of the jokes in notes she had to read out loud, she simply crumbled. Gosling never had a chance. The jokes in the notes are not all great, but they’re enough to have their intended effect on the two performers. The laughing becomes infectious.

‘Weekend Update’ winner: Pastor Update was really itemizing those backstage snacks

The next best thing we might get to a new “What Up With That?” sketch might be Thompson as Pastor Update, the official pastor to “Weekend Update” who was joined by his bandleader Teddy (James Austin Johnson). The two brought some soulful rumination on catered snacks and beautiful women with big foreheads. When Michael Che asked for something a little more uplifting, Pastor Update instead went after Che’s online habits, praying he “gets off his laptop looking at them nasty pictures on the computer.” The laptop, he sang, has been infected with so many nasty viruses it sounds like a lawnmower starting up.

FEW got on the wrong side of drug lord Pablo Escobar and lived to tell the tale – let alone survived him putting out a contract on their life.

But Godfather actor Gianni Russo, 82, is no ordinary bloke. He was employed by some of America’s most notorious Mafia kingpins and sensationally claimed Marilyn Monroe took his virginity. Now, he reveals the astonishing story of how he went from mob notoriety to Hollywood fame – and how he escaped death in the process.

The New Yorker’s blockbuster life began dramatically when he nearly died aged six from polio, only surviving thanks to an experimental vaccine trial that cured him but led to the deaths of half of the patients on the hospital ward.

After a lengthy five-year recovery, Russo started out selling ballpoint pens on the streets of New York aged 13.

It was here that he first crossed paths with Frank Costello, a mob boss from the Luciano crime family, who offered him work. 

This induction into the mob world would lead to him becoming pally with the likes of Frank Sinatra, Monroe and Al Pacino, as well as bagging acting roles including in the first two Godfather films, Rush Hour 2 and Red Dragon. 

And it was his portrayal of Carlo Rizzi, the abusive husband of Connie Corleone, in the first Godfather movie that would save his life in the unlikeliest fashion.

Surviving “King of Cocaine” Escobar’s wrath – after surrendering himself to the Colombian drug lord and being interrogated in a prison cell three floors underneath his mansion – was among Russo’s biggest feats.

Escobar had put a hit out on the actor after he shot dead Lorenzo Morales, a hitman from his Medellin Cartel, in a 1988 Las Vegas nightclub.

The fatal altercation came after Morales stabbed a woman he had taken to dinner at Russo’s venue and then slashed the Godfather star’s face with a broken champagne bottle.

Russo tells The Sun: “He spins around and goes for my throat. Fortunately I react, I was agile enough, but he cuts me on my jawline, which required 81 stitches, and I’m bleeding.

“I said, ‘Look what you did to my shirt.’ He cut me but I’m worried about my shirt. I just wanted to get my hand on my gun and as soon as I did, I put the gun at his forehead.

“I told him, ‘Now go out the door’. He said, ‘F*** you’. I shot him… The cops came and took me to the hospital.”

Russo wasn’t charged with the killing due to it being ruled a justifiable homicide by the Nevada District Attorney’s Office.

But he knew he was a wanted man when Morales was revealed to be part of the Medellin Cartel.

Despite knowing he was unlikely to return, Russo travelled to a church in Colombia to meet face-to-face with the drug lord – a meeting arranged by mobster John Gotti, head of New York’s Gambino crime family. 

Russo adds: “Understand one thing, Escobar believed in killing your pets, your children, your family, and you last. I wasn’t going to let that happen.” 

Seconds after greeting Escobar, he was hit from behind and woke up in the cartel lord’s famous “mansion prison”, which he had built to avoid extradition to the US for drug charges.

“I was strapped to a chair, the stench was unbelievable,” Russo says. 

“I thought I was hallucinating. [Escobar] had a book in his hands. The book was ‘Making Of The Godfather’. He said to me, ‘Why didn’t you tell me you were Carlo in The Godfather? I loved that movie.’”

In a Hollywood-style twist, Escobar instructed his associate to clean-up Russo, treat his injuries and take him to his dining room, where the Colombian would later probe: ‘Why did you come here?’

Russo replied: ‘What would you have done if someone was going to kill your daughter? I had to come here. Kill me now and leave my family alone.’

He continues: “He walks towards me, I don’t know if he was going to cut off my head or what, but he kissed me. He said, ‘They don’t make men like us anymore. Go home, I’ll handle this’. 

“So, we sat down, had dinner, we talked, it was amazing. But he was a frightening man.”

Russo bagged his role in The Godfather after serving as a liaison between Paramount Studios and the Colombo crime family, who had threatened to stop the film’s production through their vice-like control over the unions.

He recalls petitioning crime boss Joe Colombo, who objected to the movie because it “basically identified every Italian as a gangster”, by telling him: “Listen, we can make a lot of money from this.” 

Eventually, Russo talked him around and was given the role of Carlo in the iconic 1972 movie “as my reward”.

Not everyone was happy he got the part, including Marlon Brando. The legendary star, who played Don Vito Corleone, was desperate to succeed in his “comeback film” and wanted everything to be perfect.

“When he found out that I wasn’t even an actor, he tried to get me fired,” Russo said. “I worked that out with him and we became friends.”

Similarly, Russo says co-star James Caan, who played Sonny Corleone, “hated me from day one” because of his corrupt connections. 

Caan also believed he lost out on the role of Michael Corleone to Al Pacino because of Russo and his mobster allies.

John Gotti rival

By the time Russo starred in The Godfather, he had already made a fortune from criminal activities.

He was sitting on an estimated £1.5million fortune, having worked as a ‘messenger’ for mafia families and run multiple crooked businesses including casinos.

Russo was taken under mobster Frank Costello’s wing out of respect for his Sicilian uncles, who had helped to send the Mafia crime families over to America and were hanged for their criminal activities.

He says being “given so much respect so early on” angered future Gambino crime boss Gotti, who was then a “hijacker, earning big money” and desperate to become a ‘made’ man.

Was I upset? No. I’d just had sex with America’s hottest movie star and sex symbol.

Gianni Russo

Russo’s biggest money-spinner was laundering “hundreds of millions of dollars” skimmed from casinos and other illegal businesses through the Vatican Bank with the help of a corrupt bishop in the 1970s.

Then came his big screen debut in The Godfather, which changed his life forever and was a film that “the mob loved”. 

Russo says: “The Godfather was my first film. I was young, I was making big money and with my ego, I wanted to become an actor.

“The movie premiere was like a dream come true for me because 10 years earlier I was selling ballpoint pens to people and now I was in the biggest movie ever in the world.”

‘Marilyn taught me everything’

Fame, coupled with Russo’s mob connections, led to a series of high-profile celebrity romances. He would go on to father 13 children with 10 different women.

He dated I Say A Little Prayer singer Dionne Warwick in the 1980s, the actress Zsa Zsa Gabor and Cabaret star Liza Minnelli.

“I really like Liza, I couldn’t say anything bad about her, she’s just fun, enjoys life,” Russo said through laughter.

But perhaps his most famous dalliance came earlier with Marilyn Monroe, then 33, who he sensationally alleged took his virginity when he was 15. 

Gianna was working at a hair salon in New York and says the Some Like It Hot star always requested him to wash her hair. 

He claims one day Marilyn’s advisors invited him to her suite in the Waldorf Hotel and they bonked for the entire weekend, leaving him struggling to walk after . 

Russo recalled her standing in her messy room, which he compared to “like the set of a disaster movie”.

She was holding a flute of champagne, wearing just a towel which she promptly dropped and invited him to join her in the bath. 

“My heart was pounding,” he said. “Like an idiot, I covered my eyes, which made her laugh.

“I began undressing, praying I wouldn’t trip over my pants and fall on my ass, and then entered the tub. I’ll be ­honest, I had no idea what to do, or what she expected.

“We wound up in bed for the entire weekend, climbing out only when needed. It was my first ­experience of room service, and it added to the fantastic experience.”

The one issue was that Russo was just 15 years old – but the actor had no regrets, even boasting “she taught me everything I know” and he felt like “the luckiest boy alive”.

He said: “If it had happened today, I think she’d be arrested and my parents would have tried to get some cash out of it… Was I upset? No. I’d just had sex with America’s hottest movie star and sex symbol.”

Russo has lived a life few could imagine – he’s hung out with everyone from Pope John Paul II to Donald Trump.

He dubs himself “the Hollywood Godfather” but despite the title and his murky past, he insists: “I was never in the mob but I was around it and was friends with some of the big names.

“They (police) tried to tie me to the mob but I never got a traffic ticket let alone association.”

Russo has released multiple books and is currently touring the UK and Ireland as part of a one-man theatre show, which reveals all about his colourful life and how his film debut was a seismic moment for him. 

He adds: “The Godfather changed my life. I don’t know what my life would be without The Godfather. It’s still changing my life now.”

Russo Russo’s new book Mafia Secrets Untold Tales From The Hollywood Godfather is out now.  

DIANNE Buswell has shown off her blossoming baby bump after being forced to shut down rumours she’d secretly given birth.

Strictly star Dianne and long-term partner Joe Sugg jokingly shut down the rumours after an AI photograph of them cradling a baby was spread online.

The photograph was so realistic that family and friends had reached out to them to “congratulate them”, albeit confused they hadn’t been told.

Today, Dianne showed off her classic jokey charm with a TikTok video set to a sound clip from Friends.

In the video, Dianne pushes a baby stroller in front of the camera, while wearing a bright green jacket.

She then whips it back to reveal her bare baby bump in a sports bra and leggings and declares: “That’s right, still no baby!”

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Dianne then covers the bump back up with the jacket and struts out of shot.

This isn’t the first time Dianne has combatted the internet with a comedic take, previously hitting back at trolls who questioned why her baby bump is always on-show.

She shared a TikTok video over the top of which she’d written one of the remarks: “But why do you always have your belly out?”

She had KC and the Sunshine Band’s That’s the Way (I Like It) playing in the background, as she captioned the video: “Because that’s the way I like it!”

Joe and Dianne announced they were expecting their first baby last September, shortly before Dianne returned to the dancefloor for Strictly Come Dancing 2026.

The returning champion dancer was partnered with Neighbours actors Stefan Dennis, however unfortunately the pair were forced to withdraw in week four because he sustained an injury.

Her participation made Strictly history as she was the first pro to compete while pregnant.

Dianne and Joe met thanks to the BBC competition, as they were partnered together on the sixteenth series of the show back in 2018.

They proved to be an impressive partnership as they managed to make it all the way to the final before falling at the final hurdle and losing out to Stacey Dooley and Kevin Clifton.

They confirmed their relationship shortly after, with Joe declaring in an Instagram post that he’d “got something better than the glitterball”.

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

If you are anything like me, you felt pretty out of sorts this week, not sure how to process the news that we are suddenly, apparently, a nation again at war. It can make the movies seem frivolous — a glorious, privileged sandbox to stick your head in — but it is also times like these that make them seem most vital and necessary: a place to focus energy and anxiety and maybe figure things out.

I was particularly struck by something New York Times critic Wesley Morris said in an appearance on the podcast “The Big Picture.” He was ostensibly talking about the downside of the Paramount-Warner Bros. merger news (“These people are f— with our dreams here” is how he began) but he landed on why movies matter in their moment, crucial to “how we develop as a culture, how we come to understand ourselves as a people, what this country ought to or should look like 40 years from now.”

The week’s big new release is Maggie Gyllenhaal’s “The Bride!” a sort-of adaptation of 1935’s “Bride of Frankenstein” starring Jessie Buckley and Christian Bale that is also very much its own thing, purpose-built to drive some people up a tree and already sharply dividing critics.

Christian Bale and Jessie Buckley in the movie “The Bride!”

(Niko Tavernise / Warner Bros. Pictures)

In her largely positive review, Amy Nicholson calls the movie “an unhinged scream,” adding, “‘Every wacky second, you’re well aware how perilously close it is to falling apart at the seams. This spiritual sequel to ‘Frankenstein’ is a romantic tale of obsession, possession and fantasy — adjectives that also apply to its filmmaker, Maggie Gyllenhaal, who expends massive quantities of energy jolting it to life. She succeeds by the skin of her teeth.”

I interviewed Gyllenhaal about “The Bride!” — including the significance of that exclamation point in the title. There have been numerous reports about a back-and-forth between the filmmaker and execs at Warner Bros. and Gyllenhaal didn’t shy away from talking about it. She had specific praise for Pam Abdy, co-chair and co-chief executive of Warner Bros. Motion Picture Group.

“Something really alive was born, and I think the movie is better for the work that she and I did together,” Gyllenhaal told me. “I know that’s an unusual thing to say. I know that you have lots of people saying like, ‘Ah, the studio f— my movie up.’ That is not my experience. It’s really not.”

Louis Malle’s ‘…and the Pursuit of Happiness’

A scene from Louis Malle’s documentary “…and the Pursuit of Happiness.”

(Janus Films)

On Saturday, in a co-presentation of 7th House at the Philosophical Research Society and El Cine, the will be a 16mm screening of director Louis Malle’s 1986 “…and the Pursuit of Happiness,” a documentary made for television that explores the immigrant experience in America. The French-born filmmaker traveled across the U.S. interviewing recent arrivals from all walks of life.

Writing about the film in 1988, The Times’ Kevin Thomas called it “an often amusing and always insightful survey of the contemporary emigre experience. … an irresistible array of vignettes depicting cultural accommodation and assimilation in all its variety.”

I got on a video call this week with 7th House programmer Alex McDonald and El Cine founder Mariana Da Silva to talk about why this movie matters now.

The movie is streaming on the Criterion Channel right now. Why was it important to also put this movie in front of audiences right now?

Alex McDonald: I think Mariana and I are on the same page with this. I never let streaming or home video availability deter programming. Growing up, the theater was a holy place, a cathedral of congregation. I feel like these films are meant to be seen with an audience. And thankfully, I feel like our audience recognizes that as well, even if the film is out there. Particularly in our current moment, it’s a very prescient film and it’s one that will be all the more powerful within community.

Mariana Da Silva: I agree fully. One of the biggest things within our program is the communal aspects — just seeing the same people come back, that trust that develops with the audience. The best part I love about going to movie theaters is standing outside with people I maybe would never speak to and having a conversation about a film.

A scene from Louis Malle’s documentary “…and the Pursuit of Happiness.”

(Janus Films)

Do you respond to a movie like this as a sort of time capsule of how things were, or is it important to you that it is saying something about what’s happening right now?

McDonald: That’s something I’m very conscious of when I program repertory titles. When I program social, politically minded films, a lot of what I’m trying to do is to show that the issues within these things have not really changed — the ways in which things have progressed, the way in which we have regressed. Malle has such a humane view on all of these people in the film. He narrates but he doesn’t really editorialize. He just sort of observes, and in doing so, he’s making the most compelling argument for the richness of diversity and everything that these people contribute to this country, what they lose in assimilation, what they have to give up and what they bring. There’s a complexity to it. There are certainly dissenting voices in it and those resonate differently now.

It wasn’t perfect then. Obviously, there’s always been conflict, but I think there was an open-heartedness that has really shifted. And this is kind of a poignant reminder of what we need to try to get back to and recognize.

Da Silva: If we were able to have these conversations more openly, it would put us all on an even playing field. Humans are flawed. There’s been a lot of miseducation. In this moment, especially for me as somebody who is an immigrant, I feel like there’s so many people who I know who are so liberal and so aware, but then they don’t really understand the experience of the immigrant. And it’s not their fault in any capacity. They just haven’t been exposed to somebody like me before.

I think we can all come together on the things we celebrate, but we also need to be very open and come together on the things that we differ on too.

Points of interest

‘Good Night, and Good Luck’ in 35mm

George Clooney, left, and David Strathairn in the 2005 movie “Good Night, and Good Luck.”

(Melinda Sue Gordon / Warner Independent Pictures)

On Sunday afternoon at the Los Feliz Theater, as part of the American Cinematheque’s ongoing “Sunday Print Edition” series, there will be a 35mm screening of George Clooney’s “Good Night, and Good Luck,” introduced by The Times’ own Rosanna Xia.

Starring David Strathairn as pioneering television journalist Edward R. Murrow at the height of the McCarthy era, the film was nominated for six Oscars, including picture, director, actor and original screenplay.

As Kenneth Turan wrote in his original review, “‘Good Night, and Good Luck’ couldn’t be more unlikely, more unfashionable — or more compelling. Everything about it — its look, its style, even its sound — stands in stark opposition to the trends of the moment. Yet by sticking to events that are half a century old, it tells a story whose implications for today are inescapable. … The son of a TV anchorman, Clooney had the nerve to believe that a drama of ideas could be as entertaining as ‘Desperate Housewives.’ He insisted that a fight for America’s soul, a clash of values over critical intellectual issues like freedom of the press and the excesses of government, had an inherent intensity that would carry everything before it. And it does.”

‘Days and Nights in the Forest’ 4K restoration

An image from Satyajit Ray’s 1970 drama “Days and Nights in the Forest.”

(Janus Films)

Now playing at the Laemmle Royal in a new 4K restoration undertaken by the Film Foundation is Satyajit Ray’s 1970 “Days and Nights in the Forest.” In this examination of masculinity and class, four male friends drive from the bustling city of Kolkata to a rural village, mixing with the locals with volatile results.

In a special video introduction, Wes Anderson, a longtime admirer of Ray, admits he lifted a scene from “Days and Nights” for one of his own films — 2023’s “Asteroid City” — and says, “Anything by Satyajit Ray must be cherished and preserved, but ‘Days and Nights in the Forest,’ I think you will agree, is one of the special gems among his many treasures.”

‘Grease 2’ returns

Michelle Pfeiffer on the set of “Grease 2” in 1981.

(Vinnie Zuffante / Getty Images)

The Cinematic Void series at the American Cinematheque will show 1982’s pastiche musical “Grease 2” on Monday. Directed by choreographer-turned-filmmaker Patricia Birch, the film is, of course, a sequel to 1978’s megahit “Grease” but it is also very much its own thing. Largely dismissed on initial release, it has found a growing following over the years thanks in large part to its extremely engaging young cast, including an on-the-rise Michelle Pfeiffer.

In his initial review (more complementary than one might expect), Kevin Thomas wrote, “There’s so much youthful talent and vitality in ‘Grease 2’ that it’s depressing to discover it is so unblushing and relentless and paean to ignorance. … This is a pity, because Birch displays an organic sense of how to make dance evolve out of the kids’ everyday activities — converging en mass at Rydell High on the first day of school or having fun at the bowling alley. But Birch has scant opportunity beyond letting us know she cares for these ignoramuses, most of who seem likable enough beneath aggressively crude exteriors.”

Anti-fascist films at UCLA

Ingrid Bergman and Charles Boyer in the 1948 drama “Arch of Triumph.”

(Enterprise-UA / Photofest)

The ongoing series at the UCLA Film and Television Archive titled “From John Doe to Lonesome Rhodes: Anti-fascism from the Archive” hits a real stride this weekend for two nights of restored rarities. On Friday comes a restored 35mm print of 1948’s “Arch of Triumph,” directed by Lewis Milestone and starring Ingrid Bergman, Charles Boyer and Charles Laughton in a romantic drama of refugees in 1938 Paris. Also playing is Arthur Ripley’s rare 1944 emigree drama “Voice in the Wind.”

Much of the press around the film at the time of its release had to do with the challenge of bringing the racier aspects of the novel by Erich Maria Remarque (“All Quiet on the Western Front”) to the screen. As producer David Lewis told The Times’ Philip K. Scheuer, “I promise you that as Joan, Ingrid Bergman will set the town on its ear. They’ll never think of her as anything but sexy again.”

Saturday brings the world premiere of the 35mm restoration of Walter Comes’ 1947 “The Burning Cross,” in which a returning veteran is recruited into the KKK. John Reinhardt’s 1948 “Open Secret,” about antisemitism, will also play in a 35mm restoration.

The series concludes next week with a 35mm screening of Elia Kazan’s 1957 “A Face in the Crowd,” starring Andy Griffith in an examination of the dark side of populist politics and media manipulation.