SHOW BIZ

Kelly Osbourne took to social media to show her mum Sharon watching Jack compete in the I’m A Celebrity camp and Mrs O could barely watch as he took on Drown The Hatch

Sharon Osbourne looked concerned by son Jack’s actions on I’m A Celebrity. The reality TV star was a late signing for the hit ITV show but has been impressing viewers with his actions – and campmates with his cooking.

But it was his first solo Bushtucker Trial that left his mum looking nervous. As she sat beside his sister Kelly to take in the latest events, Sharon appeared to be concerned by his lack of breathing in the underwater activity.

With the camera facing towards them, Kelly said: “Watching I’m A Celebrity and they cut to commercials at the most poignant bit. I was holding my breath, and I realised half way through the first commercial I was still holding my breath.

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“I mean come on he’s in a chamber of water and he only has two minutes.” Sharon then chimes in: “With lobsters and toads..” “Come on, we need to know what’s happening,” Kelly went on.

She then praised her brother’s rapid completion on the first chamber as he held his breath for 26 seconds. Gasping, Kelly was clearly proud of her brother and stared at Sharon as she too looked shocked at his efforts.

More gasps followed from the pair in chamber three as the tense music played in the background. As Kelly shouted out “Yes Jackie,” with a huge grin, she was once again surprised at how long her brother could stay under water.

But the next chamber seemed to bring more fear to the pair. Kelly turned the camera onto her mum who had her head in her hands as he went for the final stars.

As the eels entered his chamber, Mrs O nervously hit her daughter as she could barely watch on. And as he came up for air his mum looked worried for her son.

But she punched the air as he completed the task with a clean sweep of 12 stars. And as Jack said he “absolutely smashed it” Kelly couldn’t help but say yeah you did”.

She also seemed to love Aitch’s new nickname for her brother after he called him J-Aquaman”. She later told her followers who weren’t in England of his feat. And she added she thought she was more nervous at the task than he was, saying she is so proud of him.

“He did f***ing amazing,” she gushed. She went on to say Aitch’s title for her brother will be also sticking when he gets home from the show.

I’m A Celebrity 2025 airs every night at 9PM on ITV1 and ITVX.

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BELOVED actor and singer Michael DeLano has died aged 84 after suffering a heart attack.

The popular star who featured in Oceans Eleven tragically passed away in a Las Vegas hospital, his wife said.

DeLano was also known for his roles in Rhoda and Firehouse – starring as singer Johnny Venture in the former.

His wife of 28 years Jean told The Hollywood Reporter that he died on October 20.

Having lived in Vegas since 1992, the charismatic actor was also known for playing a casino manager in the iconic Ocean’s Eleven in 2001.

In ABC’s Firehouse, he played firefighter Sonny Caputo, before the show was axed after just 13 episodes in 1974.

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Playing Venture, he makes a desperate attempt at going out with Rhoda.

He appeared in 11 episodes during seasons three and four in 1976-78.

The star also played Lou Atkins regularly in Supertrain – which aired for nine episodes in 1979.

DeLano was born in Virginia on November 26 1940.

His dad was a pilot in the service, but tragically passed away before DeLano was born.

DeLano, whose real name is Michael Ace Del Fatti, was raised in Philadelphia, and even received fan-mail while he was a regular dancer on Dick Clark’s American Bandstand.

He also served as a paratrooper in the US army.

The rising star then signed with Swan Records as Key Larson in 1960, before recording tunes such as “A Web of Lies” and “A Little Lovin’ Goes a Long, Long Way”.

He later adopted the stage surname DeLano after seeing a blinking neon sign on a hotel with the name, according to his wife.

DeLano burst onto the Hollywood scene after landing an on-stage role in Hair.

He went on to appear in films such as showed up in the films Catlow, and The New Centurions.

The actor then starred in episodes of Adam-12, Kojak, Banacek and Barnaby Jones – before landing on Firehouse.

DeLano is survived by his wife, his daughter Bree, grandsons Michael and Lincoln, and granddaughter Jaxon.

As media executives wrestle with the use of artificial intelligence, radio giant iHeartMedia wants to stand out.

“We don’t use AI-generated personalities. We don’t play AI music that features synthetic vocalists pretending to be human,” Tom Poleman, the company’s programming chief, wrote in an email to employees.

“The podcasts we publish are also Guaranteed Human,” he wrote.

Radio station DJs now are expected to say “Guaranteed Human,” as part of their hourly on-air disclosures, which include announcing the station’s call letters, as required by the Federal Communications Commission. The new branding campaign has its roots in iHeartMedia’s research that listeners turn on the radio for more than just music and information.

“Consumers aren’t just looking for content, they’re looking for connection,” the company’s president of insights, Lainie Fertick, wrote in an October blog post. “In a world of tech overload, consumers are searching for something real.”

The move comes as Hollywood creators, agents and executives come to grips with rapid advances in artificial intelligence, which has assisted workers with routine tasks but also caused a stir with the release of realistic AI actors, such as Tilly Norwood, which has more than 66,000 followers on Instagram. Entertainment behemoths, including Walt Disney Co. and Comcast’s NBCUniversal, also have sued AI companies for copyright infringement.

To be sure, iHeartMedia uses “AI-powered productivity and distribution tools that help scale our business operations,” Poleman wrote in his note. Such AI tools are used for “scheduling, audience insights, data analysis, workflow automation, show prep, editing and organization,” he said.

iHeartMedia is the nation’s largest radio operator with more than 850 stations, including KFI-AM 640, KLAC-AM 570, KOST-FM 103.5 and KIIS-FM 102.7 in Los Angeles.

The company also has a growing podcast business, producing such shows as “Stuff You Should Know,” “Questlove Supreme” and “Drama Queens.” It also co-produces podcasts with the NFL, NBA and Shonda Rhimes’ Shondaland Audio, which includes “The Laverne Cox Show.”

Previously known as Clear Channel Communications, the company has experienced the dark side of automation and programming centralization.

In 2002, its radio stations in Minot, N.D., aired canned music as a toxic cloud blanketed the community after a train transporting anhydrous ammonia for fertilizer derailed and exploded. One person died, and dozens of others were injured. Congress then drilled into alleged harms of media consolidation and the failure of broadcasters to alert the community during the disaster in Minot, where Clear Channel owned six of the eight commercial radio stations.

Clear Channel later said local police failed that night to activate the emergency alert system, which would have allowed the broadcast of special bulletins.

The company has since championed its responses to other disasters. An iHeart spokesperson pointed to its award-winning coverage of Hurricane Helene in Asheville, N.C., in 2024 as well as its efforts during the devastating Eaton and Pacific Palisades fires in January, “delivering crucial lifesaving information and working with local organizations to collect and distribute essential disaster relief supplies,” the spokesperson said, noting that Clear Channel was run by a different management team.

“At iHeart, we make service to our communities our number one priority,” the spokesperson said.

iHeartMedia, like other entertainment and news outlets, is dealing with advertising declines, and it has been looking for ways to keep listeners engaged amid media fragmentation. The company this fall cut several staff members at historic KFI, including Morris “Mo” O’Kelly, who had hosted the station’s evening talk show for nearly three years.

Radio host Chuck Dizzle also announced on Instagram that he’d been laid off from iHeart’s Los Angeles hip-hop station KRRL-FM, which brands itself as “Real 92.3.”

The company said its research shows that consumers crave interactions with real people, and they have deep concerns about the growing use of AI and its potential societal changes.

Poleman pointed to a recent survey that showed two-thirds of respondents were worried about losing their job to AI.

iHeartMedia employees should embrace “Guaranteed Human” as more than a marketing tagline, Poleman wrote.

“When listeners interact with us, they know they’re connecting with real voices, real stories, and real emotion,” Poleman wrote. “Sometimes you have to pick a side — we’re on the side of humans.”

I’m A celebrity star Angry Ginge opened up about his feelings to Ruby Wax OBE just hours after the content creator became emotional due to not seeing his family

I’m A Celeb’s Angry Ginge became emotional as tension started to brew. Tensions have been bubbling in camp in recent days, with the group becoming noticeably divided after Angry Ginge sparked a feud among his fellow contestants.

The star caused uproar when he told campmates he had won only five stars in his Bushtucker Trial – only for the truth to come out when a full ten-star dinner turned up.

The revelation left several celebrities questioning whether they could “trust Ginge” going forward. Ginge has also caused a stir after he was appointed camp leader alongside Aitch. The mood in camp shifted when the pair were made leader and deputy, leaving some stars, including Ruby feeling uneasy about the new hierarchy. The actress openly admitted she felt the camp had split into two. However, the 24-year-old appeared to bond Wax, 72 during latest scenes from the programme.

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Ginge – whose real name is Morgan Burtwistle – was recently seen visibly emotional on the ITV reality show, after the stars received pictures of their loved ones.

During one conversation from Tuesday night’s episode (November 25), he opened up about his family life. While showing Ruby his new digs in the leader and deputy treehouse, Ginge also revealed his family photo, pointing out each of his family members to her as she jokingly tells him: “You look a little dorky!”

Checking in on Ginge after his emotional day before, Ruby asked whether he was feeling in a better mood. He then responds: “Much better, yesterday I was just terrible…”

He opens up saying: “Do you know what it was? I’ve gone ten days without seeing my mum for example but I’ve always been able to ring her and text her, so not being able to communicate at all, it all gets on top of you.”

Ginge asked Ruby who she missed more, her husband or her cats, asking her to be honest. She replied: “My cats”, which had Ginge in stitches, before explaining she had been with her husband for 35 years.

As Ruby said she didn’t think Ginge was the romantic type, he explained for his ex before he asked her to be his girlfriend, he had “rose petals, from the front door all the way up the stairs and then it opened to my room, there’s a teddy bear, there’s a rose and then I officially asked her to be my girlfriend.”

In a heartbreaking admission, he went on to reveal that his ex-girlfriend had broken up with him via text message. “I got the message,” he said, adding: “I don’t think it’s working, stuff like that, I agreed,” before saying he had 10,000 people watching him on his livestream.

“I had to carry on for six more hours but in the long run, it’s funny isn’t it,” he said, as he and Ruby went on to laugh about the situation. “When I want to be, I can be romantic,” he said. In the Bush Telegraph, he said to the camera that for ladies who fancied him, he can be romantic.

“She’s an extraordinary woman, she has the same banter as me,” Ginge said of Ruby. Fans were obssesed over the duo. Taking to X, one person said: “Really enjoyed that conversation between Ginge and Ruby. They get on really well. Nice to learn more about Ginge #ImaCeleb.”

Another wrote: “Ginge and Ruby remind me of Maura and The reverend such an unlikely partnership but bloody brilliant #ImACeleb.” A third viewer wrote: “Ruby and Ginge’s chemistry is insane! #ImACeleb.”

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JEFF Brazier has broken his silence on his marriage split from wife Kate.

The television presenter has been married to PR guru Kate for 12 years but separated earlier this year.

Now he has broken his silence with an emotional statement.

He said: “I’m so full of love and gratitude for Kate.

“For all we achieved, for how much we grew, for everything we endured.

“We separated in the Summer and kept it private for as long as we could to give us some time to adjust.

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“For 12 years we have been each others safe space, each others biggest supporters at a time when our lives have been busy, painful & complex.

“I’m so proud of how hard we worked, how we kept showing up, we gave everything and more.

“I’m also so full of respect and admiration for the successful career Kate has built and the way she cared for me unconditionally.

“It’s credit to the woman she is that she still checks in to ask how the boys are doing because she is so invested in their lives.

“They love her and I have many friends that love her too. I will miss her family who always went above and beyond to support us.

“My words don’t tell the full picture because they don’t need to.

“We will carry on supporting each other and I know I’ll be celebrating her inevitable wins just like before.

“We both deserve complete happiness and we’re upset that we ultimately couldn’t be that for one another and It felt time to let it go.”

The Sun revealed last night how Jeff and Kate had parted ways after seven years of marriage. 

Yesterday, Jeff was not wearing his wedding ring as he reported for ITV’s Good Morning Britain from Reykjavik in Iceland.

A source said PR guru Kate, 35, moved out of the marital home three weeks ago and has returned to her apartment in Hackney.

Kate has since jetted off to Las Vegas for the US Grand Prix.

From there she shared a selfie in which she appeared to have replaced her wedding and engagement ring with another band.

Kate’s Vegas trip also included a night out at raunchy burlesque show ABSINTHE.

Clearly enjoying the entertainment, Kate shared a video of a lap dance from the show with the caption: “Absinthe is always the best show in Vegas.”

In a follow-up story, Kate appeared to make a cryptic swipe at Jeff post-split sharing a quote about astrology.

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“Just an update: SIX PLANETS ARE IN RETROGRADE, so that’s why,” read the post on her story.

In astrology, when this happens, it is linked to difficulties with communication, technology, and travel.

The Chicago Bears didn’t want to seem cocky.

They didn’t want to jinx themselves.

They certainly didn’t want to provide opponents with bulletin board fodder during their attempt to bring a Super Bowl championship to their home city after the 1985 season.

As a large group of players from that team — billed as the Chicago Bears Shufflin’ Crew — said in the lyrics to one of the most unlikely hit songs and music videos of the 1980s: “We’re not here to start no trouble. We’re just here to do ‘The Super Bowl Shuffle.’”

All of those thoughts weighed on the minds of the 30 or so players who recorded “The Super Bowl Shuffle” four decades ago this month, several weeks before the NFL regular season even ended.

“If we don’t go to the Super Bowl, we’re gonna be the biggest idiots ever,” former Bears linebacker and Pro Football Hall of Famer Mike Singletary says in “The Shuffle,” an NFL Films production presented by HBO Documentary Films. “We gotta win this thing, man.’”

Singletary is one of several of people who share their thoughts and memories about their participation in what has become a beloved relic during the 40-minute documentary that premieres Tuesday at 9 p.m. PST on HBO and streaming on HBO Max. Director Jeff Cameron told The Times that it’s no coincidence that “The Shuffle” is dropping during the 40th anniversary season of the Bears’ only Super Bowl title.

“Outside of some print media or some articles, no one had really chronicled the entire genesis, development and production of ‘The Super Bowl Shuffle,’ which is so intertwined with that team,“ Cameron said.

The song was the brainchild of Chicago businessman Dick Meyer, who had formed Red Label Records the previous year. With the Bears off to a strong start to the 1985 season, Meyer thought a hip-hop record featuring many of the already beloved personalities from that team might have some success in Chicago.

Many players agreed to participate after learning that part of the proceeds were going toward the Chicago Community Trust. “We’re not doin’ this because we’re greedy,” running back Walter Payton rapped during his verse, “the Bears are doin’ it to feed the needy.”

Other featured Bears players included Singletary, Gary Fencik, Willie Gault, Otis Wilson, Steve Fuller, Mike Richardson, Richard Dent, William “Refrigerator” Perry and Jim McMahon.

The vocal tracks were recorded on Nov. 21, 1985. The Bears were 11-0 at the time, coming off a 44-0 rout of the Dallas Cowboys. They continued to roll the following weekend with a 36-0 victory against the Atlanta Falcons.

But their run of perfection came to an end Dec. 2, 1985, with an ugly 38-24 loss to the Dolphins in Miami on “Monday Night Football.” It just so happened that the music video shoot for “The Super Bowl Shuffle” was scheduled for the next morning in Chicago.

Suddenly, Gault said in the documentary, “Guys don’t want to do the video.”

Two of the team’s biggest stars, Payton and McMahon, didn’t show up. They were added into the video after shooting their parts one day after practice.

“It was pretty audacious of us to talk about going to the Super Bowl, winning it, you know?” McMahon said in the documentary. “We still got games to play, and we just lost.”

Chicago Bears players Mike Singletary (left) and Gary Fencik take part in the filming of ‘The Super Bowl Shuffle’ music video Dec. 3, 1985, at the Park West in Chicago.

(Paul Natkin / HBO / Getty Images)

But the video shoot may have had unexpected benefits for the players who participated.

“If not for ‘The Shuffle,’ they probably don’t even get together” that day, Cameron told The Times. “They probably don’t see each other until Wednesday because they have Tuesdays off after Monday night, and they’re right back in the film room or the practice field. They don’t properly get to just forget about the loss for a second, get together as a group of guys who like playing with each other and just who love each other.”

In behind-the-scenes footage provided to Cameron’s team by Meyer’s widow, Julia Meyer, the players are seen laughing and joking around as they attempt to learn a few dance moves and lip-sync their parts, all with varying degrees of success.

“We bonded in a way that we could never have bonded in any other way,” Singletary said in the documentary. “That was the fun part of working together in a totally different realm. There were guys that were backups teaching guys that were starters. We mixed in a way that we had never had a chance to do before. And it became a rallying point that brought us together, got us refocused. ‘This is what we said we were gonna do, let’s go get it done.’”

The Bears didn’t lose another game on their way to defeating the New England Patriots 46-10 in Super Bowl XX. And “The Super Bowl Shuffle” was a success in its own right, with popularity that extended well beyond Chicago.

The single spent nine weeks on the Billboard Hot 100, peaking at No. 41, and was certified gold by the Recording Industry Assn. of America (500,000 units moved). The music video, released commercially on VHS and Betamax, was certified platinum (one million units moved).

The song was even nominated for a Grammy in the category of “Best R&B Performance by a Duo or a Group with Vocals,” eventually losing to Prince and the Revolution for the song “Kiss.”

“I think it was the perfect marriage of that cast of characters from the top down … and the fact that, outside of the Miami game, of course, they just kept winning,” Cameron said. “And it wasn’t close. I think that certainly helps propel this video, along with the rise of MTV. It was a perfect storm of a pop cultural phenomenon.”

A major star from Netflix’s hit series Stranger Things has addressed the wild theories about her next role in a highly-anticipated blockbuster

Stranger Things star Sadie Sink has issued a cryptic response to who she could be playing in an upcoming Marvel movie.

The actress is best known for portraying Maxine ‘Max’ Mayfield in Netflix’s smash-hit series, which is returning for its fifth and final season this week.

She has since been cast in the upcoming superhero sequel Spider-Man: Brand New Day, with Tom Holland returning as the web-slinger, though details of her role are currently a mystery.

With fan theories ranging from iconic comic book favourites such as Gwen Stacey and Jean Grey to more obscure characters, fans may be in the dark for some time as both Marvel Studios and Sony are keeping things under wraps.

Sink has recently addressed some of the most popular rumours, many of which point to the redheaded actress portraying someone with a similar look.

“A lot of people forget that hair colour can change, but, yeah, I understand all of the theories,” she teased to Entertainment Weekly.

Her four-word clarification that “hair colour can change” could point to her casting as Spider-Man’s blonde girlfriend Gwen after his love interest MJ, played by Holland’s real-life partner Zendaya, was left with her memory wiped in the last film.

However, Sink’s casting as X-Men team member Jean has also been a popular choice since before she joined the franchise, as she notes: “That was happening before I even knew that I would be working on this project.

“I was like, ‘Wait! What are people talking about?’”

The odds are also strong that the Stranger Things alum is playing a lesser-known character called Rachel Cole, the sidekick of vigilante the Punisher who will also be making an appearance in Brand New Day portrayed by Jon Bernthal.

“People will just have to wait and see,” Sink teased. “I’m excited for all of it to maybe be put to rest.”

The actress currently has multiple mysteries surrounding her upcoming on-screen appearances, as the fate of her Stranger Things character Max was also left up in the air at the end of season four.

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Following an intense confrontation with Vecna (Jamie Campbell Bower), Max was left in a coma while her friends anxiously await her revival, which may never actually arrive.

“For the most part, I think people trust me to keep my mouth shut,” she said.

“Press is pretty boring if you can’t talk about the episodes — for me, at least. She’s in a coma. That’s all I can say.”

Stranger Things season 5 premieres Wednesday, 26th November.

MILLIE Mackintosh has posted about ‘lies and delusion’ after a mystery feud and fall out with her former friend. 

The star has dumped her long-term manager Donna Rooney, who is also a close friend and godmother to her two children, it’s been reported. 

And now, the 36-year-old has taken to social media to share a cryptic quote with her legion of fans. 

It read: “Sometimes you just have to let people be… 

“Be who they are, do what they do, act how they act, say what they say.

“Let them live their version of reality. Let them sit with their lies and delusion while you sit with the truth in peace.” 

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According to insiders, Millie is desperate to cut ties with Made In Chelsea – the show that made her famous – and move away from being known as a former reality star. 

As a result Millie – who shares Sienna, five, and three-year-old Aurelia with husband Hugo Taylor – has decided to make a fresh start and sign with YMU, the home of stars including Ant and Dec and Claudia Winkleman. 

It’s thought that Donna has been left “deeply upset” by what she allegedly feels is a “betrayal” from Millie. 

A source told the Daily Mail: “Millie has become increasingly disenchanted with still being known as an ‘ex Made In Chelsea star.’ 

“Whatever venture she tips her toes into, the label seems to follow her everywhere – and she’s had enough.

“The show made her name, but she hasn’t appeared on it for over a decade and to her, it feels like another life.

“So, in order to finally make a clean break from it, she made the difficult decision to part with Donna.

“They have been friends for over a decade, Donna is the godmother to Millie’s children, they have holidayed together for years, and share countless memories.”

Sources also claim that Millie has added to the snub by unfollowing Donna on Instagram. 

The Sun has reached out to Millie’s reps for comment.

Disney’s latest animated film, “Zootopia 2,” a sequel to its 2016 box-office juggernaut, isn’t exactly an adult political drama, though the stakes certainly feel grimmer. Members of Zootopia’s elite plan to expand their territory by displacing certain indigenous animals from an area they want to claim for themselves. And they will do so without pushback by convincing the rest of the population that their uprooted neighbors are dangerous. Any attempt by the victims of this injustice to reclaim their homeland and their dignity will be deemed a violent attack. In turn, anyone who sides with their cause will be labeled a criminal enabler, a disloyal pariah.

Meanwhile, tensions flare in law enforcement as pawtners Nick Wilde and Judy Hopps (voiced by Jason Bateman and Ginnifer Goodwin) — who in the previous film saved Zootopia from a power-hungry wolf in sheep’s clothing — have to prove their compatibility after their recklessness lands them in hot water with Chief Bogo (Idris Elba). Could their personalities be too disparate for them to make a dream team? Judy values justice above all things, while Nick prioritizes survival and comfort. In truth, the tie-wearing fox only became a cop because of his fondness for Judy, not out of a sense of dutiful conviction.

That push-and-pull tests the strength of their bond as they visit previously unseen areas of Zootopia, including a visit to the Marsh Market, where exiles live. These adventures occur as they search for Gary De’Snake (Ke Huy Quan), a fanny-pack-strapped viper, and Pawbert Lynxley (Andy Samberg), the socially conscious son of a wealthy family. They’re on a quest to find evidence that would clear the reputations of reptiles in Zootopia, all of whom have been forced to exist on the outskirts for decades.

Writer Jared Bush, who also co-directs with Byron Howard (both return from the first “Zootopia”), leans into Quan’s personal history as an immigrant whose family had to escape Vietnam to render Gary a resilient survivor with a noble soul. Leave it to Disney to make a giant snake look disarmingly adorable and to Quan to match that energy with his warm vocal performance. On top of the new characters, Judy and Nick’s emotional arc is adorned with cameos from fan-favorite minor players from the original (Flash, the sloth; Mr. Big, the shrew). The loaded narrative robs the picture of more time with Gary and Pawbert, even if Bush finds plot-effective ways to feature the supporting mammals.

Like its predecessor, “Zootopia 2” impresses visually, especially given the breadth of characters and environments it immerses the audience in. In the faces of new characters like the anxious Pawbert and friendly Gary, one can best appreciate the level of nuanced expressiveness that Disney’s animators, working at the highest level of 3-D CG technique, can achieve.

After several haphazard attempts with the “Frozen” and “Moana” franchises, “Zootopia 2” can take the title as Disney’s most effective animated sequel yet. In most regards, the formula that propelled the first one to hit status remains unchanged: an encyclopedia of animal puns, an upbeat tune by Shakira and a twist villain (in this case, an Elon Musk type desperate for approval that all the money in the world can’t buy). And yet, “Zootopia 2” arrives as an expansion with a punchier, more focused approach to its mature ideas. This is a movie where the antagonists are willing to kill for their nefarious goals, and where the heroes are willing to die in order to uphold what’s right.

The more one reads into the movie’s timeliness, though, the more obvious it becomes that there’s a dissonance between the artists making an animated feature such as this one and the company’s leadership, which continues to push artificial intelligence and capitulate to those who bemoan “wokeness.” Those people might certainly find “Zootopia 2” rather woke indeed. (Who knows, maybe in the next installment Judy and Nick will question their role in perpetuating the police state.) In our bizarro world, the “Zootopia” franchise serves as a vehicle for thought-provoking subjects disseminated by way of colorful anthropomorphic animals.

EXCLUSIVE: David Michôd is the director of the new film, Christy, which is coming to cinemas on November 28

David Michôd is the creative force behind the upcoming film, Christy, featuring Sydney Sweeney, which arrives in cinemas on November 28 following its domestic box office debut.

The acclaimed Animal Kingdom director has brought to life the extraordinary true story of Christy Martin, a West Virginia native played by Sweeney who emerged as one of boxing’s most pioneering and divisive personalities.

“More than anything I loved the idea of making a movie about a woman with a really ferocious personality,” he told Reach titles.

“I just immediately got a sense that there was something about her that is very charismatic that I really liked, then met her and liked her even more – how beautifully vulnerable and kind and funny she is.”

The director revealed some of his all-time favourite films, including an “unbelievably overlooked masterpiece”.

Apocalypse Now

The epic psychological war drama from 1979 draws loose inspiration from Joseph Conrad’s 1899 novella Heart of Darkness.

The picture charts the journey of Captain Willard (Martin Sheen), tasked with a covert assignment to eliminate Colonel Kurtz (Marlon Brando), a rogue Special Forces commander suspected of murder.

David said: “My favourite movie is Apocalypse Now. That movie made me want to make movies.

“I already loved movies but it was Apocalypse Now that made me want to make them. There was something about the giant, crazy adventure of that film.

“I just think it’s amazing. I was talking to someone about it who was reminding me of the fact it wasn’t universally well-reviewed when it was released, which seems insane to me.”

The Assassination of Jesse James by the Coward Robert Ford

David simply stated: “I just think, unbelievably overlooked masterpiece.”

The Assassination of Jesse James by the Coward Robert Ford is a grand Western film from 2007.

Based on Ron Hansen’s 1983 novel of the same name, it features Brad Pitt and Casey Affleck.

The film explores the relationship between Jesse James and Robert Ford, focusing on the events that led up to the notorious killing.

Taxi Driver

Taxi Driver is a 1976 psychological thriller set in New York City post the Vietnam War.

The film stars Robert De Niro as veteran Marine and taxi driver Travis Bickle, whose mental state deteriorates as he works nights in the city.

David commented: “Taxi Driver is right up there for me, just so raw and visceral.

“But again, a movie about a character who does monstrous things, but whose vulnerability and brokenness are so right there on the surface.

“I remember when I was writing Animal Kingdom, I showed the script to people, and some of those people would say ‘Your central character isn’t likeable enough’.

“And I’d go ‘Have you seen Taxi Driver? That guy is kind of grotesque but you can feel him and that’s all you need to be able to do.”

Christy will be hitting cinemas in the UK and Ireland on November 28.

OVER the last 12 months, Kate Brazier has found her life completely turned upside down as a family feud, abusive behaviour, and rows over being a stay-at-home-wife rocked her marriage.

The PR guru, 35, – who took on the role as stepmum to Jeff’s grieving two sons – clung onto her marriage to Jeff Brazier for as long as she could, before finally calling it quits for good a few weeks ago. Here, insiders tell us what finally broke Kate, and reveal the heartbreaking battle she was fighting behind the scenes.

Our insider revealed: “The last year has been incredibly hard on all the family and unfortunately Kate is the one who has really suffered in it all.”

Last night The Sun told how Kate and Jeff, 46, who were together for twelve years, are now living apart after “a year of hell” involving issues with Freddy Brazier, 21 — Jeff’s youngest son from his relationship with tragic Big Brother star Jade Goody.

Amongst those issues was an escalating rift with stepmum Kate. In a cruel post, Freddy listed things he “hates” which included: “Step parents”, which was said to be “like a dagger in the heart” for Kate. 

The insider explained: “It’s no secret that Freddy has been struggling and has a number of issues, which has meant everything else has taken a back seat. 

Kate knows she’ll always come second to the boys.

Insider

“Freddy has been quite vocal about not liking Kate and is said to have been verbally abusive towards her at times. 

“Kate really thinks Jeff could have stuck up for her more in it all but instead she felt pushed out.

“People seem to forget that Kate has been a mother figure to both the boys since they were very young and has really given her all to support them and Jeff.”

Kate was just 24 when she first met the boys, it was five years after their mum had died and she admits she became a part of their life “without a clue what I was doing or how to help”.

From the outside Jeff appeared to have it all under control – Bobby his oldest lad, 22, was on EastEnders and Strictly, he was living the dream hosting on This Morning and Freddy was finding his feet in the world.

But behind the occasional picture perfect instagram posts, the truth was far darker and Freddy was battling his inner demons.

What followed was a devastating and very public family fall out, which saw Jeff launch legal action to block Freddy from seeing his gran, Jade’s mum Jackiey Budden, 68,

He accused Jackiey of being a bad influence on Freddy amid fears for his welfare.

In another bombshell, Freddy announced he was to become a dad for the first time with influencer girlfriend Holly Swinburn.

Jeff immediately stepped up and made it clear that he would do what he could to make sure the baby was safe and happy – which appears to have come at the detriment to other things in his life. 

The insider continued: “Things reached breaking point when Freddy revealed he was having a baby.

“Jeff is incredibly involved and Kate just knows it’s going to be a chaotic nightmare. Jeff is desperate to make the situation OK for his son.

“But it’s meant the issues he had with Kate have been massively amplified by the pregnancy and its caused a lot of stress.

“Kate knows she’ll always come second to the boys – and that’s fine. She gets it. But it’s all become way too much.”

In a new twist, Freddy has since split from Holly after a row over their dog, throwing decisions about the baby into chaos.

‘A RETREAT FOR EXTENDED FAMILY’

Over the weekend Jeff hinted his marriage was over in online posts and made it very clear where his priorities lay – with his soon to be extended family.

Revealing he had bought a new home, he wrote in a thinly-veiled dig: “After three years in the commuter belt to make things easy for everyone else, it was when I ultimately became a storage facility that I realised it was time to suit myself and open fields make me happy.”

He went on: “I wanted to be in a home that felt like a calm retreat for my soon-extended family.

“I realised some time ago that success equals peace and I’ve found the perfect environment for what feels like a transitional time in all our lives.”

But it seems Kate feels like the right decision has been made, she is back living in her apartment in Hackney and jetted to Vegas for the weekend for the US Grand Prix.

In her selfie from the trip, Kate wrote: “Possibly one of the best days of my life.”

Her words will no doubt be a crushing blow to Jeff, who is said to have been desperate to make things work after everything they have been through.

But yesterday he was not wearing his wedding ring as he reported for ITV’s Good Morning Britain from Reykjavik in Iceland.

A MOTHER FIGURE IN THEIR DARKEST TIMES

The couple first got together in 2013 before tying the knot in 2018, where the boys played a big part. 

The wedding was a huge milestone for Bobby and Kate because it was the first time he told he loved her.

She recalled:  “Fred says it to me every day, but Bobby is more reserved, so for me that was truly amazing and shows how far we have come.”

Bobby joked in his speech about how he struggled with their relationship initially, saying: “This is a bit awkward, but to cut a long story short, I didn’t really rate you to begin with,”

“But now I’m so glad I can genuinely tell you I love you. You being around has made things a lot easier for us boys, and we appreciate you a lot.”

Fast forward to this year though and there has been a huge shift in relationships.

Freddy, who lost mum Jade, then 27, to cervical cancer in 2009, when he was just four, heartbreakingly told his followers: “I don’t know how to love because I’ve never been loved.”

But Jeff and Kate briefly split at the end of 2022, partly due to clashes over their lifestyles — Jeff is a homebird while Kate enjoys socialising.

Back then Kate told pals she did not want to be a “stay-at-home wife”. But the couple agreed to give their marriage another go after Jeff revealed he was the loneliest he had ever been.

And things certainly looked rosy for some time – but as Freddy’s personal crisis escalated, Bobby also made a surprising decision to quit EastEnders and the spiritual lad moved to India to join a Hare Krishna commune

He said Freddy “needs to grow up” after images emerged of his younger brother and his nan Jackiey smoking a suspicious-looking cigarette next to the Thames in London.

Jeff reluctantly backed down from his legal action in August, and while he started communicating with Freddy again sources said his relationship with him remains strained.

And it seems despite his best efforts, drama continues to follow Freddy and whether he will be back with the mother of his child by the time they are born remains to be seen. Kate for one isn’t prepared to wait around to find out. 

Jeff and Kate have been contacted for comment.

A giant stack of dishes from the kitchen, a disembodied array of Daffy-like duckbills, an angry storm cloud of old rotary dial telephones embedded in tangled cords — Robert Therrien’s art covers a lot of varied territory.

Whether he was making a 3D sculpture to stand on the floor, a 2D painting to hang on the wall, or a 3D sculpture attached to a wall like an ancient frieze, he managed the same uncanny result — objects where the purely visual and the utterly physical demand equal time.

At the Broad, “Robert Therrien: This Is a Story” concludes 2025 with one of the year’s best museum solo shows. A smashing retrospective of a seemingly sui generis artist — Therrien died at 71 in 2019 — he takes a prominent place among a number of distinctive painters and sculptors since the 1960s and 1970s in L.A. that don’t seem to fit comfortably within larger categories. Two of them — Vija Celmins and Ed Ruscha — have contributed concise reflections on Therrien’s work to the lovely, insightful catalog that accompanies the show.

These days, art emphasizing subject matter often shunts form to the side, as if the visual analysis that form demands is irrelevant. With Therrien, it’s essential. Students at L.A.’s numerous celebrated art schools would benefit from spending time in the exhibition.

This art’s simultaneous appeal to the eye and the hand, formally lean and visually uncluttered, yields a strangely conceptual punch. A sense of charismatic presence — the material manifestation of an abstract idea — is inescapable.

Robert Therrien, “No title (red chapel relief),” 1991, enamel on paper and wood

(Christopher Knight / Los Angeles Times)

Start with “No title (red chapel relief)” from 1991. The simple contour of a chapel, its steeple slightly off-center, stands out from the wall about six inches deep. The simplified shape is the kind you might see on a Christmas card or a stamp.

A bit over nine feet high, and hung more than a foot off the floor, the object suggests architectural scale without sacrificing an element of intimacy, which invites a viewer to engage in close examination. Up close, the bright crimson relief-sculpture is revealed to feature hand-brushed red enamel paint over paper.

Visible most clearly in folds at the corners, the paper is carefully affixed to the surface of a wooden form. Step back, and suddenly the off-centered steeple rising from the boxy form below looks familiar in a very different way: Make a fist, raise your middle finger, and the off-centered contour of your hand repeats the shape hanging on the wall.

The church seems to be giving you the finger back.

The recognition of a sculpture surreptitiously flipping the bird certainly produces a smile. Soon, though, the wisecrack gives way to more sober ruminations. Every artist is expected to either shake off or renovate convention. Therrien’s generic chapel stands not for any particular denomination or specific religious creed, but simply for the common reality of established doctrine operating throughout daily life. That’s what gets the finger.

Therrien isn’t insulting religion. Raised Catholic but long-since lapsed, he instead harnesses an emphatic merger of physical form and fluid red color to conjure a wholly secular vision of the body and the blood.

Studies for Robert Therrien’s sculptures are included in the Broad retrospective.

(Christopher Knight / Los Angeles Times)

Broad curator Ed Schad notes in his catalog essay that Therrien made 57 different chapels over more than three decades. He employed a wide range of materials in them — wood, bronze, steel, aluminum, brass, cardboard, paper, canvas, plastic, vellum, photogravure and wallboard. That’s typical of the curiosity with which he investigated the visual appeal of art’s physical potential, which he began in the mid-1970s by pouring resin into a puddle on an asphalt floor, letting it dry, then pulling up the pockmarked pancake and simply pinning it to the wall.

Therrien’s exploratory, artistic bird-flipping isn’t parody, like German artist Anselm Kiefer’s prickly self-portrait photographs raising a Hitler salute in front of ruined landscapes. It’s more like Chinese artist Ai Weiwei’s “Study of Perspective” series of photographs, where his outstretched hand raises a middle finger aimed toward symbolic power centers — the White House, Tiananmen Square, the Eiffel Tower, the Reichstag, etc. Notably, however, Therrien’s digital rumination on the hazards embedded within unquestioning cultures preceded his fellow artist’s by more than a decade. The sensuous material breadth of his work also kept redundancy at bay, unlike Ai’s ultimately repetitive photographic gestures.

The Broad has 18 Therrien works in its collection, while the Museum of Contemporary Art across the street has 17. The common denominator between them was the early enthusiasm of prolific Italian collectors Giuseppe and Giovanna Panza di Biumo, donors to MOCA and friends of Edythe and Eli Broad; they were also instrumental in introducing Therrien’s work in Europe. Twenty-five of the exhibition’s more than 120 works come from the two neighboring institutions, while the rest are loans gathered from the artist’s estate and museum and private collections.

Upstairs in the Broad’s permanent collection galleries is Therrien’s 1994 “Under the Table,” an Instagram favorite that’s an almost exact replica of his studio’s kitchen table, surrounded by six sturdy wooden chairs. The difference: All are enlarged so that the ensemble is nearly 10 feet tall and 26 feet long. Downstairs in the exhibition galleries is his related sculpture of a folding card-table and four metal chairs, rendered in not dissimilar Brobdingnagian proportions. You’re invited to play underneath, like you’re 6.

Robert Therrien, “No title (folding table and chairs, dark brown),” 2007, mixed media

(Joshua White / The Broad)

These tables are not merely big. Instead, they are carefully calibrated to be large enough to allow a viewer to mentally return to childhood, when playing under a table where the grown-ups sat was a common kid thing, without being so large as to overwhelm a vaporous memory. Each viewer’s recollection is summoned and given autonomy.

Weirdly — which is to say, in typical Therrien manner — the tables and chairs are not unlike those bird-flipping chapels. In both, a universalized norm gets displayed, yet it’s simultaneously individualized. A chapel and a table are entirely different subjects, but the precision of the form propels the content of each.

That explains his art’s titles — or, to be precise, his decision early on to affix each sculpture and painting with the words, “No title.” The casual word “untitled” was pretty common in art, but it possesses an air of disinterest that seems anathema in the vicinity of a Therrien. “No title” carries the weight of a decision having been made. He doesn’t want to get in your perception’s way. It’s followed by parentheses that hold plain descriptions — red chapel relief; oil can; or, folding table and chairs, dark brown.

The formal brilliance of Therrien’s art is everywhere on view. He made exquisite, hand-rubbed wooden keystones, each representing the central stone at the summit of an arch. A keystone’s angled downward pressure on each side locks the larger form in place, paradoxically allowing the arch to rise up.

Some of Therrien’s keystones hang at eye level on the wall, inviting close perusal. Others stand upright on the floor, corresponding to your body. The sculptures lovingly sanctify a keystone’s rational but enigmatic contradiction of mechanics and function.

Robert Therrien’s beard sculptures recall the Romanian sculptor Constantin Brancusi.

(Joshua White / The Broad)

A nearly eight-foot stack of 26 enlarged white ceramic plates, which derive from dinnerware the artist found in a shop, stands as a mind-boggling pillar. Made from sleek ceramic epoxy over fiberglass, the stacked dishes are piled tilting this way and that. Walk around it, and the shifting, light-reflective and -absorbent white forms create an uncanny illusion of the pillar in jumpy, unstable motion. It’s like stumbling into an old Max Fleischer cartoon that has come to life.

Perhaps the strangest sculptures in the show are a selection of flowing beards, symbol of maturity and wisdom, which derive from the long, lavish one the great Romanian sculptor Constantin Brancusi sported. Born in the 19th century, Brancusi made his career in 20th century Paris, his work the epitome of Modernist abstraction. Therrien’s beards — fashioned from synthetic hair, plaster, stainless steel or aluminum — hang on wardrobe stands from hooks that would go over the wearer’s ears as part of a costume.

Some beards are big enough for a giant, befitting Brancusi’s outsize artistic reputation. Others are doll-sized, perfect for a modern celebrity souvenir, like Barbie’s Ken. Like ancient Egyptian pharaohs who wore false beards to signify their connection to Osiris, god of the underworld, or criminals wishing to alter their appearance to avoid the cops, we are challenged by sculptures representing the power of artifice.

“What is real is not the external form, but the essence of things,” Brancusi famously said. So, ever the unconventional philosopher, Therrien made real false beards that embody the essence of that. Form and content, the visual and the physical, create art’s spellbinding double helix. Think of these eccentric beards as Therrien’s self-portraits.

After Alex Scott smuggled salt and pepper into the camp, Shona McGarty is the second celeb to bring contraband into the I’m A Celebrity… Get Me Out Of Here camp

I’m A Celeb hosts Ant and Dec have shed light on how Shona McGarty smuggled a huge can of air freshener into the camp. Fans were left mystified when producers spotted Alex Scott’s tiny stolen salt and pepper packets but failed to notice the EastEnders‘ star’s much bigger contraband until she revealed it herself.

During the episode that aired on 24 November, Alex was caught with her smuggled goods and campmates were all punished together, losing one star off their dinner. Bosses demanded that campmates produce all contraband, at which point, Shona revealed she had been hiding an enormous can of air freshener.

READ MORE: Karcher window vac that banishes condensation with ‘zero smears’ reducedREAD MORE: Second stash of I’m A Celeb contraband discovered in camp after Alex Scott ‘salt-gate’

Viewers struggled to understand how she hid such a big item and how she got it into the camp in the first place. One said on social media: “I think we’re all baffled as to how Shona managed to smuggle a can of air freshener in.”

But Ant and Dec have now revealed how she did it. On Unpacked after the show, the pair addressed the situation and said they think they know how she did it.

When asked who they thought might face the next task, the hosts hypothesised that the campmates who brought in contraband might be punished. “Will it be Shona for smuggling in that air freshener?” asked Dec.

“Where did she hide that? Where does one hide an air freshener?” asked Ant, prompting his co-host to say he thought he knew what had happened. “I think I know where she got it. She nicked it from the trial.”

Kemi Rogers asked if she hid it under her top, and Ant said he didn’t know, but Dec was sure that she must have stolen it from a Bushtucker Trial rather than bringing it all the way from the UK.

A few days ago, Shona, alongside Alex, Jack Osbourne and Martin Kemp faced a Bushtucker Trial where they were locked in cages, sitting on makeshift toilets. The group had to try and retrieve stars from where they were bolted to bars in front of them, as bugs fell from above them.

Though the trial did not involve air freshener, and as such, none was visible to audiences, production may have had one on hand, which Shona may then have swiped.

Shona’s campmates didn’t seem to happy with her secret antics. Martin Kemp headed to the Bush Telegraph to call her out for smuggling the air freshener in, as did Jack who said: “There’s always one.” Kelly Brook added: “I thought we were a team.”

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

BRIGITTE Bardot has reportedly been rushed to hospital again in Toulon just weeks after her last stay.

The 91-year-old film icon is said to have arrived at Saint-Jean Hospital about ten days ago and remains under care.

According to Nice-Matin, she was previously transferred to the same clinic in October, when she reportedly underwent “surgery as part of treatment for a serious illness.”

Bardot returned to her home in La Madrague after nearly two weeks of hospitalisation at the time, fuelling intense speculation, including false reports of her death.

She pushed back then in a message on X, writing: “I’m fine.

“I don’t know which idiot started this ‘fake news’ about my disappearance tonight, but know that I’m fine and I have no intention of bowing out.”

Read more on Brigitte Bardot

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Screen icon Brigitte Bardot, 91, rushed to hospital ‘with serious illness’

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German outlet Bild reports Bardot has been back in the Toulon facility for ten days, though the reason for this latest admission is unclear. 

In recent years, the star has spoken openly about health problems.

Shortly before her 90th birthday, she told La Parisienne: “I can hardly walk anymore, I’m dependent on crutches, and dancing is very difficult for me.”

Bardot was hospitalized in 2023 after a respiratory arrest.

Her October hospitalisation similarly set off death rumours, spread by an influencer in a now-deleted post.

Bardot herself dismissed the claim at the time, saying: “I don’t know who the idiot is who spread this ‘fake news’ about my passing, but you should know that I am fine and I have no intention of saying goodbye.”

French actress Brigitte Bardot first appeared on screen in 1952 with The Girl in the Bikini, a role that launched her to major stardom.

She stepped away from filmmaking in 1973 to focus on her animal-rights foundation. 

Throughout her career, she cultivated a provocative public image, from her beachside bikini moment at Cannes in 1953 to posing nude for Playboy on her 40th birthday.

Married four times, Bardot first tied the knot to actor Roger Vadim (1952–57), then to Jacques Charrier (1959–62), followed by Gunter Sachs (1967–69).

 She has been married to Bernard d’Ormale since 1992.

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

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As natural disasters in Los Angeles go, a rain delay temporarily washing out a music festival is pretty low stakes. But fans had to scramble last week after a sudden thunderstorm made Tyler, the Creator’s flagship festival at Dodger Stadium soggy and unnavigable.

Now kicked forward a week, a few acts (Sombr, Tems, Clairo) dropped off the bill, a few (Kali Uchis) joined in their stead, and travelers with nonrefundable plane tickets had to find other ways to amuse themselves in L.A. for a week. But once the Dodger Stadium gates finally opened, everything was more or less smooth sailing. Here are the highlights of the weekend’s performances.

Timothée Chalamet’s ‘Marty Supreme’ blimp makes an appearance

Last week, actor Timothée Chalamet released a parody of a marketing meeting, for his upcoming film “Marty Supreme.” The 18-minute clip consisted of the Oscar nominee pitching the team outlandish advertising ideas like painting the Statue of Liberty orange. In the Zoom meeting, he says, “We should have the blimp go above Flog Gnaw and rain ping-pong balls, Marty Supreme-branded, rain ping-pong balls on everyone.”

Low and behold, right before Tyler, the Creator’s set, a bright orange blimp reading “Marty Supreme” began circling Dodger Stadium — just as Chalamet prophesied. People all around the festival could be seen stopping and pointing out the flying spectacle.

But thankfully, no raining ping-pong balls made an appearance. (Cerys Davies)

Geese fly high

If every generation deserves its own cool/sexy/mystifying rock band, then Gen Z’s (or maybe Gen Alpha’s) seems to be Geese. Led by the deep-voiced Cameron Winter, the group from New York appeared at Flog Gnaw less than 24 hours after a hometown gig at the Brooklyn Paramount on Friday night. “We finished a tour but we couldn’t stay away from the limelight, so we got on a plane just this morning,” Winter told the crowd. Geese plays skronky yet weirdly beautiful guitar music that inspires both swaying and moshing; it’s in a clear lineage of NYC acts that stretches back through the Strokes and Television to the Velvet Underground. But here at least you could detect a distinct L.A. presence in Emily Green’s John Frusciante-coded strums and in the doomed-heartthrob proclamations that made Winter sound a little like Jim Morrison. (Mikael Wood)

Happy 10th anniversary to Mac Miller’s “GO:OD AM”

In the sea of vendor pop-ups, Mac Miller’s yawning face, the cover of his 2015 release “GO:OD AM,” stood tall. In celebration of the album’s 10th anniversary, photographer Brick Stowell put on a small exhibition to honor the late Pittsburgh rapper. While standing in line, fans were chatting, sharing anecdotes of listening to Miller’s music or memories of when they saw him perform at Camp Flog Gnaw many years ago. Inside, the exhibition is simple, consisting of a few large-scale prints of photos Stowell selected. Some of the images focus on a smiling Miller or depict him playing the guitar or with friends. The record played softly in the space and a few people sat on the couches, with their eyes closed. In the midst of the music festival’s craziness, the tent was filled with a weighted, reverent energy. (C.D.)

Kali Uchis performs during Camp Flog Gnaw on Saturday.

(Ronaldo Bolanos / Los Angeles Times)

Kali Uchis mixed red-hot seduction with ICE-cold activism

As a last-minute addition to the festival’s lineup, Kali Uchis might’ve been expected to put in a no-frills performance. Instead, the eternally vibey psychedelic-soul star sang the lovey-dovey “All I Can Say” from inside a giant teacup — “If you came with someone you like, you could kiss them,” she suggested — and did “Heaven Is a Home” on the back of a motorcycle driven by a woman in a lace bodysuit and shades. (There was also a giant bed with satiny pink sheets.) Uchis is among pop’s foremost fantasists; her music invites the listener to get lost in an expertly appointed dreamland. But here she also had the real world on her mind: She played a video in which she said that everyone in her Colombian American household worked three jobs when she was growing up and that “immigrants built this country and make it what it is today.” As she left the stage, Uchis said, “ICE is terrorizing our community” and called out “their violations against human rights.” (M.W.)

Tyler, the Creator’s heartfelt thank you

“We couldn’t let that rain stop us — no, no, no,” Tyler, the Creator said not long into his hour-long set, and indeed Flog Gnaw’s mastermind seemed just a bit more amped than usual as he presided over the festival that almost wasn’t. Dressed in a red leather suit à la Eddie Murphy in “Delirious,” Tyler came out punching with “Big Poe” and “Sugar on My Tongue,” which also open “Don’t Tap the Glass,” the high-energy hip-house album he dropped this past summer with very little warning. But he also performed stuff from last year’s “Chromakopia,” which just snagged a nomination for album of the year at February’s Grammy Awards. (“Don’t Tap the Glass,” amusingly, is up against LPs by the Cure and Wet Leg in the alternative music album category.)

Tyler’s stage was designed to resemble a New York City subway station complete with a train car that he climbed atop and herky-jerked his way across. For “Don’t You Worry Baby” he was joined by a female dancer on roller skates; for “Noid,” a couple of guys with cameras helped him act out his unhappy thoughts on paparazzi. As the set went on, Tyler started shortening each song, limiting himself to only a verse or a chorus to pack in more hits: “Earfquake,” “Wusyaname,” “See You Again.” He thanked the crowd for hanging with the festival’s postponement — “I know it wasn’t ideal,” he said — and for “rocking with us for 11 years” of Flog Gnaw. The connection he’s forged is real. (M.W.)

Ca7riel & Paco Amoroso’s roller coaster of a set

Fresh off 5 wins at the Latin Grammys earlier this month, Ca7riel and Paco Amoroso left the CFA crowd delightfully perplexed. The audience started off on the smaller side, as Tyler, the Creator was wrapping up his set. But as the Argentine rappers, decked out in Versace, plowed through their catchiest hits like “Dumbai” and “Sheesh,” a dancing stampede made its way over.

Less than a year after their viral NPR Tiny Desk, the notoriously kooky duo flexed their ability to slip between genres. One moment, a pulsating EDM beat, beaming lasers and intense fog machines took over the stage — emulating a rave. The next moment, Ca7riel is angrily screaming “F— you!” at the top of his lungs over an aggressive punky guitar solo. Finally, they act like their microphones have become dumbbells, and start to sing about their “#Tetas,” on their satirical, body positivity anthem. Ca7riel and Paco Amoroso will never let you know their next move. (C.D.)

Fans raise their phones as Kali Uchis performs during Camp Flog Gnaw.

(Ronaldo Bolanos / Los Angeles Times)

Clipse turn in a triumphant set

The Clipse have had a hell of a year. After releasing their first album together in 16 years, “Let God Sort Em Out,” the formidable Virginia rap duo of Pusha T and Malice embarked on a victory lap, which included a successful reunion tour and a flurry of hilariously entertaining interviews. In the midst of that, they also stopped by NPR’s Tiny Desk — a performance that had more than 3.5 million views as of November— and racked up four Grammy nominations including best rap album and album of the year. So it was only right that they were invited to perform at Camp Flog Gnaw once again. (They also performed at the festival in 2023.)

Fittingly, the Clipse opened their set with the menacing “Chains and Whips,” which is jam packed with lethal, high-level bars about why contemporary rappers simply can’t sit with them. Not wasting any time during their set, the veteran emcees went bar for bar, diving into more tracks from their latest album including “Birds Don’t Sing” (a dedication to their late parents) and “P.O.V.,” which Tyler, the Creator joined them for just in time following his own high-energy set.

Satisfying their day one fans, the Clipse also performed a handful of their classic records like “Mr. Me Too” and “What Happened to That Boy.” As they rapped the lyrics to one of their most recognizable tracks, “Grindin,” a montage of Black people doing step routines, dancing and recreating the Neptunes beat on lunch tables played on the massive stage screens.

Much like “Let God Sort Em Out,” the Clipse’s performance further solidified why they’ve been in the game for more than 20 years and why they aren’t going anywhere anytime soon. — (Kailyn Brown)

Childish Gambino’s fast-paced, fan-voted retrospective

Childish Gambino’s set was a race against time. Prior to his set, the 42-year-old singer/rapper/actor (also known as Donald Glover) allowed fans to vote for his setlist. Playing anything from his biggest hits like “Redbone” and a very short snippet of “This is America” to his cover of Outkast’s “Prototype” and the 2011 release “Les,” Gambino made it clear he only had an hour and wanted to get to as many songs as possible. He often played the first verse of a track, allowing it to peak in the chorus and quickly brush past it — making the set feel like an invigorating sprint.

Halfway through the performance, Gambino, sparkling his glittery wifebeater, took a moment to get vulnerable with the crowd. This was his first performance since he had to abruptly cancel his world tour last year. He explained that he had a stroke unknowingly, on stage in Louisiana, and later found out that he had a hole in his heart and needed surgery. As he narrated his story, the sky lit up with a drone light show, depicting images of a heart and other dynamic patterns.

He said, during all of these health problems, the only things he could think of were “how many people I’m letting down” and “here I am still copying Jamie Foxx,” which got a laugh out of the crowd. Throughout the remainder of the show, he continued to exude a grateful energy, saying repeatedly, “I didn’t think I’d be able to [be here].” As he played the chosen songs, it was as if his only goal was to make the crowd as happy as possible.

The rapper left with a final message, “You have one life, so live your life as you want.” (C.D.)

Blood Orange puts CFG in a trance

Following Geezer’s (Kevin Abstract and Dominic Fike) endearing display of friendship, Blood Orange kept the cameraderie going on the fest’s main stage. Though the multi-piece band behind Dev Hynes’ musical moniker may sound melancholic, their energy was jolting. During tracks about grief and loneliness, like the cathartic “Charcoal Baby,” only Hynes could get the entire crowd to head bang.

After releasing his most recent album, “Essex Honey,” Blood Orange made his impromptu return to the fest — calling last year’s set “one of his favorite shows.” The British singer and his band trade instruments with a sense of ease — splitting their time among a cello, keyboards, synthesizers, a drum machine, electric and acoustic guitars. In this intricate display of instrumentalism, dark electronica and high-pitched vocals blend into feelgood jazz and ’80s synth pop without notice. With dense fog and transculent pink lights, the whole set started to fuse into a unifying dreamy moment. (C.D.)

Helicopters, a megaphone and pink hair curlers: ASAP Rocky keeps Flog Gnaw classic

Right before ASAP Rocky was meant to close out the festival, a helicopter started to circle the area, shining its light down on the crowd. A mock news livestream took over the stage’s screens in search of the Sunday headliner, accusing him of “never dropping the album.” On stage, the Harlem rapper descended on a floating helicopter of his own, megaphone in hand and pink curlers in his hair.

He made it clear he was there “to start a riot” (and he did consistently check in on the densely packed crowd too). The 37-year-old rapper was soon joined by a few dozen hooded figures, carrying upside-down American flags, who began to mosh while he continued to spit his ever-steady flow. Switching between his older stuff, like “L$D” and “Potato Salad” (which he was joined for by Tyler, the Creator) and more recent beloved singles like “Praise the Lord (Da Shine)” and “Sundress,” Rocky stuck to what he knows best — looking pretty and skillful rhymes. (C.D.)

A swing carousel at Camp Flog Gnaw.

(Ronaldo Bolanos / Los Angeles Times)

T-Pain knows your knees hurt

“I am old as f—,” T-Pain said as the R&B-rap crooner took a pause from his hit-studded set on Sunday night. “I was running out of time to do this. I saw the dimensions of the stage and my knees gave out.”

At 41, he is decently seasoned by Flog Gnaw standards (though still a surprisingly deft dancer). But his set was arguably one of the best-attended of the weekend, for good reasons.

Recent reappraisals from a mega-viral Tiny Desk concert and a boisterous Coachella set proved what close listeners have known all along: Pain is an absolute savant of melody and ear-tickling chord changes, with a gorgeous R&B voice whose famous digital treatments were artistically prescient rather than any sort of fix.

Yet to Flog Gnaw’s young crowds, blissfully free from the AutoTune wars of the 2000s, Pain now represents an idyll and purity of party music in hip-hop, rising from the mire of the Great Recession and the aspirations of President Obama with witty, self-aware hit after hit that showed a musician in total command of his craft, writing songs that transcend today’s cynical bleakness.

This redemption arc is well earned — how can you not listen to “Bartender” and long for the easy, sweet camaraderie of sidling up to your favorite server (though today that cocktail will more likely be N/A)? Dispatches from a saner time of millennial life like “Up Down” and “Can’t Believe It” landed like an envelope of Instax photos from a half-remembered house party. For Gen Z, it was Unc Culture embodied in the best ways.

Other than a brief villain segment (where Pain sung his verses from collabs with Chris Brown, Kanye West and R. Kelly; more an indictment of the men of R&B, really), his set delivered hit after hit and re-framed them within R&B history. He did what the genre is best at — stirring up the old glow of past happiness, even if that was spilling tequila down your pinstriped business-casual wear at a Hollywood bottle club in 2008. (A.B.)

Tyler, the Creator performs during Camp Flog Gnaw.

(Ronaldo Bolanos / Los Angeles Times)

Doechii, the classroom disciplinarian of your dreams

Doechii framed her raucous Sunday night set as a stern classroom lecture on the craft of rapping. But in that case, she’s the kind of teacher that you bump into at the grocery store with a cart full of booze and a you-didn’t-see-this wink.

The Grammy favorite and new TDE superstar is so mercilessly good at rapping, so fully possessed of her gifts onstage, that her set made me wonder how all the backing-track reliant MC’s still get away with it. From the vicious opening lines of “Stanka Pooh” — “Let’s start the story backwards / I’m dead, she’s dead, just another Black Lives Matter” — to the joint-snapping house-music workout of “Alter Ego” and the horror-comedy sex romp of “Spooky Coochie,” she never settled for less than the full scope of her talents, deeply honed.

A gleefully bawdy and physically gifted dancer, with of sneaky comic timing and a low-key powerhouse singing voice, by the time she got to the deep cut “Boom Bap” and fan favorite “Catfish,” Doechii made an impeccable claim to being one of the best rappers working today.

She didn’t play the Grammy contender “Anxiety” — one sees how that song wouldn’t make sense in this relentlessly hard hitting context. But whatever worries keep on trying her, after Sunday night, she can definitively leave them behind. (A.B.)

Zack Fox brings us to the (f)unction with globetrotting set

Just 15 minutes into Zack Fox’s hour and a half DJ set on Sunday afternoon, which was dubbed Zack’s Big Nasty & Booty Shake, many audience members were already sweating and shedding the layers they wore in preparation for the evening cold.

Garbed in leather uncle sandals with white socks, an Atlanta Falcons apron and a grill for a DJ stand (because he was cooking, duh), the rapper, comedian and actor brought the crowd to the (f)unction. Fox, who’s become known for his high-energy performances, delivered a globetrotting set filled with genres including Brazil’s Baile funk, Chicago house, Baltimore club, Nola bounce, soul, gospel Detroit techno and of course Atlanta rap, which is where he’s from. “Dance music is Black music,” Fox told the crowd in between his gyrating and turning up. “Y’all gonna learn something today.” (He also had the crowd repeat back “Free Palestine” and “F— ICE.”)

But what’s a cookout without good company? Fox also brought along a crew of talented dancers, which included a church hat wearing grandmother (who unexpectedly broke out into a backflip) and popular ballroom dancer Pack Rat. As Fox masterfully weaved between tracks like Khia’s “Steer,” KW Griff’s “Bring in the Katz” and Frankie Beverly and Maze’s “Before I Let Go,” the dancers vogued, shuffled, line danced and twerked. Even his “Abbott Elementary” castmate Janelle James (a.k.a Principal Coleman) grooved alongside Fox during his set.

He closed out with a Black church anthem, Kurt Carr’s “We Lift Our Hands in the Sanctuary.” Each time the track seemed like it was about to end, he comically brought it back a few more times with the lyrics “Yes! Yes, Lord, for the rest of our days.” (K.B.)

Ying and yang rappers, Larry June and 2Chainz, show us the finer things in life

On paper, Larry June — the laid-back Bay Area rapper known for his straightforward rhymes about organic living and financial literacy — and 2Chainz — Atlanta’s trap elder known for witty tracks like “Birthday Song” — may seem like an unlikely match. But as the pair performed their collaborative album “Life is Beautiful,” they were in perfect stride. The large crowd was a testament to how rare the moment was as it was one of the few times that the pair has performed the opulent lifestyle rap album since it dropped in February.

Much like the vibe of “Life is Beautiful,” which feels like a luxurious vacation backed with jazz-infused serene beats by the Alchemist, swaying ocean waves and yachts served as the backdrop while they delivered tracks like “Colossal,” “Generation,” “I Been” and “Bad Choices.” (Unfortunately, the Alchemist is on tour with DJ Premier, and was not in attendance.)

The backgrounds changed to imagery that matched the rappers’ hometowns as they dove into their personal discography. In a casual windbreaking sweatsuit, Larry June performed smooth tracks like “Smoothies in 1991” and “Watering My Plants,” while 2Chainz, who was rocking a leather two-piece set, got the crowd hyped with songs like “I’m Different” and “Watch Out.”

Suitably, the duo closed out with tranquil, flute-based “Life is Beautiful,” reminding the audience to embrace the beauty of the grind and the small wins in life, and simply enjoy their time on this Earth. (K.B.)

BBC Breakfast host Jon Kay was forced to issue a warning to his co-star Carol Kirkwood live on air as he insisted that one guess could cause chaos in the studio

BBC Breakfast presenter Jon Kay issued an on-air warning to colleague Carol Kirkwood, suggesting one particular guess could spark mayhem in the studio.

During Tuesday’s (November 25) broadcast of the popular programme, the presenter was back on screens with co-host Sally Nugent, delivering the day’s major news stories from Britain and around the world.

The pair were later joined by Carol, who appeared in the studio for her regular weather update. However, as she wrapped up the day’s forecast, Jon highlighted that the team needed to stay alert for their next visitor.

They were preparing to welcome a “huge dog”, prompting him to advise his colleague to finish their breakfasts quickly to prevent the animal from nabbing it. Jon began by enquiring: “Have you got any toast or cereal?” Carol responded: “No but I could smell yours and it’s making me really hungry.

“We’ve been eating ours just now, getting it out of the way because there is a huge dog on the way in a moment,” Jon clarified, reports the Express.

Sally confirmed: “Huge.” Jon then stressed: “You have been warned.” Sally interjected: “We’ve just had to hide our breakfast.” The team erupted in laughter as Jon gestured to his stomach and quipped: “I’ve hidden it in here.”

The touching segment featured the presenters discussing ‘ hero dogs ‘ following an incident where one man’s four year old canine helped rescue his life.

Jon stated: “We’ve got an amazing story. Adam Cooke went into cardiac rest while he was asleep, it was the quick thinking of his four year old day Polly that helped save his life.”

Sally went on to say: “The beautiful Golden Retriever woke up Adam’s wife Hannah, who then carried out CPR before an ambulance arrived.”

The programme then transitioned to a pre-recorded segment of the couple and their dog, where they shared their emotional experience.

Adam and Hannah confessed that they believed Polly had sensed Adam’s severe illness and alerted them.

Clearly touched, Adam recounted the moment he was reunited with Polly after his hospital stay: “I’m not going to shy away from it. I cried and I think she cried too because she was like ‘wow you’re back home'”.

Hannah chimed in: “I love her to bits and I think she is the best dog in the world.”

BBC Breakfast is broadcast every day from 6am on BBC One and iPlayer.

AMERICAN Pie star Tara Reid was taken to hospital after allegedly being drugged in a Chicago bar.

Footage obtained by TMZ showed the actress, 50, slumped in a wheelchair in a hotel lobby before being put onto a stretcher by paramedics and taken to hospital.

Reid called the night a “big blur” but insisted she had only had one drink before being taken ill.

The 90s film pin-up spoke to TMZ Live yesterday and revealed how she left her drink in the hotel bar to go and have a smoke, and when she returned there was a napkin covering it, which wasn’t how she had left it.

She said: “And then I drank my drink, and without even finishing my drink, I just passed out. And before I knew it, I was in the hospital eight hours later.”

The person who filmed the incident told the publication that Reid was yelling, “You don’t know who I am. I am famous. I’m an actress,” before medics arrived.

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Tara was allegedly told by hospital doctors that she had been drugged, though said no tests were undertaken to determine what the drug was or her blood alcohol level.

She continued: “It was all kind of vague. It was all like very blurry, do you know what I mean? I can’t even explain it because I don’t even know what happened.”

When she came around, Tara left hospital with her agent and went straight to a signing before heading home.

A representative for the star said, “Tara Reid has filed a police report after an incident in which she believes her drink was tampered with.

“She is cooperating fully with the investigation. Tara is recovering and asks for privacy during this traumatic time.

“She also urges everyone to be careful, watch your drinks and never leave them unattended, as this can happen to anyone. She will not be making further comments at this stage.”

Tara’s screen career began in the 90s with small roles on the soap opera Days of Our Lives and teen sitcom Saved by the Bell: The New Class.

In 1998 she appeared in slasher flick Urban Legend, teen drama Cruel Intentions and cult hit crime comedy The Big Lebowski.

But it was as sexy virgin Vicky in American Pie and its sequels that really made her famous.

Tara’s career stalled in the mid-2000s with a string of critical and commercial flops including Jose and the Pussycat, Van Wilder and Alone in the Dark, for which she received a Razzie Award nomination for Worst Actress.

To make matters worse, she suffered two botched plastic surgery procedures in 2004, including breast implants and a body contouring procedure meant to give her a six-pack.

She later said she’d asked the surgeon for B cups, but he gave her Cs, and told US Weekly: “My stomach became the most ripply, bulgy thing. I had a hernia, this huge bump next to my belly button.

“As a result, I couldn’t wear a bikini. I lost a lot of work.”

She swapped the big screen for reality TV appearing in travel show Taradise and Celebrity Big Brother in the UK.

In 2023 she appeared in Special Forces: World’s Toughest Test and was cruelly body-shamed over her slim figure.

She hit back in the Los Angeles Inquisitor, “So stop it. Leave me alone. Pick on me again on something else, but not on those two things. It’s not right.”

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German actor Udo Kier, a film veteran whose diverse body of work spanned from Lars von Trier tragedies to “Ace Ventura: Pet Detective” and “Blade,” has died. He was 81.

A ubiquitous avant-garde film star, Kier died Sunday morning, his partner, Delbert McBride, confirmed to Variety. McBride did not provide a cause of death.

By the time of his death, Kier had racked up more than 200 film and television credits, most notably his collaborations with Von Trier. They worked together intermittently over several decades, starting with 1987’s “Epidemic” and last collaborating on Von Trier’s “Nymphomaniac” in 2013. Kier, also in films “Dancer in the Dark” (starring Björk), “Melancholia” and “Breaking the Waves” among others, aided Von Trier in his explorations into the bleakest of human emotions.

In addition to Von Trier, Kier starred in films from a number of other famed European filmmakers including Werner Herzog, Dario Argento and childhood friend Rainer Werner Fassbinder over the course of his career.

Kier, known for his his imposing presence and piercing blue eyes, often played offbeat and menacing characters in art-house films, including a desperate, virgin-seeking Count Dracula in 1974’s “Blood for Dracula” (“Andy Warhol’s Dracula”) directed by Paul Morrissey. A year prior, the artists collaborated on 1973’s “Flesh for Frankenstein.” Kier was often cast as supernatural, appearing in “Blade” and “Shadow of the Vampire” alongside Willem Dafoe and John Malkovich, among other horror movies.

Nearly 30 years after his breakout role in the 1966 short film “Road to Saint Tropez,” the Cologne-born Kier notably starred in Gus Van Sant’s 1991 feature “My Own Private Idaho,” sharing the screen with a young Keanu Reeves and the late River Phoenix. The film has become a cult classic, earning praise for its depiction of sex and queerness. The feature was one of 25 films selected for inclusion in the National Film Registry of the Library of Congress in 2024.

Though best known for his arthouse roles, Kier also appeared in numerous mainstream works including “Ace Ventura: Pet Detective,” “Downsizing” and “Armageddon.” His most recent film credits include “Swan Song,” “Bacurau” and “The Secret Agent,” Brazil’s international feature film entry for the 2026 Academy Awards.

Kier also starred in scores of TV projects including Von Trier’s television film “Medea,” horror miniseries “The Kingdom,” and shows “Scooby-Doo! Mystery Incorporated,” “Pitch Perfect: Bumper in Berlin” and “Hunters.”

Outside television and film, Kier appeared in music videos for Madonna (“Deeper and Deeper,” “Erotica”), the Goo Goo Dolls, Supertramp and Korn, among other artists. He also lent his voice to a handful of video games including “Call of Duty: WWII” and was set to collaborate with Hideo Kojima on his upcoming “OD.”

Kier was born Oct. 14, 1944, in a hospital that was being bombed by Allied forces during World War II, according to Variety. Kier’s father left before his birth and the actor was raised by his mother. In his teenage years, Kier sparked a friendship with Fassbinder.

In the mid-’60s, Kier moved to London to study English but was instead discovered and cast in “Road to Saint Tropez.” He later met Morrissey, who was closely associated with Warhol at the time, laying the foundation for his decades-long film career.

Kier lived in Palm Springs, where he was a regular at the annual Palm Springs International Film Festival.

Coronation Street’s Lisa Swain actress Vicky Myers has shared her thoughts on Carla Connor’s future with her character, and whether a comeuppance is on the way for Becky Swain

After the heartbreaking news that Coronation Street‘s Carla Connor would end things with Lisa Swain, Swarla fans are no doubt desperate to find out if they’ll reconcile.

Now, Lisa actress Vicky Myers has teased where her character’s thoughts are in terms of her future with Carla. She also hinted that Lisa’s ex Becky Swain, who has deliberately tried to tear Lisa and Carla apart, could finally face a comeuppance.

With Lisa and colleague Kit Green’s trust growing, might Kit be the one to make her see Becky isn’t telling the full truth? Vicky’s hopeful that Lisa will wise up to Becky’s lies, while she made it clear that as far as Lisa is concerned, Carla is the one for her.

She shared: “At this point she’s numb, there’s just so much going on. She obviously still has a love for Becky, but where Carla’s concerned she’s never known anything like it. The relationship that she’s experienced, the family dynamic, the maturity that’s been brought out in Betsy since Carla has been in her life.

“Her family was complete as far as Lisa was concerned and then this bomb went off and shattered everything. At this point, I don’t think Lisa has any idea how she’s feeling, she’s so confused, her heart’s broken.

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“There’s hope there, but what does she do about Becky? What does she do about Betsy? At this moment in time, Lisa feels she can’t do anything right.” On whether Lisa could reunite with Becky, Vicky hinted it won’t happen.

She said: “I think the love for Carla is too deep at this stage. But Lisa has been so manipulated by Costello, with him saying you don’t know how hard Becky tried to get hold of you and he put the block on it.

“So we’ve got to remember that as far as Lisa is concerned, yes there might be holes in Becky’s story, but there’s the potential here that if she picks this scab, that a whole 20 years of her life may have been a lie. I think her judgement is also blurred by the heartbreak she’s going through with Carla and the fact that she’s being told by her superior that this was all the above board, it was an order from above.”

Lisa could soon have doubts about Becky though. Vicky explained: “There are definitely some doubts creeping in because Becky’s story doesn’t add up with how freely she’s walking around. I think we saw that on Halloween when she said, ‘aren’t you supposed to be undercover. Aren’t you supposed to be keeping a low profile?’

“So obviously those things are a definite question mark for Lisa, because she’s a detective and she used to be a very good one. But again, with that, she knows that the order’s come from above and she’s aware of this gang and how notorious they are.”

She went on: “Credit to Amy [Cudden, who plays Becky], she’s playing a fantastic villain with such subtlety and nuances and she’s a brilliant wind up merchant. She’s a great character to play but everyone loves it when the villain gets their comeuppance so let’s hope that is the case.”

It seems there’s more to come from Lisa and Kit too, and they could rumble Becky together. Vicky shared: “I think there’s a lot that’s unsaid and unspoken between the two of them. Despite the way that they talk to each other, and even though Lisa is his superior, I think Lisa sees a lot of herself in him and she knows he’s a more than competent detective, she believes in him.

“I think she actually likes his cheekiness, his directness, his slight tinge of arrogance. He’s actually somebody that she can work with even though they often disagree. It’s also somebody that lives in her community and I think she absolutely cares for him.

“It’s great to see them working together, but I also love it when they’re at each other’s throats like siblings, their little one liners and the way they can wind each other up. But also she absolutely has his back and she’s loyal to him and I think he feels the same.”

Coronation Street airs Mondays, Wednesdays and Fridays at 8pm on ITV1 and ITV X. * Follow Mirror Celebs and TV on TikTok , Snapchat , Instagram , Twitter , Facebook , YouTube and Threads .

A MAJOR music legend just opened up about a life-changing health battle that left him unable to speak.

He couldn’t believe at one point he had to accept there was a chance of losing his voice forever, so he would never be able to sing again.

The 68-year-old from Essex found fame in 1983, after the huge success of his single ‘Mama Used To Say’.

From then on his career only continued to thrive on a global scale, making him into a household name.

Junior Giscombe was rushed over to St George’s Hospital in Tooting after he began struggling with speech in 2023.

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He noticed his voice had changed after a performance, realising that by the end of his set he had no voice.

Upon being examined at the hospital, Junior learned that his left vocal cord had suddenly collapsed.

Without speech therapy and vocal rest, there wouldn’t have been a chance for the singer to take to the stage again.

Speaking about his recovery, Junior expressed unending thanks to the staff at St George’s who he fully credits for being the reason he’s still able to do what he loves.

“I’m extremely grateful to the team at George’s – without them, I would have no voice and would have to give up the job I’ve loved for almost 50 years.

“They have been amazing, and all the care I’ve had every step of the way has been second to none.

“I can’t stop singing their praises.”

Junior continued to urge fans – singers and non-singers out there – to make sure they look after their voices and to never take them for granted like he did in the past.

“Not being able to use my voice was incredibly frightening.

“Over the years, I would do shows and didn’t warm up my voice beforehand.

“As I never had any issues with my voice, I took for granted that it would always be there.

“Please don’t take your voice for granted like I did.

“Look after it.”

There are many factors aside from the strain of frequent singing that can lead to vocal cord damage, such as ageing or certain health conditions.

If you notice a change to your speech or a consistent soreness when speaking, it’s recommended to see a doctor.

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