SHOW BIZ

SCOTT Mills has been a staple on our screens and radios for decades, bringing audiences the breakfast shows on Radio 1 and 2 over the years.

But on March 30, 2026, the Dj was axed by the BBC over reported allegations about his “personal conduct”.

The BBC said: “While we do not comment on matters relating to individuals, we can confirm Scott Mills is no longer contracted to work with the BBC.”

As reported by the Mirror, Lorna Clarke, Director of Music at the BBC, confirmed the sacking in a statement to staff.

It read: “I wanted to personally let you know that Scott Mills has left the Breakfast show, and the BBC.

“I know that this news will be sudden and unexpected and therefore must come as a shock.

“Not least as so many of us have worked with Scott over a great many years, across a broad range of our programmes on R1, 5Live, R2 and TV.

“I felt it was important to share this news with you at the earliest opportunity.”

Who is Scott Mills?

Scott Mills is a radio presenter from Eastleigh, Hampshire.

He began his career at the age of 16 as a host of his local radio station Power FM.

He was given the graveyard slot (1am-6am) on the station and became the youngest permanent presenter on mainstream commercial radio.

Scott later went on to work at GWR FM Bristol, Piccadilly Key 103 in Manchester and Heart 106.2 in London before becoming a national radio star.

Scott joined Radio 1 in 1998 as a presenter for the early breakfast show between 4am-7am.

In July 2005 he shifted to an early-evening weekday slot while covering for Sara Cox who was on maternity leave.

Sara decided to not return so the slot became The Scott Mills’ Show from 1pm-4pm, Monday to Friday.

When did Scott Mills join BBC Radio 2?

It was announced on July 1, 2022 that Scott was set to join Radio 2.

His show, which ran from 2-4pm, began on 31 October of that year.

The show replaced Steve Wright in the Afternoon which ended in September 2022.

He later took over the Radio 2 breakfast show on January 27, 2025.

When he announced he was leaving Radio 1, Scott said: “Time actually does fly when you’re having fun, and that’s certainly been the case over the past 24 years at my beloved Radio 1.

“The station I pretended to be on in my bedroom from the age of six.

“The station I told my mum I wanted to work at, but never in a million years thought I would.”

What else has Scott Mills presented?

Scott has also appeared on a number of TV Shows.

From 2006-2007 he appeared as a reporter Paul Lang in the medical soap Casualty.

He has also been a contestant on Never Mind The Buzzcocks, Supermarket Sweep, Mastermind and Most Haunted.

In 2009 Scott Mills: The Musical played for three nights at the Edinburgh Fringe festival.

In 2010 he did another fringe show The Bjorn Identity which was The Bourne Identity to the music of ABBA.

He’s also commentated on Eurovision since 2011.

Is Scott Mills married?

Scott is married to his husband Sam Vaughan.

The pair started dating in 2017 before getting engaged in 2021.

in June 2024, the couple tied the knot in a lavish ceremony in Barcelona.

KYLIE Jenner knows how to drive her fans wild, and her latest bikini photos do not disappoint.

The beauty mogul, 28, sent her followers into meltdown when she shared a series of sexy beach snaps from her luxury holiday.

Taking to Instagram, Kylie shared a slew of snaps of herself enjoying a dip in the idyllic ocean, whilst on vacation.

The A-list star wore a black string triangle top bikini with matching thong bottoms.

Kylie was then seen pulling various poses in the clear water.

In one snap, the Kylie Cosmetics mogul had a big smile on her face, which matched the caption of her photos, as it read: “Having the time of my life.”

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Fans went wild for the pics, which saw Kylie’s curves spilling out of the tiny two piece.

“Absolutely stunning,” one wrote.

Another said: “Happy looks so good on you!”

A third fan swooned: “You are just too hot!!”

While Kylie’s sister Khloe Kardashian wrote: “Beyond jealous.”

The new photos come just a day after Kylie thrilled fans with more sexy beach snaps.

Yesterday, the star was seen again wearing a skimpy bikini as she frolicked on the idyllic shore.

In one snap, she was seen lying in the water as her skin glistened in the sun and in another she’s on bended knees, hair falling loose as she gazed up towards the sun.

Kylie is having the time of her life right now, and is also enjoying a romance with actor Timothee Chalamet, 30.

The Kardashians star recently stunned in a body-hugging sparkly red gown at the Oscars while supporting her nominee boyfriend.

Showing off her outfit on Instagram, Kylie hinted in the caption that her look channelled the sexy cartoon character, Jessica Rabbit.

Meanwhile, her partner Timothee was a top contender for Best Actor for his performance in sports drama Marty Supreme but lost to Sinners star Michael B. Jordan.

However, the Marty Supreme star was the butt of jokes having angered the arts world by stating nobody cared about ballet and opera.

And his comments came back to haunt him as Academy Awards host Conan O’Brien said: “Security is very tight tonight. There’s concerns about attacks from the ballet and opera communities.”

He waded in again later, saying to Timothée: “We’re vibing, right?”

He then told viewers: “He doesn’t think so.”

Alexandre Singh, who won Best Live Action Short Film for Two People Exchanging Saliva, also took a pop during his speech and said: “We believe art can change people’s souls.

“Maybe it takes ten years, but we can change society through art, through creativity, through theatre and ballet — and cinema.”

BRITNEY Spears has reunited with her sons Jayden, 19, and Sean Preston, 20, as she stripped off to a thong after her DUI arrest three weeks ago.

Gimme More singer Britney has also returned to Instagram amid the chaos as she shared a sweet video alongside her youngest son Jayden.

The teenager was spotted wearing a long tan coat and a white t-shirt as he recorded him and his mum posing up in a mirror.

Britney wore some tiny white lace shorts and a cropped white lace shirt.

She captioned the post: “Thank you guys for all your support… spending time with family and friends is such a blessing !!!

“Stay kind !!!”

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Britney was also seen enjoying a boat trip with both her boys as they were snapped on the deck, grinning ear-to-ear.

Sean, Britney’s eldest son, had his arm wrapped around his mum’s shoulders as he gave her a hug.

The 44-year-old’s rep has told PEOPLE how Britney would be prioritising her two sons, who she shares with her rapper ex Kevin Federline, after she was nicked on suspicion of a DUI.

They said: “Her boys are going to be spending time with her. Her loved ones are going to come up with an overdue needed plan to set her up for success for well being.”

Jayden and Britney previously spent Christmas together with a source telling PEOPLE they “had a fun time” and it was “so special.”

The pair reunited in November 2024 and have enjoyed spending time together ever since, sources told the publication.

Meanwhile, Sean celebrated the holiday without the hitmaker as he was seen in Louisiana alongside his aunt, Jamie Lynn Spears’ family.

Britney was also spotted stripping off to a neon green thong bikini as she danced around on a boat.

She was arrested earlier this month on March 4  after being caught with an “unknown substance” in her car following an hour-long police chase.

The mum-of-two was booked for drunk driving in Ventura County, California, after cops spotted a BMW erratically “braking and swerving in and out of lanes”.

A source close to the Toxic singer told Page Six that a mystery substance was allegedly found inside Britney’s BMW shortly before she was taken into custody.

The source understood it was sent to the lab for testing.

Police began their pursuit of the 2026 black BMW convertible at 8.13pm and tracked her for an hour, according to a police dispatch call.

Britney was allegedly behind the wheel of the convertible when it was pulled over by troopers with the California Highway Patrol at 9.13pm.

Kate Garraway and Paul Brand spoke to Julie Chard about her late husband, who spent over 30 hours in a corridor after going to the hospital.

Kate Garraway was quick to console one guest on Good Morning Britain as they broke down in tears.

The ITV star, who is currently fronting the programme while Susanna Reid is on a break, spoke to Julia Chard about her late husband, Tom.

Tom Frith tragically died in July last year from the brain swelling condition, encephalitis. However, he spent a month in the hospital before his death after he was first admitted with flu-like symptoms and confusion.

Initially, Julia claims her husband spent over 30 hours in a corridor bed as A&E was overrun. His family was told he wasn’t able to have a vital MRI scan because it was the weekend. Tragically, after he eventually had an MRI scan, it confirmed Tom had a brain clot, and he died weeks later.

Speaking to ITV stars Kate and Paul on Good Morning Britain, Julia broke down in tears, speaking about her grief and anger at the care her husband didn’t receive. She commented, “I’m doing my best, I’m trying to find a new normal.

“I have to have a voice for Tom, because he’s not here. I’m learning to live with Tom here (her heart) rather than here (physically), and when you take that away, that’s a big hole to fill. He was the love of my life, and yeah, he was failed, I think.

“He might not have survived encephalitis, but if he’d been given a fighting chance, he could have. He was in critical care for seven weeks after that, but the damage was done, the damage was done in the first week. It was too late.”

As she became overcome with emotion speaking about Tom, Kate was seen grabbing for tissues to give to Julia as she wiped her tears away.

However, while speaking to the ITV stars, Julia shared that her anger isn’t with the NHS staff, as she told the duo that it takes a certain person to take on a caring role.

She said: “When they’re in an environment where they can’t deliver that, without the resource, the personnel, the finance, it must be absolutely demoralising for them.

“I saw the look on the nurses’ faces there. On Sunday afternoon, I left Tom for half an hour, and I asked a nurse to watch him for me because he couldn’t go to the toilet on his own.

“He was getting very agitated. I left and came back, and he was leaning against the side of the bed. He’d ripped his ID band off, and he’d relieved himself in his jeans, a grown man. I said to a nurse, ‘What is this?’

“She said, ‘I’m so sorry’, and she had tears in her eyes. I said, ‘This isn’t care’. He didn’t get a bed until the Monday morning.”

Now, Julia is taking legal action against the trust for medical negligence.

Kate read a statement from Dr Clare Hammell, the Chief Medical Officer and Deputy Chief Executive Officer at Mid Cheshire Hospitals NHS Foundation Trust, who said, “My thoughts are with Tom’s family and loved ones.”

It said: “We are very sorry for the distress that they’ve experienced as a legal claim has now been issued, it wouldn’t be appropriate for the Trust to comment on the specific circumstances of Mr Frith’s care or the allegations that have been raised.”

Good Morning Britain is available to watch on ITV weekdays from 6am.

It’s clear that “Forbidden Fruits” director and co-writer Meredith Alloway has marinated in plenty of ’90s teen movies and the kitschy pop-culture ephemera of that era. Her directorial debut, written with Lily Houghton and based on Houghton’s play “Of the woman came the beginning of sin and through her we all die,” is essentially a synthesis of “The Craft,” “Mean Girls” and “Clueless,” about a coven of catty witches who work at a boutique in a Texas mall.

But in “Forbidden Fruits,” it’s hard to shake the feeling that Alloway’s movie knowledge is just that — easily identifiable iconography without much innovation or depth.

Our clique comes storming down the mall food court in that classic slow-motion strut, letting us know right away what we’re in for. They’re known as the Fruits because they all happen to be named after them. The leader, Apple (Lili Reinhart), operates in the controlling mode of Regina George or Cher Horowitz; her lackeys are alt queen Fig (Alexandra Shipp) and blond bimbo Cherry (Victoria Pedretti). When they realize that a cute pretzel purveyor is named Pumpkin (Lola Tung), they quickly bring her into their circle as a fourth, seemingly only because her name fits the theme.

Apple runs her high-femme coven out of their store Free Eden with an emphasis on iconic women: The girls confess to their martyr Marilyn Monroe in a dressing room and practice dark magic with their panties and a silver cowboy boot. In the interest of helping each other “shine,” Apple also takes a page from Ann Lee and the Shakers — sex and boys are banned and communication is highly controlled.

It’s only when Pumpkin starts uncovering some of the coven’s secrets, including the existence of a former member named Pickle (Emma Chamberlain), that their controversial personal histories involving hexes, poison, fires and hidden boyfriends come to light, and the situation spirals out of control (literally — the climax happens during a tornado).

Alloway and cinematographer Karim Hussain craft a distinctive and unique aesthetic, a gauzy, highly artificial look that underlines the winky referential tone, but one that also lends “Forbidden Fruits” a strangely dreamlike quality that doesn’t always work for the genre.

While the actors, particularly Reinhart and Pedretti, are locked in with the tone and Reinhart delivers the fierceness required of such a role, the pace of “Forbidden Fruits” is at odds with the performers. The film is weirdly slow and sleepy and at least 20 minutes too long. The convoluted story, peppered with various twists, lacks momentum.

A stronger hand in the edit could have resulted in something more dynamic and engaging, but the plotting is mushy and then rushed. For a witchy horror thriller, it’s heavier on psychological violence than actual scares, and a third-act bloodbath and big reveal can’t save it when we finally get there.

The film’s theatrical provenance reveals itself in long monologues in the Marilyn confessional room and Pedretti delivers one that reveals the depth beyond Cherry’s ditzy exterior. We can see Houghton’s play in these moments, but then Alloway’s cheeky pop sensibility intervenes, the arch artificiality and ironic tone draining the emotional impact.

“Forbidden Fruits” can’t reconcile all of its influences and just ends up as a collection of references and high style without much staying power — it’s essentially the fast fashion of girly pop horror.

Katie Walsh is a Tribune News Service film critic.

AT 36, Millie Mackintosh is navigating divorce for the second time in her life, after her seemingly fairytale marriage to Hugo Taylor collapsed earlier this year.

It’s the latest hurdle after a difficult few years, which has seen the star quit drinking and come to terms with an ADHD and anxiety diagnosis, which she had previously numbed with booze and prescription drugs. As she faces the pitfalls of divorce, insiders tell us why she has been left worrying about money and the lengths she’s gone to, to protect herself.

After seven years of marriage, Millie and Hugo, who are parents to Sienna, five, and Aurelia, four, filed for divorce earlier this month. The pair are yet to comment on the break-up but insiders suggested that Millie’s massive lifestyle overhaul played a part in the decision.

Suddenly, Millie, who is worth roughly £6million from her various business ventures over the years, went from a shared income with Hugo, who runs a luxury eyewear company, to fending for herself once again.

Hugo is thought to be worth around £4million – he launched luxury eyewear brand Taylor Morris off the back of his MIC fame, and it’s been a huge hit with the likes of everyone from David Gandy to the Beckhams.

An insider explained: “Millie has always made her own money; she didn’t rely on Hugo, but it is, of course, very different when there are two people instead of just one.

“Almost overnight, friends noticed a huge difference in her spending habits. Suddenly, she started to cut back and seemed to be really thinking about what she was buying.

“She’s worked so hard for what she’s created, and it’s terrifying not knowing what will happen. It’s causing her crippling anxiety.

“It’s very surprising to see someone like Millie fretting about money, but like any couple who has separated, it’s a shock to the system, and it will take time and effort working out how she will maintain her current lifestyle.”

Most people know Millie as one of the original cast members of Made In Chelsea – the reality show about some of London’s wealthiest 20-somethings.

She was billed as a chocolate heiress when she first burst onto the scene in 2011, but was determined to be known as more than that. 

Her great-great-grandfather, John, was a Victorian entrepreneur, known as the Toffee King, who created Mackintosh’s sweet company.

A generation later, her great-grandfather and his brother invented Quality Street, which Brits know and love today, but they sold it in 1988.

Millie insisted: “People severely overestimate how wealthy I am.

“I’m routinely referred to as the heir to the Quality Street fortune, as though I hit 21 and inherited millions. If only.

“It’s not as if I get a cut every time someone eats a toffee. My family sold the business years ago. I’m comfortable, but I don’t live a flash life.”

Millie, real name Camilla, definitely has a comfortable life – her parents, Nigel and Georgina, brought her up in a  £1.4million townhouse in Bath.

And as soon as she was old enough, Millie started working. She was a waitress at first and was working in Space NK when she was approached about her place on MIC when she was just 21. 

She famously dated Hugo on the show, but then met and fell in love with rapper Professor Green. They married in  2013 and split in 2016.

It was a rocky relationship, with Pro Green — real name Stephen Manderson — recently admitting that he had nearly “called off” their nuptials, but they had both felt “pressured” to go through with it.

A decade on from the split, Millie and Pro have reconnected and have bonded over both being diagnosed with ADHD in recent years.

Speaking on Jamie Laing’s Great Company podcast last October, Pro branded her “beautiful”, but added that the pair were toxic for one another at the time of their marriage, describing it as a “trauma bond”.

In another interview, he admitted their quickie divorce had been costly for him.

He told John Bishop: “You know what they say about divorce, it’s expensive, you know why? Because it’s worth it.

“I can’t stop working right now, my mortgage isn’t paid, I am not a house owner. The bank own my house, I own a percentage of it depending on where it sits in the market.”

The summer after their split, she rekindled things with Hugo, and it looked like they would last forever.

Second marriage split

News of their split came as a surprise, but insiders have suggested the writing had been on the wall for some time.

Millie had changed a lot in recent years – she has been open about her massive lifestyle overhaul after quitting drinking in 2022, then dealing with the ADHD and anxiety she had previously numbed with booze and prescription drugs.

What’s more, she revealed last year that, having grappled with her sexuality, she had finally admitted to herself and Hugo that she was also attracted to women.

The pair have now both appointed legal teams and have quietly started divorce proceedings.

A pal said: “Fans will be sad to hear that their relationship is really over, but the pair just want a clean break.

“Millie and Hugo are committed to co-parenting their two young children and keeping everything stable. They are still very amicable with each other and have a lot of respect for one another.

“They want the divorce to go through as painlessly as possible and are focusing on work in the meantime.”

They want the divorce to go through as painlessly as possible

Pal

Millie has always been a grafter – she swiftly turned her reality TV fame into an online following as an influencer, which paved the way for many after her.

She launched her own fashion brand in 2014, proudly saying at the time: “I invested my own money into setting it up.

“I own it, I model it, and they’re my designs. So I would say, yeah, I’ve kind of created my dream.”

But by 2018, the dream was over, and she lost £178,000 of her own money when the company became unsustainable.

It didn’t stop her, though, and she transformed into a lifestyle influencer, with brand deals popping up left, right and centre.

Our insider says: “Don’t be surprised if you see more and more collaborations on Millie’s social media. Her arms are very open to any opportunities that come her way.”

She even wrote a book – Bad Drunk – about her boozing issues.

She has been sober now for over three years and admitted that one of the ways she realised it was such a problem was the fact that it was “stealing her money”.

It hasn’t been an easy road to being financially secure, and the work/life juggle has proved tricky at times since she became a mum.

As a self-employed woman, Millie went back to work just three months after Sienna’s birth and, while it was difficult, she believes it was the best thing for her.

She says she gets up at the crack of dawn to get a head start on emails and tasks.

She explained: “Since becoming a mother, I really want to get the most out of work.

“Your time is your most valuable thing.

“I get up at 5am so I feel I can start my day early enough to get everything I need to do, done.”

She admits she got the “balance wrong” at first when it came to juggling work with kids.

“It weighed on me quite a lot,” she says.

“So I was actually doing some work around this in therapy, and I figured out that my weeks weren’t structured in a way that was beneficial for me and my mental health.

“I had to change the balance.

“And I now have blocked out time in my diary every week, and the kids know that I won’t be working in that time.”

The juggle has no doubt been even harder since her split from Hugo, and just a few days ago, she candidly spoke about her fears, saying: “I think recently I have found it really hard to know how to show up online because of things I’ve got going on in my personal life that I am not going to share online.

“But because I do usually share so much of my life, I felt like this gap, this resistance to posting and like letting you guys in.”

Millie certainly seems to be well aware that sharing her life with fans is helping to pay her bills at the moment, but just how much she will share is yet to be seen.

One thing is for certain, though, with her divorce looming, there is likely to be another very big bill on its way. 

Kicking off the upcoming season at the Mark Taper Forum — which recently celebrated its top-grossing musical ever with “Here Lies Love” — is the world premiere of Zack Zadek’s original musical “The Turning,” a folk thriller set in California’s Sequoia groves.

The show, said Center Theatre Group’s artistic director Snehal Desai as the company announces its 2026-27 slate of performances, has a “very L.A. vibe.”

Next up is a batch of shows meant to provide audiences some comedic relief amid a midterm season that’s sure to sow anxiety: Karen Zacarías’ “Destiny of Desire,” Cole Escola’s “Oh, Mary!” and the family-favorite “Dog Man: The Musical.” Then in the spirit of springtime renewal, thought-provoking plays like “John Proctor Is the Villain” and “Fences” will leave audiences in contemplation before festive summer item “Boop! The Musical” swoops in to lift spirits.

When Desai plans the company’s season lineup, he always surveys the year ahead — literally.

“I look at the calendar a lot as to, where do we think we’re gonna be a year from now? Six to eight months from now?” Desai said in a recent interview at his office in downtown L.A.

Some entries in Center Theatre Group’s upcoming season are scheduled intuitively, like the Mischief Comedy team’s “Christmas Carol Goes Wrong,” running in the thick of the holiday season. But with others, Desai said he orchestrated the lineup to tell a programmatic story, like an artist might order tracks on an album.

As an artistic director, Desai said, he always encourages visitors: “Join us all season, versus just coming for the things you like,” and maybe you’ll be pleasantly surprised.

This year as Desai consulted his calendar, he looked even farther ahead than usual, toward Center Theatre Group’s 60th anniversary season (2027-28) and the L.A. Olympics in 2028.

“We were having conversations of, what are the plays that we want to do or we want to bring back,” Desai said, when the theater company’s associate artistic director Lindsay Allbaugh suggested “Fences,” the final play of August Wilson’s acclaimed Century Cycle to be staged at Center Theatre Group.

“I said, ‘Oh, that’s what we want,’” Desai said, “both to end this season and kick off our 60th.”

The artistic director could not yet confirm who would direct the Pulitzer Prize-winning drama about a former Negro League baseball player and his family navigating life in 1950s segregated Pittsburgh.

Desai, who has not shied away from politically charged material during his tenure at the theater company, said Wilson’s play aligned with his intent this season to platform work “asking who we are as a country and as a community and society.”

“I wanted voices that felt bold and fearless, that were both outspoken and unafraid in a world where, right now, it feels like there’s a lot of things that are trying to stifle us from speaking out or coming together,” he said. To him, presenting “Fiddler on the Roof” in Yiddish is revolutionary, as is “John Proctor Is the Villain’s” dissection of a classic through a feminist lens.

Desai added that he planned to balance that rabble-rousing spirit with productions that leaned more “celebratory and communal” and provided “different ways of having catharsis.”

“Oh, Mary!” offers riotous fun, and “Destiny of Desire” is an homage to an oft-dismissed yet widely consumed medium, the telenovela.

“With ‘Destiny,’ you’re able to take that format of something that people often watch in isolation at home, and enjoy it together,” Desai said.

Regional theater faces a slew of challenges: rising production and personnel costs, post-pandemic audience declines and competition from digital media. The situation has felt particularly bleak in L.A., Desai said, as seeming moments of recovery in the past year or so were squashed by the L.A. wildfires, then last summer’s immigration crackdown and associated civil unrest.

“We just constantly live in this time period that feels like we’re on shifting sands,” Desai said. Nonetheless, the company is finding paths through the desert, including with alternative programming through CTG: FWD.

The CTG: FWD initiative this season will bring “Riverdance 30 – The New Generation,” “Clue” and “The Music Man” to the Ahmanson Theatre, and “Dog Man” to the Kirk Douglas Theatre.

Another strategy Desai said the theater company has employed is heavy investment in new works development, particularly new musical development. New works are time-and resource-intensive, Desai said, but they’re also good investments, offering the best chances at longevity and commercial prospects.

With “The Turning,” Center Theatre Group spotlights an emerging voice that Desai said represents “the future of American theater.”

After Desai was introduced to Zadek’s folksy musical “The Turning,” he said, “I just kept listening to it over and over again. I was like, ‘I can’t wait for the cast recording of this to be on Spotify.’”

The artistic director was also thrilled to find an ultra-rare gem in Zadek’s piece: a truly original story.

“A lot of things are adaptations these days: adaptations of films, of TV shows,” Desai said. “So to get a world premiere musical that is based on its own original concept — that, I found, was really compelling.”

Following back-to-back seasons of directing his own productions, Desai is taking a breather this go-around to focus on broader administrative duties. But he still hopes to be a resource for visiting directors learning how to navigate the “special space” that is the Mark Taper Forum — and its neighbors the Ahmanson Theatre and the Kirk Douglas Theatre, which will get its own season announcement in the spring or early summer.

See the full season, here.

Following her huge success on The Traitors, Claudia Winkleman started her own chat show, The Claudia Winkleman Show, but it’s future is uncertain after it received a cool reception

Claudia Winkleman‘s new chat show is facing an uncertain future amid low viewing figures and little reaction from social media. The show has only aired three episodes, but a source has said the highly anticipated series has not reached the heights the BBC may have hoped, causing a stir behind the scenes.

The Claudia Winkleman Show began on 13 March, where the star was joined by Jeff Goldblum, Vanessa Williams, Jennifer Saunders and Tom Allen. The show follows Claudia’s huge success as the host of The Traitors, which catapulted her into being one of the most sought-after presenters in the UK. It also comes after she and Tess Daly decided to step down as the hosts of Strictly Come Dancing after over 20 years at the show.

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Talking to the Daily Mail, a source explained how The Claudia Winkleman Show failed to rank among the most watched programmes on the BBC and has had little reaction on social media, making the chances of a second series slimmer.

“You’d think it would be guaranteed for a second series at the end of this run,” the source said. “It probably will get one, but the chatter is that it may not be such a certain prospect.”

They added that everyone at the BBC was “excited” about the show but that while usually “everything she touches turns to gold” but this time, “it simply isn’t the case here”. They pointed out that Claudia was “the star” of both The Traitors and Strictly, making the cold reaction to her new show would be “new territory” for her.

The Claudia Winkleman Show is currently midway through its initial run and is due to run for six weeks. It airs in the same slot that The Graham Norton Show, which is created by the same company as Claudia’s chat show, ordinarily occupies.

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The source told the Daily Mail that one of the reasons Claudia’s show has not matched the heights of Graham’s may be because of the guests she’s had on. While Graham’s red sofa has attracted the likes of Taylor Swift, Tom Cruise, Madonna and Paul McCartney, Claudia’s show has so far featured less well-known faces, such as Niall Horan, Rachel Zegler and Guz Khan.

Next week, Claudia will be joined by James McAvoy, Gugu Mbatha-Raw, Rita Wilson and Russell Howard. Actor James has appeared on The Graham Norton Show multiple times, and Gugu was on the show a year ago. Russell Howard has been on the show as well, but Rita Wilson has not.

The BBC and Claudia Winkleman’s representatives were contacted for comment.

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“Kim’s Convenience” may not win points for originality, but originality isn’t really the point of an immigrant family drama meant to be instantly, one might say universally, recognizable.

The play, which opened Tuesday at the Ahmanson Theatre, was a runaway hit at the 2011 Toronto Fringe Festival. That success led to a larger production at Toronto’s Soulpepper Theatre that brought more attention to the show, paving the way for runs off-Broadway, in London’s West End and Washington, D.C.

But the show’s familiarity has another source. “Kim’s Convenience,” which was turned into a sitcom for Canada’s CBC, found an international audience on Netflix.

The story is set in Toronto, and the Kim family (owners of the titular convenience store) is of Korean background. But immigrants from Ireland, Italy, Latin America, India and Eastern Europe and their more assimilated children won’t have any problems relating to the generational conflicts at the heart of this gentle comedy.

Author Ins Choi, who once played the role of the prodigal son, has matured into the part of Appa, the patriarch who left Korea with his wife, Umma (Esther Chung), to start a new life in Canada. He opened a 7-Eleven-style shop, which he once considered calling 7-12, and has been living above the store with his family in what has been an all-hands operation.

Appa made sacrifices to give his son and daughter a better life — and he’s more than happy to tick off a list of what everyone owes him. He’s a mostly benevolent tyrant, but his crotchety side can get ugly and he’s not always in control of his temper. His son Jung (Ryan Jinn) ran away at 16, absconding with money from the store safe, after one of Appa’s flare-ups sent him to the hospital.

Janet (Kelly Seo), Appa’s 30-year-old unmarried daughter, bears the brunt of being the adult child who remained at home. She still works at the store, though her true calling is photography. Her father considers this just a hobby, a weekend recreation that shouldn’t interfere with her taking over the store one day. But she has other ideas for her future.

Change is coming whether Appa likes it or not. A Walmart is heading to the area, and with this news comes an unexpected offer for the shop that would allow him to comfortably retire. But selling the store is tantamount to discarding his story.

Brandon McKnight, left, and Kelly Seo in “Kim’s Convenience.”

(Dahlia Katz)

He explains this to Janet, hoping that she’ll continue his legacy. But she’s put her life on hold for too long. Both her parents never let her forget that she still doesn’t have a husband. But how can she get married when her father subjects any man she dates to the third degree?

Alex (Brandon McKnight), the police officer who answers the 911 call Appa had Janet place to report a Japanese car parked illegally by the store (he still hasn’t forgiven Japan for its invasion of Korea), turns out to be a childhood friend of Jung’s — and someone Janet used to have a crush on. The sparks between them are obvious, and Appa, the soul of indiscretion, can’t help meddling in his overbearing way.

Choi isn’t averse to shtick, if the result is an explosion of audience laughter. One comic gimmick involves Appa’s superhuman grip that can subdue even the mightiest of men. A shoplifter (also played by McKnight, who portrays all the customers and passersby) learns the hard way that Appa is not to be underestimated.

Esther Chung, left, and Ins Choi in “Kim’s Convenience” at the Ahmanson.

(Dahlia Katz)

The scene involves an unsavory routine on how to recognize a shoplifter. Janet challenges Appa’s racist assumptions, but father knows best and no one can convince him otherwise. Janet can’t win with him, but don’t count Appa’s daughter out.

Or his son, for that matter. Jung, who had a stint in rehab, hasn’t had an easy path in life, but he’s stayed in touch with his mother and eventually he and his dad will have their dramatically inevitable reckoning. There’s something determinedly hopeful about “Kim’s Convenience,” which like the store it’s named after, wants its patrons to leave satisfied.

The cast members, under the direction of Weyni Mengesha, all deserve high customer ratings. Choi’s Appa is impossible to stay mad at even when he’s said or done something unforgivable. He doesn’t mean to offend, though other people’s feelings are a luxury he has never been able to afford.

Still, his paternal bluntness is not without its infuriating charm, as when he informs his headstrong daughter, “You have to understand, now is desperation time for you. Sudden death, overtime, penalty kick shoot out. Expiration date is over. Take over store is only choice you having.”

Esther Chung and Ryan Jinn in “Kim’s Convenience” at the Ahmanson.

(Dahlia Katz)

Seo’s Janet is as feisty as she is loyal, making it easy to root for her and her quickly budding romance with McKnight’s worthy Alex. Chung’s Umma doesn’t take up a lot of room in the play, but her maternal presence registers sharply nonetheless. Jinn endows Jung with hidden dimensions of pain and regret.

But the most vivid performance might in fact be the convenience store itself, brought to fluorescent, sanitized, colorful life by scenic designer Joanna Yu and lighting designer Wen-Ling Liao. Nicole Eun-Ju Bell’s video and projection designs subtly transpose the setting when, for instance, Umma meets up with her son at church. The production seems right at home at the Ahmanson, a function of both the broad sitcom-friendly style and the warm Korean American reception that was audible at Tuesday’s opening.

“Kim’s Convenience” has an eager-to-please TV sensibility that can seem formulaic at times. But representation, particularly these days, can be a radical act, and there’s something heartening at the sight of the Kim family enjoying their turn in the mainstream spotlight.

Within the first 72 hours of a 26-day game, “Survivor 50,” featuring 24 veteran players, had already delivered feuding, anguish and heartbreak. Legendary rivals Ozzy Lusth and Benjamin “Coach” Wade appeared to bury the hatchet, only for their conflict to reignite soon after. Kyle Fraser was forced out due to injury, and Jenna Lewis-Dougherty, who competed in both the show’s inaugural season and “All-Stars,” was the first person voted out after more than two decades away from the game.

Yet there were also moments of nostalgia, connection and excitement as returning players arrived on the beach, grateful to be part of the show’s landmark 50th season.

This raw display of humanity has kept the show’s torch burning for over 25 years. “‘Survivor’ is built on a timeless idea because human nature doesn’t change,” says Jeff Probst, the host, executive producer and showrunner of the reality competition series. “It’s essentially behavioral psychology in the wild.”

Back in Fiji’s Mamanuca Islands for “Survivor 50: In the Hands of Fans,” the show has added a novel element. Fans were given a say in key decisions, voting online to shape production and game mechanics, from choosing tribe colors to requiring castaways to earn rice and supplies instead of receiving them at the start.

“What a great twist,” says Wade in an interview over Zoom. “‘In the Hands of Fans’ transforms the game. Instead of it being, ‘They are playing,’ it’s ‘We are playing.’”

Though he was disappointed to be deprived of staples upon his arrival, he smiles and says that if he were watching at home rather than competing, he also would have wanted players to start with nothing.

Singer-songwriter and “Survivor” superfan Zac Brown coooked and performed for contestants on the show. (Robert Voets/CBS)

“Survivor” has also leaned into its famous fan base this season, bringing in self-proclaimed superfans, including Grammy-winning singer-songwriter Zac Brown — who appeared in Episode 4 as a reward for a winning tribe for whom he spearfishes, cooks and performs. The show also nods to Billie Eilish via the Billie Eilish Boomerang Idol featured in the season premiere. The game piece was handpicked by the Oscar- and Grammy-winning pop star — whose 2022 song “TV” references “Survivor” — and accompanied by a letter in which she outlined its instructions.

But Mike White, creator of “The White Lotus,” represents the show’s most intertwined cultural crossover. He drew inspiration for his hit HBO series from “Survivor” and cast several former tribemates in cameos. “Survivor 50” also features “The White Lotus” Easter eggs.

Returning to the franchise for the first time since he finished as runner-up in 2018, in the Season 50 premiere he says, tearfully, “There are times in ‘White Lotus’ where I’m so fried … it’s a 129-day shoot, but I look back on my ‘Survivor’ experience, and I’m like, ‘Dude, I did that and I can do this.’” Yet White’s hard-won resilience couldn’t protect him from being voted out in a blindside in Episode 4, proving that fame offers no immunity.

And that is the point. At its core, “Survivor” is about watching people from all walks of life dropped into a remote, unforgiving landscape where they must outwit, outplay and outlast one another for a $1 million prize — hungry, exhausted and sore, roasting in the blazing sun or shivering through rainstorms, and enduring grueling physical competitions. They must cooperate with the very people they’re competing against. And as alliances form and fracture, each day grows more fraught.

Former “Survivor” contestants Mike White, left, and Quintavius “Q” Burdette in Season 50.

(Robert Voets/CBS)

“It’s very simple but very deep,” Probst says. “The goal is not to get voted out, but the strategy in achieving that goal is infinite, so the game’s easy to understand, but it’s impossible to master. That’s why it’s so much fun to watch. You’re constantly asking yourself, ‘What would I do?’”

It’s one thing to ask from the comfort of home, but another to live it out, and on national television to boot, says Wade. Coach “When you step on that beach, the stakes are so much higher,” he explains. “Nobody really thinks about the million dollars. They’re thinking about surviving, not getting voted off.”

“Most people would be able to do it,” he continues. “But what you’d realize is what happens to your character and your facade when you’re deprived of everything — food, comfort, reaching out to your friends and having a support system that you know and trust. When you strip all of that away, this stops being a game, and your character will be forged, revealed or shattered.”

A four-time player, Season 23 runner-up and 2015 Survivor Hall of Fame inductee, Coach is one of the show’s most legendary figures. Known as the Dragon Slayer, he’s often shown meditating, praying, waxing philosophical, and pontificating on nobility, integrity and honor. His grandiose persona rubbed many the wrong way early on, earning him a villain label.

Reflecting on his legacy, Wade partly blames the edit but acknowledges he often took himself too seriously, was arrogant, and tried too hard to be larger than life, yet he stresses his authenticity. “The way I look, dress and talk — I’m polarizing,” he says. “That’s who I am in my real life, so that’s who I am out there.”

Probst affirms that what you see is what you get. “Coach shows up authentically every day,” he says. “He wears his mythology on his sleeve and has it tattooed on his body. When he pulls back his hair into a ponytail and quotes Magellan, that’s Coach: ‘I’m the guy with quotes about war and victory and fearlessness and courage. That’s actually who I am.’”

This season, Wade calls himself “Coach 4.0,” but Probst remains skeptical. “Every time he plays, Coach refers to himself as the new version of Coach,” Probst says. “But the minute he starts talking, everybody thinks the same thing: ‘Coach, you may have some more maturity and life experiences now that you’re married and have kids, but you’re exactly the same.’”

That’s not a critique of Coach. After observing more than 750 players over 25 years, Probst believes, “We are capable of much more than we think we are, and simultaneously, at our core, we generally are who we are. It doesn’t mean you can’t change or become a better version of yourself, but you’re going to have some core instincts.”

Benjamin “Coach” Wade in “Survivor 50.” (Robert Voets/CBS)

Coach in 2011’s “Survivor: South Pacific,” the show’s 23rd season. (Monty Brinton/CBS)

The show’s unflinching exploration of human nature traces back to visionary British television producer Charlie Parsons. He conceived the social experiment based on a combination of his curiosity about people, the influence of “Lord of the Flies” and “Robinson Crusoe,” and his boarding school experience.

“It was an all-boys school and quite a competitive place, so there was an element of survival in that,” Parsons says over Zoom. “It wasn’t a bad experience, but if you’re 13 and you’ve never lived away from home before, it can be quite a wrench to live for a month at a time away from your parents. On one occasion I called my parents and said, ‘Will you rescue me?’ And they didn’t.”

In 1988, Parsons turned his concept into “The Castaways,” a three-part documentary for a magazine-style television program he was showrunning.

Several years later, he was approached by Disney’s Buena Vista Productions to make an American version of a successful British morning show he created. When that didn’t pan out, he pitched what would eventually become “Survivor,” developing it with Buena Vista in hopes of selling it to ABC.

But, he says, the radical concept didn’t fit neatly into existing TV genres, and the network balked. “It’s difficult to imagine, but back in the ‘90s this idea of reality TV basically didn’t exist,” Parsons says. “Television was reasonably siloed … ABC took a long time deciding because they could see that there was something about it, but in the end they passed.”

In 1997, however, the concept found immediate success in Sweden with “Expedition Robinson,” leading to expansion in more Scandinavian countries.

The leap to America required a new alliance. During Parsons’ development process with Buena Vista, he’d met fellow British TV producer Mark Burnett at a party in Los Angeles where he’d told him about the reality competition format he was building. Burnett then called every six months pressing to produce it until Parsons finally agreed to grant him the American licensing rights.

“Mark had an incredible energy and presence, which meant that he could go and sell the s— out of it,” Parsons says. “He could persuade the networks to take a risk on something risky.”

Even so, as Burnett relayed in a comprehensive 2010 Television Academy interview, he faced a difficult pitching process. But after every major network passed, he re-approached CBS, where then-CEO and President Les Moonves was game to try original programming during summertime when reruns caused dwindling viewership. But when Moonves commissioned a pilot, Burnett said a stand-alone episode was too costly and couldn’t capture the show’s slow-burn endgame.

Instead, he proposed a sponsorship model built on integrating products into the game, pitching the value of a castaway using a branded cellphone to call home, or the desperation for a slice of pizza and a beer. After Burnett secured corporate sponsors, Moonves greenlighted “Survivor.”

Though firmly embedded in the culture today, “Survivor” was revolutionary when it debuted May 31, 2000, quickly becoming a cultural phenomenon. The Season 1 finale averaged 51.7 million viewers, surpassing both the Academy Awards and Grammys that year. Time magazine featured Lewis-Dougherty on its late June 2000 cover, and “The Late Show With David Letterman” featured a “Survivor”-themed Top 10 list presented by the show’s 16 castaways.

From its exotic location to the now-iconic buffs, “Survivor” established a world all its own, complete with a unique lexicon of immunity challenges, tribal council and Probst’s signature catchphrase, “The tribe has spoken.” As the enduring face of the show, Probst is central to its legacy, earning four Emmys for his role as host.

But even Probst’s survival wasn’t guaranteed. About 15 years ago, the relentless travel and schedule left him so depleted that he briefly quit the show. A few months of rest, however, allowed him to reevaluate. “It really was, ‘I don’t know if I have anything left in my tank to bring to the game.’ That might be what partly influenced Mark to make me showrunner even faster,” Probst says. “I needed to be more of a storyteller on this show.”

The cast of “Survivor” Season 1, standing from left: Ramona Gray, Dirk Been, Gretchen Cordy, Richard Hatch, Sonja Christopher, Susan Hawk, Kelly Wiglesworth, Sean Kenniff, B.B. Andersen and Rudy Boesch. Seated from left: Gervase Peterson, Jenna Lewis, Joel Klug, Stacey Stillman, Greg Buis and Colleen Haskell.

(Monty Brinton/CBS)

He’s quick to note the show’s collaborative ethos, however. “The term ‘showrunner’ is pretty misleading at this point. We make this as a team,” Probst says. Under his stewardship, “Survivor” is more cinematic, reimagined through the lens of Joseph Campbell’s “The Hero’s Journey,” and family friendly. Probst also notes the necessity of continually evolving game design, creating unexpected twists and advantages to keep players on edge and never knowing whom to trust.

The pandemic brought changes as well. With production shut down amid a world in turmoil, Probst felt “Survivor” needed more levity. When filming resumed, due to the 14-day quarantine requirement, back-to-back seasons were shot and the format was shortened from 39 days to 26. The faster-paced “New Era” that began with Season 41 also coincided with CBS’s 2020 diversity mandate requiring at least 50% of the cast to be nonwhite, and Probst dropped his longtime catchphrase “Come on in, guys” in favor of more inclusive language.

By Season 45, in keeping with Probst’s narrative-driven vision, the previously hourlong episodes expanded to 90 minutes.

Television habits have also changed since viewers once dissected tribal council proceedings at the office the next morning. Streaming breathed new life into “Survivor,” with younger viewers discovering it during the pandemic, while its cross-generational appeal keeps it a broadcast powerhouse. The Season 50 premiere drew 9.1 million viewers across live broadcast and delayed streaming, and in the weeks leading up to the launch, viewers revisited older seasons, boosting streaming numbers ahead of the anniversary.

According to Mitch Graham, CBS executive vice president of alternative programming, “Survivor” ranks No. 1 in the coveted 18 to 49 demographic, and the Season 50 launch generated the biggest social media engagement in the franchise’s history.

Even as the reality TV landscape has grown crowded, Probst remains unfazed. “It’s a show like no other,” he says. “It’s adventure, survival, strategy, interpersonal relationships, social politics. … This multi-layered storytelling gives it durability because any given week you have no idea what you’re going to watch.”

Meanwhile, as Season 50 continues to unfold, no one knows who will be crowned “Sole Survivor” on May 20 in Los Angeles, the show’s first live finale since 2019. But rest assured, by then they’ll have revealed exactly who they are.

POLICE have shelved an investigation into a terrifying raid at the home of model and TV star Danielle Lloyd after failing to find a single suspect.

Detectives have no leads into the burglary — despite telling the star they thought it was carried out by the same gang that broke into the home of England footballer Jack Grealish two months later.

We told how Danielle, 42, was at a Halloween party with husband Michael O’Neill and her five children when she watched the raid in real time on a security app on her phone.

Danielle told us at the time: “It was terrifying. We were all in shock.

“It was definitely a targeted raid — they knew what they were looking for.”

Last night a source said: “Danielle and her family are still upset by the raid and it had a big impact on them.

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“They will be aghast to discover police have dropped the probe, as convictions would have brought peace of mind.

“But they have moved home now — and security at their new place is tougher than ever.”

The professional gang took just 90 seconds to smash through the back door of Danielle’s home in October 2023.

They were then in the house for one minute and 26 seconds as they dashed straight to a bedroom and stole a jewellery box and designer handbags worth £100,000.

West Midlands Police said: “We carried out a number of enquiries but weren’t able to identify a suspect.”

It is feared the burglary gang are from South America and have fled the country.

CHESSY, France — A 118-foot mountain of ice rose over the suburban Paris countryside this weekend as Disney opened its Arendelle kingdom to the world — Elsa’s palace glowing at the summit, a “Frozen” Nordic fishing village below, and the company’s new chief executive standing before a crowd of celebrities.

World of Frozen, an immersive land themed to the blockbuster animated franchise, opened Sunday as a centerpiece of a $2.2-billion transformation at Disneyland Paris.

The transformation renames one of Disneyland Paris’ two parks from Walt Disney Studios Park to Disney Adventure World. The inauguration drew Penélope Cruz, Naomi Campbell and Teyana Taylor.

It is the largest expansion in the 34-year history of Disneyland Paris, and one node in a roughly $60-billion global build-out of Disney’s parks, resorts and cruise lines.

A new CEO’s first stage

It is also the first major international stage for Josh D’Amaro, who took over as Disney’s CEO on March 18 — 11 days before the French gates opened — after nearly three decades in the company’s theme parks division.

The parks-and-experiences business reportedly generated 57% of the company’s $17.5 billion in segment operating income last year, the force that observers say propelled D’Amaro from parks chief to the corner office.

“The Walt Disney Co. was built on one man’s dream, and for more than 100 years we’ve shared that dream with the world,” D’Amaro told the inauguration crowd.

“Storytelling is fundamental to everything that we do, whether that’s on screen or stage, in our theme parks, on our cruise ships, or even at home.”

He called the opening “a transformational moment” and paid tribute to the creative team behind the attraction, including “Frozen” writer-director Jennifer Lee — who are all now at work on “Frozen 3.”

An Associated Press journalist accompanied D’Amaro on the “Frozen” ride Saturday night.

The carriage splashed through water to childlike cheers from riders and laughter from the new CEO as they glided past Elsa singing in the dark. Some stepped off lightly wet.

The evening’s emotional peak came when Lou, an 11-year-old whose wish was granted through Make-A-Wish France, took the stage to sing a few notes of “Do You Want to Build a Snowman?”

A next-generation robotic Olaf walked out to join her. It was the 25,000th wish fulfilled for a sick child at Disneyland Paris since 1992.

A French reversal

On Friday, D’Amaro had stood alongside Emmanuel Macron at the resort.

The French president used the visit to claim the park as a national economic asset, calling Disneyland Paris “the leading tourist destination in Europe” and describing it as “a genuine ecosystem of success.”

Macron said the latest expansion would create 1,000 additional direct jobs.

“Since the beginning, that’s 13 billion euros invested on this territory,” Macron said, a figure equivalent to about $15 billion.

Disneyland Paris says it has recorded more than 445 million visits since 1992, accounting for 6.1% of France’s national tourism revenue.

Macron’s presence underscored a remarkable reversal.

When the park opened as Euro Disney in 1992, French intellectuals derided it as a “cultural Chernobyl.” The president at the time, Francois Mitterrand, dryly derided the new attraction as “not exactly my cup of tea.”

Now a French president was standing in front of cameras calling it an engine of national prosperity.

European roots

“‘Frozen,’ of course, has its roots in European storytelling,” said Michel den Dulk of Walt Disney Imagineering.

“It’s very loosely based on Hans Christian Andersen. So to have a northern European, charming wooden little village here in Disneyland Paris — it just made sense.”

The new Tangled family ride, too, draws from European folklore — the Brothers Grimm’s Rapunzel.

The land re-creates Arendelle around a lagoon, its timber buildings painted in muted Scandinavian pastels, facades adorned with rosemaling, a traditional Norwegian decorative art.

At the center is Frozen Ever After, a boat ride featuring state-of-the-art animatronics and immersive projection effects.

Guests can meet Anna and Elsa inside Arendelle Castle, have a conversation with a responsive baby troll named Mossy who talks back, and watch a lagoon celebration called the Snow Flower Festival — featuring an original song.

Visitors praised the scale of the mountain and the detail of the village, even after delays and minor glitches.

“Despite the wait, it was well worth it. The attention to detail is incredible, and the perspective of the ice mountain is breathtaking,” said Daniel Weber, 41, an architect from Munich, Germany, after the ride Sunday.

“You forget you’re outside Paris. For a few minutes, it really feels like Arendelle,” said Léa Moreau, 27, a graphic designer from Lille, France.

Beyond World of Frozen, the rebranded park brings a vast new lake called Adventure Bay, a Tangled family ride, 15 new dining locations — including the posh Regal View Restaurant — and a nighttime spectacular called Disney Cascade of Lights featuring more than 380 drones.

A Lion King land, already under construction, will follow.

More than 90% of the second park’s offerings will have been redesigned since it opened in 2002, and Disney says the footprint will roughly double once the full transformation is complete.

Disney’s streaming has swung from deep losses to profitability, but the parks remain the company’s most dependable earnings engine — and D’Amaro is the man who ran them.

“We continue to dream bigger and bring stories to life in brand new ways,” D’Amaro told the crowd.

Pyrotechnics lighted up Arendelle Village.

The ice palace on the mountain turned blue.

And 34 years after Euro Disney became a punchline, a brand-new kingdom opened in the fields east of Paris — for the first time in forever.

Adamson writes for the Associated Press.

A single mum of three received a ‘life-changing’ gift on Rich House, Poor House on Channel 5

A single mum-of-three, drowning in debt, was moved to tears after a millionaire invested £100,000 in her budding restaurant venture and paid off her debt on Rich House, Poor House.

Valerie Mayer, from Portsmouth, who is juggling raising her three children and working as a full-time carer, appeared on the Channel 5 hit show on Sunday (March 29) night alongside mum Cleopatra.

The talented home cook has always had dreams of launching a Zimbabwean restaurant in the UK, however with a weekly budget of just £53 her lifelong passion has been pushed to the side as she battles to make ends meet.

In a heartbreaking moment, she admitted that she has faced threats from debt collectors. She revealed: “My financial situation got so bad that I had bailiffs come in, and I just went into a state of panic. I was looking out of the windows to see if anyone was there. I got scared to leave the house.”

Seeing how the top 1% live, Valerie swapped homes for a week with tech startup millionaire, Steve Bolton, who lives in a plush £1m, six-bedroom property in Bournemouth.

The father of four left school at 16 with no qualifications but built a business from scratch, with his company now boasting a portfolio worth £750m.

Given his hectic life as an entrepreneur, he missed out on quality time with his children, so he decided to invite his eldest daughter, marketing guru, Ella, and his clothes shop owner son, Charlie, to join him on the show.

The family traded their home with two lounges, a dining room for eight, six bedrooms and five bathrooms, for a week-long stay in Val’s council house 60 miles along the coast.

While Steve and his two children had to manage on £51.93 for the week, Valerie and her mum experienced a glimpse of luxury living with a weekly budget of £2,000. Val and Cleopatra indulged in costly seafood, went on shopping trips for clothes, and even treated themselves to a day at the races.

However, Steve and his family found it difficult to adapt in their new environment and things took an emotional turn as Steve visibly moved after finding out about Valerie’s debt.

It was clear that Steve wanted to help Valerie get her life on track as he had a few surprises for her when they finally reunited after their swap.

The millionaire not only committed to investing £100,000 into her restaurant venture, but also cleared all her debts and transformed her garden.

Sitting opposite each other, Steve went on to say: “We’ve been talking a lot about how we might be able to help you guys because that’s obviously a big part of what we want to do and we’ve thought about three things that we can do to help you.”

He continued: “The first one is already done and it’ll be a surprise when you get home, the second one is about your debt situation, so we wanted to get you out of debt and then the third thing is we want to back your vision, your dream, your passion and your talent for business.

“Support you financially, support you with mentoring, support you with anything and everything you need up to a value of £100,000.”

Valerie broke down in tears as she struggled to get her words out: “Oh, wow. I don’t even know…How do you say thank you? Thank you. Wow, this is amazing.”

With tears streaming down her face she said: “I’m feeling really overwhelmed right now. Happy tears. This can change mine in my family’s life. I really wanted this so much and I’m so glad that my family’s also going to be involved in this because it’s going to change everything for the better.”

Rich House, Poor House airs Sunday night from 9pm on Channel 5

COMEDIAN and actor Alex Duong has died aged 42 after a year-long battle with cancer.

The funny man was known for his appearances on Jeff Ross Presents Roast Battle and Blue Bloods.

A close friend who was by his side confirmed to TMZ that Duong passed away 11am Saturday at St. John’s Hospital in Santa Monica, California, surrounded by family and friends.

Duong reportedly went into septic shock Friday night.

He was diagnosed with alveolar rhabdomyosarcoma – a rare and aggressive cancer – last year.

A biopsy found an extremely aggressive tumour after he had experienced headaches behind his eye.

He eventually lost sight in his left eye.

In August, his comedians contemporaries hosted the The Alex Duong Has Cancer In His Eye Comedy Benefit Show in LA.

Ronny Chieng and Atusko Okatsuka were among the comedians involved.

He leaves behind his wife Cristina and daughter Everest, 5.

Duong grew up in Dallas, Texas as the youngest of six children.

He graduated high school and went on to pursue medicine before finding success in the creative industries.

His writing about the Vietnam War gained him meetings with producers in California, according to IMDB.

Duong left school to pursue a feature development deal with Melody Phan of Zenoost Media.

More to follow… For the latest news on this story keep checking back at The Sun Online.

Thesun.co.uk is your go-to destination for the best celebrity news, real-life stories, jaw-dropping pictures and must-see video.

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3. A World Appears by Michael Pollan (Penguin Press: $32) An exploration of consciousness and a meditation on the essence of our humanity.

4. You with the Sad Eyes by Christina Applegate (Little, Brown & Co.: $32) The actor opens up about her tumultuous childhood, her five-decade-long career and the MS diagnosis that upended it all.

5. Young Man in a Hurry by Gavin Newsom (Penguin Press: $30) The California governor tells his origin story.

6. Good Writing by Neal Allen and Anne Lamott (Avery: $27) Two writers show you how to turn a worthy sentence into a memorable one.

7. One Day, Everyone Will Have Always Been Against This by Omar El Akkad (Knopf: $28) Reckoning with what it means to live in a West that betrays its values.

8. Mobilize by Shyam Sankar, Madeline Hart (Bombardier Books: $30) A Palantir executive’s call to strengthen America’s industrial base.

9. Kids, Wait Till You Hear This! by Liza Minnelli (Grand Central Publishing: $36) The entertainment legend shares her story.

10. Stay Alive by Ian Buruma (Penguin Press: $35) An account of life in Berlin from 1939 to 1945 under a murderous regime.

…

Paperback fiction

1. Project Hail Mary by Andy Weir (Ballantine: $22)

2. Theo of Golden by Allen Levi (Atria Books: $20)

3. Heated Rivalry by Rachel Reid (Carina Press: $19)

4. Dungeon Crawler Carl by Matt Dinniman (Ace: $20)

5. The Lion Women of Tehran by Marjan Kamali (Gallery Books: $19)

6. The Antidote by Karen Russell (Vintage: $19)

7. Hamnet by Maggie O’Farrell (Vintage: $19)

8. I Who Have Never Known Men by Jacqueline Harpman (Transit Books: $17)

9. Stone Yard Devotional by Charlotte Wood (Riverhead Books: $19)

10. The God of the Woods by Liz Moore (Riverhead Books: $19)

…

Paperback nonfiction

1. The Demon of Unrest by Erik Larson (Crown: $22)

2. Raising Hare by Chloe Dalton (Vintage: $21)

3. The Art Thief by Michael Finkel (Vintage: $18)

4. All About Love by bell hooks (William Morrow Paperbacks: $17)

5. The Beginning Comes After the End by Rebecca Solnit (Haymarket Books: $17)

6. Miracles and Wonder by Elaine Pagels (Vintage: $20)

7. On Tyranny by Timothy Snyder (Crown: $14)

8. The Wager by David Grann (Vintage: $21)

9. The Backyard Bird Chronicles by Amy Tan (Knopf: $36)

10. I’m Glad My Mom Died by Jennette McCurdy (Simon & Schuster: $20)

On March 29, Taix as we know it closes forever. The iconic French restaurant originally opened downtown in 1927 and relocated to its current chalet on Sunset Boulevard in 1962. It’s a grim reminder of L.A.’s insatiable appetite to destroy its own heritage and especially devastating to a certain milieu of writers and artists, myself very much included. Since it announced its closure, I’ve been visiting as often as I can to say farewell, not only to the charmingly shabby faux-1920s interiors, but to the many lives I’ve lived at its tables. First as a young guitarist when a bandmate worked the bar’s soundboard, next with the Chinatown artist scene, then with Semiotext(e)’s avant-garde lit circle, later through firecracker romances and heartbreaks during the art party Social Club, recently floating through the louche carnival of Gay Guy Night and now with the circus of beatniks from my reading series Casual Encountersz.

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It’s difficult to explain why this cavernous and windowless restaurant means so much, so I’ve tried to list everything I love about Taix.

I love that they don’t play music. I love the 1960s bathrooms. I love the bottomless tureens of soup. I love the complimentary crudité from the pre-pandemic era. I love the cold pats of butter. I love that you can always get a table, no matter how many people roll in. I love the free refills on Diet Cokes. I love the 80-year-old couples on dates. I love how the dim lighting makes everyone seem chic. I love the frayed carpeting. I love the fake votive candles. I love the icy martinis. I love the corner booth beside the fireplace. I love the smoked mirrors and tin-plate ceilings in the elegant back dining rooms. I love the small fortune I’ve spent there picking up the check for many strippers, poets and bohemians. I love its rundown glamour, which miraculously evokes Old Hollywood, Belle Époque and trashy Americana all at once. I unironically love the food, which isn’t spectacular, but is very comforting. I love how a waitress once ran off with a friend of mine and slept on my couch for a week. I love how my wife generally hates eating at restaurants but loves eating at Taix. I love how every L.A. artist I know has their own singular version of this list.

The only thing I don’t love about Taix is that its owners are tearing it down to erect soulless condos. I know the city needs housing, but not like this. I hope we’ll all find a new place to call home again soon.

Taix shaped me as a writer and artist, along with so many others, which is why before the new owners demolish this cultural institution, I asked other creatives what the Echo Park landmark means to them.

Chris Kraus.

(Ariana Drehsler / For The Times)

Chris Kraus, writer, artist and co-editor of the independent press Semiotext(e): When I moved to L.A. in 1995, Taix was the go-to place, with its deep banquettes, cuisine bonne-femme and its nightly prix-fixe specials. Mostly it was police officers and their wives who went there. Sylvère Lotringer and I went often, for him it was a little reprieve from the non-Frenchness of L.A. He could order in French and exchange pleasantries with an elderly French waiter who seemed to live there. Years later, when Sylvère moved to Ensenada and was less active with Semiotext(e), Taix was the site of our “Annual General Meetings” — Hedi El Kholti, Sylvère and I would have dinner together and Hedi would catch Sylvère up on all the forthcoming publications and projects. Taix was a place to run into people unexpectedly. About a decade ago, when the bar was refreshed, it changed again and I kind of lost track of it.

Rachel Kushner, novelist: I dined at Taix probably once per week for 23 years. It hurts so much that it is closing. I simply stopped going, so that I could begin to grieve, and also to avoid every last random tourist standing by the host station, on their phone, and the glum possibility of being seated in the second dining room, a.k.a “the Morgue” as my friend Benjamin Weissman put it. I want to protect my memories of the special occasions I enjoyed in this perennial special occasion establishment … I want to remember Bernard, a cheerful Basque from Biarritz who worked there 60 years, got progressively trashed over the course of his shift, went to Bakersfield on Sundays to party with his sheep-herding countrymen, came back Wednesdays sunburned and happy. The old valets who were let go during the pandemic. I used to give them a Christmas bonus every year, as a thanks for letting me park my classic out front. Look, I was born in Taix. I mean, in a way. I nursed my newborn in Taix. He grew up there. People who criticize the food are losers, and will never understand. The steak frites are great. The panna cotta, discontinued after the pandemic, was my favorite. The Louis Martini Cabernet was reliable. (Bernard told me the wine cellar downstairs took up the entire footprint of the main restaurant. Don’t know if that’s true.) Meanwhile, I can’t put my arm around a memory. All the smart girls know why. It doesn’t mean I didn’t try.

Cord Jefferson, writer and director: When I started going to Taix, in 2004, you could still gamble at the bar. They sold keno slips and lottery tickets, and whenever Powerball got over $100 million, I’d buy a ticket with my pint. Where else can you do all that while simultaneously watching a game and eating a tourte de volaille? Taix was where I watched the heroic Zinedine Zidane headbutt the gutless Marco Materazzi in the saddest World Cup final ever. When France lost that afternoon, my favorite server, Phillipe, cried. Phillipe’s teeth were often as wine-stained as his customers’. He’d bum me cigarettes in the parking lot and speak abusively about the ways the neighborhood was changing. I’m happy Phillipe is not around to see the digital renderings of what they plan to erect once they demolish the Taix chateau: another condo building with all the charm of a college dorm. It’s a damn shame what’s happening to Taix. I wish I had more money so I could buy it and keep it around, but I never won the Powerball.

John Tottenham, novelist and poet: It’s a shame that Taix is closing, not only because other plans will now have to be made for my funeral reception, but because it was the last civilized watering hole in the neighborhood. There isn’t anywhere else that one can walk into and immediately satisfy the social instinct among a convivial and refreshingly diverse clientele in what is becoming an increasingly homogenized locality. It has been the nexus of my social life for over 20 years, and is simply irreplaceable.

Jade Chang.

(Ariana Drehsler / For The Times)

Jade Chang, novelist: I’d only known Taix as a raucous bardo of a French restaurant, then there was a memorial service for Alex Maslansky, my beloved friend Max’s brother, owner of Echo Park’s best bookstore, Stories. Alex was a beautiful and beleaguered soul, born worried, born romantic, difficult and hopeful and apparently a shockingly good poker player. The room was packed with music people and book people, sober friends and poker friends, packed with the gorgeous girls who’d always loved him, our collective sorrow potent and sweet enough to pull the walls in around us tight as we said goodbye and goodbye.

Alexis Okeowo, New Yorker staff writer: I was a late discoverer of Taix, stumbling upon it when I moved to a bungalow just above Sunset during the pandemic from New York. I seemed to only see writer friends there. I met up with a journalist for drinks and then ran into a new writer friend at the bar. I later had a big, spontaneous dinner with TV writer friends and then a birthday celebration in the dining rooms that ended in two friends escorting me home, sick and happy off a mostly-martini meal and the selfies I took in the bathroom with the iconic pink and gold wallpaper. Every time, there was talk about ideas and gossip and so, so much laughter.

Alberto Cuadros, writer/curator and co-founder of the Social Club: About 10 years ago, Max Martin and I started Social Club as a weekly social salon at Taix. We thought of it as a kind of Beuysian social sculpture, it was a weekly ritual, and over time it became something of an institution in the L.A. art world. Everyone knew where to go in L.A. on a Wednesday if they wanted to meet interesting people or find friends. I even met my wife there who was visiting from Montreal.

Siena Foster-Soltis, playwright: Taix felt like one of the few remnants of the L.A. I grew up in and love so dearly.

Ruby Zuckerman.

(Ariana Drehsler/For The Times)

Ruby Zuckerman, writer and co-founder of the reading series This Friday: Taix is the only restaurant in L.A. that doesn’t lose its mind if new friends drop in halfway through dinner or if you stay at your table for hours after you stopped ordering. That kind of flexibility leads to spontaneous nights where what started off as an intimate hang expands into an all-out party. As a writer, that flexibility has allowed me to meet editors, collaborators and readers, drawn together by pure fun rather than networking. One of my favorite nights involved getting in a physical altercation with novelist John Tottenham after he stole my phone to send prank texts to my boyfriend. I’ll miss taking selfies in the bathroom.

Blaine O’Neill, DJ and events organizer: I always say Taix is the “People’s Country Club.” It is exceptional because of the staff who understand the importance of hospitality, and the scale of the space is humane. You’re able to evade feeling pinched by the noose of transactional cosmopolitanism.

Tif Sigfrids, gallerist and publisher Umm…: Taix was a cultural nexus. A space with broad range. It went from being the dark bar I read books and day-drank at in my 20s to the place where I rented a private room to host my son’s first birthday party. It’s where I watched Barack Obama get elected twice, the Lakers win back-to-back championships, and where I indulged in countless night caps and an unreasonable amount of all-you-can-eat split pea soup. You never knew what kind of hot jock, wasted poet or other type of intrigue you might run into there. You can’t make a place like Taix up. It’s a place that just miraculously happens.

Kate Wolf, writer and editor: Though I have been going to Taix for nearly 20 years, embarrassingly, it was only in the last year that I realized the building wasn’t from the 1920s. Those smoke-stained mirrors, that tin ceiling, the drapery and light fixtures are in fact set-dressed — ersatz! Which of course only makes me love the place more. Taix’s history, and its spot in the city’s cultural firmament, cannot be denied. But what really makes it so special are the people who work there and the clientele, not its past. This point is perhaps my only hope in losing what is my favorite restaurant in Los Angeles. That by some divine grace, we will all find each other again in another spot, designed to a different decade than the horror-filled present, and fill it with the same warmth, the same bottomless soup bowl, the same cheer.

1/4

Hedi El Kholti, the co-editor of Semiotext(e).   (Ariana Drehsler/For The Times)

2/4

Writers Lily Lady and Siena Soltis-Foster.  (Ariana Drehsler/For The Times)

3/4

Poet Meat Stevens (Steven Lesser).   (Ariana Drehsler/For The Times)

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Sammy Loren, writer and curator of Casual Encountersz.  (Ariana Drehsler/For The Times)

Hedi El Kholti, artist and co-editor Semiotext(e): Taix is where we would end up after every reading since 2004 when I started working at Semiotext(e). I have memories of being there with Kevin Killian, Dodie Bellamy, Gary Indiana, Michael Silverblatt, Colm Tóibín, Rachel Kushner and Constance Debré among others … Taix has that particular anachronistic vibe that made L.A. so charming when I moved here in 1992, one of these places that time forgot. It was odd when it became really hip in the last 10 years. It made me think of what Warhol wrote about Schrafft’s restaurant when it had been redesigned to keep up with the fashion of the moment and had consequently lost its appeal. “If they could have kept their same look and style, and held on through the lean years when they weren’t in style, today they’d be the best thing around.”

Loren is the founding editor of the art and literary conceptual “tabloid” On the Rag and curator of the reading series Casual Encountersz.

KATIE Price has put on a busty display during a workout after confessing she “begged doctors” for answers over her weight loss.

Over the last year the former glamour model’s shrinking frame has caused concern amongst her fans.

Katie went strength training with her husband Lee Andrews in a bright pink plunging top and matching shorts.

Lee shared the video clip to Instagram and can be heard motivating his wife and helping her to train.

And although Katie was concentrating hard on her exercises, the glamour model raised a smile when her husband joked: “You can smile, you know.”

Katie recently revealed she was too thin and had begged Doctors for help, when TV host Susanna Reid explained she was worried about the “very skinny” star when she appeared on GMB.

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After talking about her whirlwind marriage to fourth husband Lee Andrews, 41, the topic of the former pin-up’s weight came into question.

Host Susanna then revealed her concern for Katie’s tiny frame, and said: “Katie, can I ask, because I am concerned about your weight. Because you are very, very, very skinny.”

To which the star replied: “So people who follow me online will know I have lost weight. I recognise I lose weight. I look too skinny. I look gaunt.

So I have been to the doctors to see why am I losing this weight. I’ve done all the blood tests. I even had to do the poo one as well to find out.”

Susanna then asked: “The doctor says you’re OK?”

Katie then replied: “And I said to them, ‘everyone says I’m on Ozempic’.

“And they said, ‘well, we can tell in your blood you’re not’. I am lack of iron.

“They’re now checking the other bit.

“And I’m going through pre-menopause at the moment as well.”

Last month, Katie revealed she had actually PUT ON weight after marrying Lee.

After previously calling herself a “stick woman”, she told fans in an Instagram video: “I actually have a confession to make.

“Number one: he is a feeder,” she said pointing to self-proclaimed millionaire businessman Lee.

“I’ve been to the doctors and everything, asking why,” she trailed off, before revealing she had put on weight, and the exact figure.

“I’ve actually put on half a stone,” Katie confessed.

“So it goes to show, that when you’re happy…

“So you’ll be please to know that I’ve put on half a stone because I can’t stop eating.”

The “Harry Potter” team did not need a divination expert to know its cast would encounter some “unpleasant and aggressive behavior.”

HBO boss Casey Bloys told multiple outlets this week that the network had taken precautions anticipating the vitriol the “Harry Potter and the Philosopher’s Stone” actors would face. Ghanian-English actor Paapa Essiedu recently spoke out about the racist abuse and death threats he has received since the announcement that he had been cast as potions professor Severus Snape.

“With all actors on any kind of big IP shows — and this is obviously one of those where you’ve got, you know, passionate fans, people with a lot of opinions — it can get scary in places,” Bloys told Variety in an interview published Tuesday. “So for any show like that, we anticipated it and tried to have training, you know, best practices in terms of social media and how to handle it. And obviously we’ve got a serious security team.”

Essiedu, who is portraying the enigmatic but ultimately heroic Hogwarts professor first brought to life by Alan Rickman in the original “Harry Potter” films, has opened up about the racist abuse he has received from those who believe a Black man should not be playing the fictional wizard.

“I’ve been told, ‘Quit or I’ll murder you,’” he said in an interview with the Times of London. “The reality is that if I look at Instagram, I will see somebody saying, ‘I’m going to come to your house and kill you.’”

“[N]obody should have to encounter this for doing their job … And I’d be lying if I said it doesn’t affect me emotionally,” Essiedu added.

This is not the first time that fans of J.K. Rowling’s Wizarding World novels expressed outrage over the casting of a Black actor in an adaptation. There was a similar outcry in 2016 when Noma Dumezweni was cast to play Hermione Granger in the original London production of “Harry Potter and the Cursed Child.”

It’s also not a situation unique to “Harry Potter.” Racist vitriol has been hurled toward actors in other genre franchises, including fantasy shows such as “House of the Dragon” and “The Lord of the Rings: The Rings of Power,” as well as those involved in “Star Wars” and the Marvel Cinematic Universe.

Bloys also told Deadline in an interview published Wednesday that they had “anticipated there would be a lot of interest in all of [the actors], and interest can tip over into more unpleasant and aggressive behavior.”

“We talked to them about what to expect, what to expect on social media and how we handle it, but any kind of security that’s needed is an unfortunate aspect of doing IP shows,” he said. “We just try to be mindful and monitor it.”

Essiedu also told the Times of London that “the [racist] abuse fuels” him.

“[It] makes me more passionate about making this character my own, because I think of how I felt as a kid,” he said. “I would imagine myself at Hogwarts on broomsticks, and the idea that a kid like me can see themselves represented in that world? That’s motivation to not be intimidated by someone saying they’d rather I died instead of doing work I’m going to be really proud of.”

You might expect a screenwriter working in the horror genre to be relatively difficult to scare, but Haley Z. Boston, the creator and executive producer of Netflix’s harrowing new limited series “Something Very Bad Is Going to Happen,” insists that is not the case.

“I’m afraid of everything,” Boston, 31, said during a recent Zoom conversation. “I’m afraid of horror movies, but that’s why I love them so much, because they scare me. A lot of horror people are desensitized and looking for something to shake them. I am the opposite. I am easily afraid.”

The easily frightened — and the recently engaged — might be advised to approach Boston’s new series, which premiered Thursday, with caution. A haunting fusion of David Lynch surrealism and “Rosemary’s Baby” paranoia, “Something Very Bad Is Going to Happen” traces the peculiar and ominous events that unfold in the week leading up to the nuptials between wary Rachel (Camila Morrone) and trusting fiancé Nicky (Adam DiMarco), as overseen by Nicky’s mother Victoria (Jennifer Jason Leigh).

Faced with inexplicable truths about Nicky’s family and her own past, Rachel becomes convinced that saying “I do” has the potential to prove deadly, and she comes to fear what might take place when she walks down the aisle.

Camila Morrone as Rachel Harkin in Netflix’s “Something Very Bad Is Going to Happen.”

(Netflix)

“I’d seen people in their wedding, in their vows, say, ‘I never once had a doubt,’” Boston said. “I’m like, ‘How could you not constantly question everything?’ It felt very natural to me to explore that idea in a horror show where the doubt is the horror.”

Horror has long been a preoccupation for Boston. The Oregon native has a tattoo of the phrase “Carrie White burns in hell” to commemorate her favorite film, Brian DePalma’s landmark Stephen King adaptation, “Carrie.” She distinguished herself writing episodes of weird, atmospheric series including Netflix’s “Brand New Cherry Flavor,” a nightmarish exploration of witchcraft and filmmaking in 1990s L.A., and “Guillermo del Toro’s Cabinet of Curiosities,” also for Netflix.

Her installment in the Oscar-winning director’s anthology series, “The Outside,” was inspired by a comic titled “Some Other Animal’s Meat” and followed the unnerving transformation one woman undergoes after purchasing a beauty cream advertised on a late-night infomercial. “It’s all about being an outsider and feeling different, and I related to that,” Boston said.

Boston began writing at the age of 11, and after seeing Quentin Tarantino’s “Kill Bill” in her early teens, she became interested in filmmaking. “I was so taken by the way that the story is told, and I love a revenge story,” she said. “That’s when I started to think, ‘Is this something? Who wrote that? How does any of this work?’”

She had considered following her parents’ path and choosing a career in medicine, but during her first formal writing class at Northwestern University, she felt that she’d found her calling. “I was like, ‘No, this is it. This is what I want to do,’” Boston said.

“I’m like, ‘How could you not constantly question everything?’” Haley Z. Boston says about marriage. “It felt very natural to me to explore that idea in a horror show where the doubt is the horror.”

(Christina House / Los Angeles Times)

After graduation, she moved to L.A., taking a job in the William Morris Endeavor mailroom and writing scripts on her own time. A high school slasher movie she’d penned in college landed her an agent. Soon after, her pilot for a “sapphic murder story” inspired by “Killing Eve” netted her 22 pitch meetings — the first was with director Sam Raimi, whose early-career “Evil Dead” movies are beloved cult classics. “I was 24, and I did the scariest thing at the time possible,” Boston said. “Sometimes I think if you don’t think too much about how terrifying it is, and you’re just thrown into it, that’s better.”

With “Something Very Bad Is Going to Happen,” Boston found herself thrown into the position of showrunner without ever having spent any real time on a set. Yet Morrone says Boston was the picture of confident professionalism throughout the shoot. “There’s just a grace to her,” Morrone said. “Even if she was overwhelmed, you would just never see it. These are her words and her world, and she inherently knows the character and the story so well that she could really navigate any questions thrown at her because it lives in her.”

The series is something profoundly personal for Boston. Growing up with parents whose marriage seemed idyllic had left her struggling once she began dating, and she channeled many of her own anxieties into the show. “They’ve been together for 37 years or something,” Boston said of her parents. “I felt all this pressure knowing that that exists. It always felt like a curse. You have this great example of what a marriage is, and I always found myself weighing every little romantic tryst against this 30-year marriage — which was unhelpful.”

She hit upon the premise for the series right around her 27th birthday, a time when more and more of her friends began to get married, and developed the idea while working on other projects. By the time Boston sat down to write the pilot episode, she knew the narrative and the characters so well that it took her just two weeks to finish.

Pitching the series, she met with “Stranger Things” creators Matt and Ross Duffer, who were so impressed by her vision that they signed on to executive produce “Something Very Bad Is Going to Happen” through their Upside Down Pictures banner.

“From reading one page of her script, it became very clear that this is someone who has a very unique voice,” Ross said. “It was unlike anything we’d ever read before. Immediately, we were like, ‘We have to be involved with this. We have to help bring her vision to life.’”

Rachel (Camila Morrone) and Nicky (Adam DiMarco) experience peculiar and ominous events leading up to their wedding.

(Netflix)

Matt added, “Haley has such a specific sense of humor. It’s very dark, very dry, but it also feels incredibly real. Her characters talk very much in the same way that real people talk. I find that sadly rare in the scripts that you read.”

The series was filmed in Toronto in January 2025 with directors Weronika Tofilska (“Baby Reindeer”), Lisa Brühlmann (“Killing Eve”) and Axelle Carolyn (“American Horror Story”) behind the camera. Boston said she and her collaborators would often reference specific films — everything from “The Celebration” to “Uncut Gems” — as a shorthand for the tone they were hoping to strike in a given episode. “I really love a story that takes something normal and grounded and gives one twist on it that throws you into a different world and makes you see things in a different way,” Boston said.

With “Something Very Bad Is Going to Happen” poised to elevate Boston’s Hollywood profile, establishing her as one of the most exciting voices in horror, she’s already planning for her future, writing a film that she intends to direct. “I love the horror community, but it is still such a boy’s club, and I really want to infiltrate it,” Boston said.

“The genre has been so much about women, and in studying feminist theory in horror, especially back in the ’70s, the genre forced men to relate to women — you’re watching a woman survive, which is ultimately very powerful,” she added. “I find it interesting how many men are making horror movies about women. I talked about ‘Carrie.’ I love that movie, but it’s missing something. Same with ‘Rosemary’s Baby.’

“This show is such a great opportunity to begin my career in this genre — now, I want to continue my reign of terror.”

A BITTERLY fought five-year dispute between an EastEnders star, his wife and their neighbours over a dog bite on a Lord’s estate has finally ended.

TV actor and film star John Blundell and his wife Mercina were locked in a bitter legal fight with neighbouring lodge owners Alison and Andrew Girdiefski after the row over their tiny pooch Ziggy.

The Sun can now confirm that Mercina and John have finally seen a closure in their favour, with an out of court payment after bringing a civil court case.

John – who also starred in Quadrophenia and Scum – and his wife are understood to be delighted by the result.

The long-running saga dates back to 2021 at the plush Fritton Lake estate in Norfolk, a 5,000-acre retreat owned by aristocrats Hugh and Lara Crossley, Lord and Lady Somerleyton.

Lord Somerleyton, at the height of tension, even attempted to mediate between the two warring couples, The Sun understands.

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The row all kicked off when Mercina had been visiting her neighbours’ lodge to admire renovation work when she says their small hairless Chinese crested dog, Ziggy, suddenly bit her on the wrist.

The attack, they claimed, left her with a half an in inch wound that later scarred, with the actor’s wife needing hospital treatment.

With the row spiralling out of control – John and Mercina then launched a civil case at Norwich County Court seeking damages.

The Sun has now confirmed the long-running dispute has been settled out of court.

It brings to an end to years of acrimony.

Court officials told The Sun the matter was settled out of court using a Part 36 offer – a formal settlement under the law.

A source close to the couple told us: “While the couple are selling their property at Fritton they are reluctant to talk.

“It has been a very difficult few years for the Blundell’s, who really have done nothing wrong at all.”

Back in 2021, what should have been a tranquil countryside getaway quickly spiralled into a toxic feud involving police, lawyers and estate bosses.

Relations between the couples then soured dramatically.

The dispute even drew in Norfolk Police, with officers speaking to both sides.

Ziggy was added to a register of dangerous dogs, but no further action was taken due to the time elapsed.

Complaints of harassment were also investigated by Norfolk Police – but no offences were ultimately found.

Mercina also accused the pair of taunting them by singing “who let the dogs out” and filming them nearby.

Frustrated, the Blundells launched civil action – setting them for a court showdown.

The pair even recruited James McNally – known as “The Dog Bite Solicitor” who specialises in getting civil damages on dog attacks.

The Blundells said at the time they had been quoted £1,500 for a plastic surgeon to fix Mercina’s wrist – and were believed to be seeking up to £30k in costs and damages.

And the Girdiefskis had said ahead of the looming case that they found the figures “ridiculous”.

“The sort of money you would expect to be paying somebody who has had their face ripped off by a dog, not this mere 1.2cm cut,” said Alison in July 2025.

Speaking at the time, she added: “From day one, we have accepted responsibility.

“Our Ziggy did bite Mercina and we have never denied this.”

But the dramatic court clash never happened after the Girdiefskis agreed to settle.

A court spokesperson said: “This case was settled out of court by way of accepting a Part 36 offer, therefore there is no final order or settlement details to provide.

“Both sides had solicitors so in the end the court was not involved.”

John said the retreat, meant to be a peaceful escape, had instead become “a living nightmare”.

Both couples are now trying to sell their lodges on the exclusive estate.

The Girdiefski’s and Blundells have been approached for comment.

The Sun have also contacted Lord Somerleyton.

Call The Midwife bosses will replace the much loved festive episode with a prequel show of the historical BBC drama series as it attempts a ‘temporary pause’

Call The Midwife bosses have decided to shake up the Christmas schedule by removing the much loved historical drama from the winter TV schedule. Now, viewers will be treated to a prequel episode titled Sisters In Arms which is said to be replacing the coveted prime time slot.

The prequel is set in the period of World War II and it seems it will feature the younger versions of the older characters, who have become fan favourites. The characters may include Fred Buckle, Dr Turner, Sister Julienne, Sister Evangelina and Sister Monica Joan.

It has been speculated that the prequel could also focus on Nurse Trixie Franklin’s story, who is played by the highly acclaimed actress Helen George. In the upcoming show, Helen George’s character will be played another actress reportedly in her teens or early twenties.

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The show creator and writer Heidi Thomas confirmed plans of the shake-up, according to The Sun. She previously said: “No, there won’t be a Christmas special this Christmas, not in the traditional mould.” She added: “This is really just a very temporary pause in the usual pattern.”

Showrunner Heidi previously explained: “The opening of new doors at Nonnatus House feels profoundly emotional, and yet just right. I have never run out of stories for our midwives, and I never will.”

She added: “But having wept, laughed, and raged my way from 1957 to 1971, I found myself yearning to delve into the deeper past. The Blitz years in the East End were extraordinary – filled with loss, togetherness, courage and joy.”

Heidi continued: “The bombs fell, the babies kept on coming, and the Sisters kept on going. There will be so much in the prequel for our wonderful, loyal fans, including the appearance of some familiar (if much younger!) faces.

Series 15 of the show took viewers on an emotional journey as Sister Monica Joan died. The character was played by Judy Parfitt since the show first aired in 2012. The plot follows the lives of a group of nurses and midwives in East London, who made it their mission to care for the people of the East End.

Not only is there a prequel to be aired later this year but the hit show will also become a film, set overseas in 1972. However, a release date for the movie has not yet been confirmed.

Speaking to the Radio Times, Heidi said the film is about “strong women above all else.” She then admitted: “Everything changes and nothing changes,” she observed, recognising its connections to the most recent series.”

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