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

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

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

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

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

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

(Maria Camila Pinzon)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

“It made me crazy,” Couric said.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

AN ICONIC music festival will host its final line-up this summer – after more than 18 years of hosting performers.

This marks a blow for residents as the county’s biggest festival comes to an end.

Nottingham’s Splendour festival will run for a final weekend next month, as the festival is set to be closed permanently.

The decision comes after organisers said they faced challenges within the current festival market, and have struggled to manage “the cost of staging events”.

Launched in 2008, Nottinghamshire’s biggest festival hosted a number of well-known performers throughout its run, including the likes of Noel Gallagher and Calvin Harris.

It regularly drew in crowds of up to 25,000, and had expanded into a two-day event in 2022.

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Now, the final show will take place from July 18 to 19 in Wollaton Park, with The Wombats, Primal Scream and Snow Patrol performing as headline acts.

George Akins, DHP Family managing director, said: “Like many independent festivals, Splendour has had to navigate a very different landscape in recent years, with the cost of staging events rising sharply at the same time as household budgets have come under pressure and the festival market has become much more crowded.

“After a lot of careful thought, we feel the right thing to do is to make this year a proper celebration of everything Splendour has meant to Nottingham and give it the send-off it deserves.”

Local artists, including Nottingham act Jake Bugg, had often used Splendour as a springboard for their careers.

To mark the final edition, organisers launched a two-for-one ticket offer on general admission day tickets.

Akins added: “Thanks to everyone for your loyalty and support over the years, we couldn’t have done it without you.”

LIONEL Richie has been reportedly taken to hospital after he took a funny turn on stage and was forced to end the concert.

The 77-year-old was performing at the Grand Casino Arena in Minnesota when his ill spell happened and had to take a moment to sit down.

TMZ reports that the star halted his gig and was attended to paramedics backstage where he was subsequently sent packing to hospital.

Sources told the publication that the hospital trip was part of a precautionary measure.

The Sun has contacted representatives for Richie for comment.

In a video from the gig shared online, the music icon is seen attempting to finish performing his hit Dancing On The Ceiling while sat on the steps leading up to the live band.

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While he got back to his feet to carry on, he was forced to sit down again amid a second dizzy spell.

He is seen in the footage catching his breath, perched on the edge of the stage, while trying to continue with the song.

As explained in the post shared to X, Lionel managed to perform one more song, sat at the piano.

After departing the stage, Lionel’s saxophonist Dino Soldo told the crowd that the hitmaker wasn’t feeling well and wouldn’t be returning to the stage, ending the show.

Lionel was appearing with Earth, Wind & Fire as part of their joint tour hitting 26 venues across the States.

The Easy musician is next expected to appear for a gig in Chicago on Friday night.

Passing “Go” has become especially lucrative for mobile game publisher Scopely.

The Culver City-based Scopely launched “Monopoly Go!” in 2023, betting fans of the classic board game would flock to a mobile version aimed at casual gamers.

By 2025, “Monopoly Go!” had accrued $6 billion in lifetime in-app purchase revenue, becoming the fastest free mobile game to do so, according to app analytics firm Sensor Tower.

This summer, the app is expected to reach $8 billion in lifetime revenue, the company says, solidifying “Monopoly Go!” as Scopely’s biggest game and far surpassing the company’s popular “Pokémon Go.” The company declined to disclose its total profits.

Scopely Co-Chief Executive Javier Ferreira.

As overall downloads in the mobile game market have stagnated and in-app purchases and retention become the main drivers of growth, Scopely has hit on an age-old Hollywood strategy — using known franchises and intellectual property to bring out fans.

“These are incredibly durable and long-lasting games that have really passionate communities and fandom around them,” said Javier Ferreira, co-chief executive of Scopely. “We’re in the business of building people’s favorite thing, and that’s a difficult thing to do. The power of [intellectual property] is that, in some cases, that is already their favorite thing.”

The company’s journey toward “Monopoly Go!” began in 2014, when Scopely formed a partnership with Rhode Island-based toymaker Hasbro. Its first collaboration was a Yahtzee mobile dice game that ultimately drew millions of players worldwide (though it was especially popular in the U.S.) and generated more than $1 billion in lifetime revenue.

After that, Scopely approached Hasbro about taking on the “crown jewel” of its board game empire — Monopoly.

Monopoly’s massive global popularity was an obvious draw. But adapting an hours-long real estate transaction game for a casual, mobile audience proved challenging.

Development of what would become “Monopoly Go!” ultimately took seven years, two of which were spent trying to make movement around the board more fun. In that time, the company scrapped two versions of the game; one deemed too competitive, and one that was too complex, Ferreira said.

Developers wanted to capture the “roller coaster feel” of the board game’s highs and lows, while also having simple rules and ensuring a strong social element, he said.

“We couldn’t just copy,” Ferreira said. “We had to reinvent it and re-imagine it, and that’s a complicated, creative endeavor.”

Today, “Monopoly Go!” brings in more than $2 billion in annual revenue and has been downloaded across the globe more than 300 million times.

Now with “Pokémon Go,” which the company owns after acquiring maker Niantic’s game business last year, “Scopely has gone from a successful publisher to one of the defining companies in mobile gaming,” Randy Nelson, head of insights at Appfigures, a mobile app analytics firm.

“The company cracked the code on licensed games years ago,” he wrote in an email. “Its biggest hits work because they’re great games first and recognizable brands second.”

Though the company’s overall game downloads have slowed, its gross revenue has largely increased every year since 2020, according to Appfigures data.

Shortly after Scopely released “Monopoly Go!,” the company was acquired by Savvy Games Group, which is owned by the Saudi Public Investment Fund, for $4.9 billion.

In a statement about the deal, Savvy Games Group Chief Executive Brian Ward touted the success of “Monopoly Go!” as “indicative of Scopely’s ongoing position at the forefront of the global games sector.”

Representatives of the Saudi investment fund are part of Savvy Game Group’s board and do sometimes give some feedback on company initiatives, though Ferreira said the company has remained “very independent.”

The proposed acquisition of gaming giant Electronic Arts by the Saudi Public Investment Fund is not expected to affect Scopely since EA largely focuses on high-budget console and computer games, he said.

As Scopely, now 3,000 employees strong, looks to the future, it has embarked on a number of entertainment partnerships with studios to add franchises such as “The Simpsons,” “Hello Kitty” and Marvel to its mobile game ecosystem.

“They give us access to these universes that millions of people love and are really invested in,” Ferreira said. “We see this as a very strategic part of our business.”

A giant eight-metre dragon swept around the Tower of London in a dramatic display. The mythical beast was marking a spin-off from popular show Game of Thrones

A giant eight-metre dragon soared above the Tower of London to mark the launch of the third series of Game of Thrones spin-off House of the Dragon on HBO Max. An eight‑metre model of Syrax was brought to life using production scans from the hit show.

Built by German aeronautics firm Airstage, the dragon features 23 moving parts and moved using impellers built into its legs to create lifelike motion. The model weighs 13kg and took three months to build by a 14‑strong team using foam, carbon fibre and aluminium. The dragon was crafted from vacuum-formed Depron foam around a carbon fibre and aluminium frame.

The model was finished with detailed airbrushing for a lifelike look and took the team nearly 3,000 hours to complete.

A special evening reception following the flight was hosted by Harriet Rose and attended by stars of the show Kieran Bew, Tom Bennett, Clinton Liberty, who play Dragonseeds Hugh Hammer, Ulf White and Addam Of Hull, recruited as Dragon Riders by Rhaenyra (Emma D’Arcy) in the series, and Abubakar Salim, who plays Alyn of Hull.

Nils Schlenther, chief operating officer at Airstage, said: “This is one of the most intricate flying models we have ever created.

“After months of R&D and complex construction, the team studied the movement of Syrax and underwent over seven test flights to ensure her flight was as close as what we see in the show as possible.

“We have been constantly refining and getting the motion as realistic as possible and so the crowd’s reaction was amazing to see as we know we got it right for the fans.”

The event celebrated the return of House of the Dragon after nearly a two-year wait.

The show is based on George R.R. Martin’s Fire & Blood and is set 200 years before the events of the hit show Game of Thrones, telling the story of House Targaryen.

The eight-episode season will air new episodes weekly on HBO Max, leading up to the season finale landing on screens Sunday 9th August.

Anna Kimber OBE, deputy governor of the Tower of London, said: “The Tower of London has stood at the heart of some of the most dramatic chapters in our history for nearly 1,000 years.

“While dragons may belong to the world of fantasy, the themes at the heart of House of the Dragon – power, ambition and the struggle for the throne – have strong echoes in the stories that played out within these walls.

“We’re delighted to welcome this spectacular stunt to the Tower, where history and fantasy will meet for an unforgettable moment.”

NEW wave icon Gary Numan has opened up about getting together with his superfan wife – and how it might be ‘illegal’ now.

The Cars singer, 68 – who has been married to Gemma O’Neill, 58, for nearly three decades – met his future spouse in an unconventional way.

The singer first ran into superfan Gemma at an event when he was a 22-year-old artist and she was a young admirer.

Six years later, he posed for a picture with the then 18-year-old and knew to pen it straight to “Gemma”.

Following the sudden loss of O’Neill’s mum, the familiar fan vanished from the crowd at his gigs.

Worried about her, Numan managed to get her number through his fan club to ring her up and make sure she was ok.

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“I used the fan club to get her phone number.

“That’s how I attracted her, which I think is illegal now,” he told The Times.

The star continued: “I rang her up and said, ‘Hello, it’s me,’ and she put the phone down – she thought it was somebody playing a cruel trick.”

He called again and was made to prove his identity.

Numan invited her along for a drive for a radio interview – where they had their first date.

He said: “I took her to a Little Chef because I’m very down to earth.

“I don’t do all that flash, rich man, pop star stuff.”

Gary and Gemma didn’t start their relationship until she was in her twenties.

In 1997, Gary married superfan Gemma from Sidcup and they share three daughters; Raven, 23, Persia, 21, and 19-year-old Echo.

His daughter Persia also added vocals to his song My Name Is Ruin.

Numan revealed that Gemma once told a career advisor: “I won’t need a job. I’m going to marry Gary Numan.”

Gary previously said of their relationship: “This is going to sound corny, given that it’s 30 years and four days since our first date, but I miss her even when she’s in a different part of the house.

“She’s everything I am not – which is most things, really.”

The singer, songwriter – who has an estimated net worth of around £5.5 million – toured last year to celebrate the 45th anniversary of his seminal album Telekon.

Sadly, he suffered the traumatic loss of his beloved younger brother John just after his show in Leeds – which he called the ‘worst news of my life’.

An ITV show starring GK Barry and Reverend Richard Coles has reportedly been dropped by the network after the duo filmed the pilot episode for the series

GK Barry and Reverend Richard Coles’ I’m A Celeb spin-off has reportedly been axed. The unlikely duo who became close friends when they appeared on I’m A Celebrity… Get Me Out Of Here! in 2024, were expected to explore topics around life and death.

During their time in the Australian jungle, GK, who found fame online, and Church of England vicar Richard instantly struck up a bond and became inseparable, and a fan-favourite duo.

Last year, GK confirmed that the project was in the works and revealed that the pilot episode had already been filmed. But ITV has decided not to go ahead with the full series.

“There were high hopes for the project because producers were excited by the dynamic between GK and Richard, not least because it seemed to amuse viewers,” a source said.

They added to The Sun: “They enjoyed the idea of the wise older man interacting with the streetwise millennial as they explored some pretty deep subjects.

“But after provisional filming took place, it was decided not to proceed with it as a series, much to the disappointment of everyone involved.”

Speaking last year, GK hinted that she would even rope her footballer girlfriend, Ella Rutherford, into the show. She told Attitude Magazine : “We are exploring walks of life from two different generations — one from a gay godly man and a gay ungodly woman.

“There are some depressing bits in there, but one thing about me is that I will make a joke about it.” She went on to add: “We’ve filmed the pilot, so if we film the full series, then I will force this girl into it.”

Richard went on to say: “Me and GK struck up the best of friendships and I’m happy to say we’ve taken that with us out of the jungle into the wider world.” But he later joked that viewers could see something “surprising with coffins.”

And GK even said on social media that it had been “a dream” working with Reverend Richard on the show. On Instagram, the influencer said: “Working with you has opened my eyes to worlds I’d never heard of or dreamt of before.

“Some of them have been nightmares, but some of them have been dreams — and today has been a dream.” Sadly, it remains unclear why ITV bosses decided to pull the show after shooting the pilot episode.

During her stint in the jungle, GK opened up about her experience and said that she hadn’t expected to become close with Richard before they became friends. Speaking in the Bush Telegraph, she said: “I came into this jungle maybe not knowing who I would gel with or who I would be close with in here, and never in a million years if you told me that I would be getting on best with a reverend would I have believed you.

“But, he is honestly… I think he might be my favourite person in here.” Meanwhile, Richard said of their bond: “We got on so well and it was such an unlikely friendship and people seemed to enjoy it.

“I like visiting her world and trying to figure out what’s going on and I think she quite likes visiting my world, so maybe a little trip together would be fun to do. I love the TV reality format because you always have a ‘bromance’, but I’ve never had a bromance with a 25-year-old lesbian before, and that’s great.”

The Mirror has approached ITV for comment.

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

As the destructive Bobcat fire sent plumes of smoke billowing from the Angeles National Forest in 2020, Ryan Huling recalled that at the time news reports claimed the blaze caused “no injuries” and that no homes had been destroyed.

That irked the Sierra Madre writer, who watched from his cabin as flames incinerated the home of bears, coyotes, pumas and squirrels. He believes countless critters were killed or maimed by flames, and points to accounts of mountain lions emerging with singed paws and bears scrambling into communities.

“Anonymity has done them no favors, in the sense that people don’t know where they live, they don’t know what landmarks are important to them, they don’t know what areas carry special significance to bears and other animals,” Huling said.

Yet through his research he discovered that rapidly advancing technology — including artificial intelligence, GPS tracking and crowdsourcing — is revealing more about animal “societies” than ever before. The revelation launched him on a worldwide tour of non-human communities, culminating in his debut book, “The Hidden Nations of Animals.”

The cover of Ryan Huling’s first book, published in June.

(Penguin Random House)

Published this month, the book’s first chapter takes readers to North America’s “beaver belt,” roughly 1,100 miles in northern Canada that are jam-packed with beaver dams. According to Huling, the sheer density of those dams only became apparent thanks to technology that allows researchers to analyze high-resolution satellite imagery and identify them from space. One analysis found 2,700 dams surrounding a town of only about 1,000 people.

Another stop took him to Zambia, where African mole-rats dig complex tunnel systems that include designated nurseries, pantries and bathrooms. Just before Huling arrived, a researcher had used radio trackers to determine that the subterranean animals operate on a biological clock that has them alternate between a few hours of activity and a few hours of napping — not a bad work schedule!

Some of Huling’s other adventures include exploring a tornado of Mexican free-tailed bats outside of San Antonio and red-crowned cranes that have found refuge in the Korean Demilitarized Zone.

But uncovering these hidden worlds isn’t just left to the experts anymore. While the expense or difficulty of tracking wild animals has resulted in knowledge voids in the past, crowdsourcing is helping to fill in the gaps.

Today, any smartphone-toting nature lover can snap a photo of a great horned owl or a ground squirrel and upload it to a citizen science app such as iNaturalist. Some platforms are specialized, for example Merlin for birds and Happywhale for marine mammals. All that data is a rich playground for scientists. According to an article published last year in BioScience, iNaturalist data in peer-reviewed research grew tenfold in the previous five years.

Now, AI is making it so humans don’t have to necessarily look at the raw material. Instead, AI can mine images, videos or sound clips for the appearance of an animal of interest — or even catalogue individual critters. Happywhale has an AI feature that identifies particular humpbacks by unique patterns and shapes on their tails.

Technology is advancing so fast that Huling said it was hard to stay current. In his prologue, he mentions a researcher showing him a prototype of a teeny solar-powered radio tag for monarch butterflies. By the time the book hit the shelves, the concept was already live — harnessed, in one instance, to study how the brilliant orange insects use overwintering groves along the California coast. Just this week on Instagram, the California Department of Fish and Wildlife highlighted a study in which rare bumblebees are tagged with minute QR codes that can be read by remote cameras.

After about a half-year of travel, Huling returned home with a heightened awareness of what he calls “inconspicuous abundance” — that the world is teeming with more life than meets the eye. He puts this new lens to the test by venturing to the storm-battered shores of San Miguel Island off the coast of Santa Barbara. Considered “uninhabited” in the traditional sense, he finds that the rarely visited corner of Channel Islands National Park is a haven for lumpy seals, glimmering fish and squawking seabirds. Sharks lurk beneath the waves.

“For them, as now for me, this distinctive island remains anything but deserted,” he writes.

On San Miguel Island, Huling saw and heard hundreds of sunbathing seals and sea lions.

(Oliver Uberti / Penguin Random House)

In other animal news

• Earlier this month, in Big Bear Lake, a memorial service was held for Sandy Steers, the late conservationist who was best known for turning two bald eagles into an international phenomenon by livestreaming their nest. It was a touching gathering, where Steers’ friends and colleagues got personal about a woman who they said was willing to go to the mat for her beloved raptors.

An illustration for “Hidden Nations” depicts author Huling at home, surrounded by the natural environment — including a black bear.

(Oliver Uberti / Penguin Random House)

• For decades, Steers battled a planned development near the nest of famed eagle couple Jackie and Shadow, and helped to negotiate an agreement in which a land trust could buy the site for $10 million. The nonprofit she led is now racing to raise the money by July 31 so it can be bought and conserved.
• In the desperately needed good-news department, endangered steelhead trout that scientists feared had perished in last year’s Palisades fire unexpectedly survived — and even had babies. It’s a big deal: they represent the last known population of steelhead in the Santa Monica Mountains.
• A civil grand jury has found that the L.A. Zoo needs new leadership, citing deterioration of its facilities and rapidly declining membership. In less than a year, membership dropped 23% and exhibits for lions, bears, sea lions and pelicans have closed because they need major renovations.
• Last summer, researchers made an astonishing discovery off the Sonoma County coast — 18 sunflower sea stars, a species decimated by disease and all but gone from California waters. SF Gate writes that the finding was only just announced, with scientists now racing to learn all they can about the survivors. As previously reported, the stars with up to 24 arms could hold the key to restoring the state’s ravaged kelp forests.

And news about the environment

This is the latest edition of Boiling Point, a newsletter about climate change and the environment in the American West. Sign up here to get it in your inbox. And listen to our Boiling Point podcast here.

For more wildlife and outdoors news, follow Lila Seidman at @lila_seidman on X and @lilaseidman.bsky.social on Bluesky.

Diego Cano-Lasso had been looking for an architectural project when he found two hillside lots with spectacular views for sale in Mt. Washington. With work scarce in 2012, the SCI-Arc graduate persuaded his family to invest in the property, and together they bought the two plots for $95,000.

“We are not developers,” he says, “but sometimes you have to jump.”

He didn’t realize the Mt. Washington project would take 12 years to complete, including a shutdown during the COVID-19 pandemic, or that he, his family and friends would end up doing much of the work themselves.

Diego Cano-Lasso stands in front of the hillside lots in 2012. (Hassan Ismail) The lots today. (Myung J. Chun / Los Angeles Times)

As a fan of Los Angeles’ Midcentury Modern architecture, he imagined designing and building a post-and-beam dream home next-door to a similar home by his aunt Lucia Cano and her husband, José Selgas, of the Madrid architecture firm SelgasCano, stretching over the hillside and connecting to the city below.

Growing up in Madrid, the 41-year-old Cano-Lasso first discovered modernist architecture as a child while visiting his grandfather Julio Cano Lasso’s architecture office. There, he saw architectural photographer Julius Shulman’s famous photo of Pierre Koenig’s glass and steel Case Study House No. 22 in West Hollywood, one of L.A.’s most iconic homes and a lasting symbol of midcentury L.A.

“It’s why I moved here,” Cano-Lasso says. “Midcentury design was like a dream to me, because it’s not just an architectural style; it’s a lifestyle.”

But his dream quickly hit a snag when the geotechnical engineer arrived in Mt. Washington to assess the site.

“He said the plots were unbuildable,” Cano-Lasso recalls. “He told me, ‘It is impossible. We cannot even do the soils report, because a big machine can’t fit up here on these narrow streets.’”

Eventually, Cano-Lasso found someone who visited the site and said, “No problem.”

La Canaria House by José Selgas and Lucia Cano features canary yellow aluminum tubes.

Cano-Lasso and his wife, Belén Rodero, in the open kitchen and living area of La Canaria House.

Then the city told him that he didn’t have the right to build on the property. To get permission, Cano-Lasso and his family would need to widen the narrow street, put in a sewer system and add a power pole.

Permits were just as difficult. According to Cano-Lasso, neighbors complained about the project, and the city bureaucracy dragged out the process for three years.

Eventually, he and his crew began digging into the hillside and moved more than 120 truckloads of soil through the steep, narrow streets of Mt. Washington. Without a general contractor, they managed construction themselves and hired different crews for each job.

When COVID-19 hit, construction on the project stopped, and Cano-Lasso returned to Spain. Construction did not restart until 2022, by which time the construction industry had changed and the project felt even more challenging to complete.

“Everything cost more, and there weren’t enough skilled workers,” Cano-Lasso says. As a result, Juan de Santiago, the master builder Cano-Lasso hired and calls “paramount to the project,” was too busy to finish the houses, which had windows and drywall but still needed finishing.

“The only way we could do it was by doing most of the work ourselves and with friends,” Cano-Lasso says.

With help from his brother Alejandro Cano, who is also known as Cato, and his wife, Belén Rodero, they handled everything from carpentry and metal work to lighting, wall finishes, flooring, painting, furniture, custom garage doors and landscaping.

“What I didn’t realize at the time — not even when hundreds of boxes of Moroccan tiles showed up at our door in Madrid — was that I was signing up for both a crash course and a career in tiling,” Cato says of designing murals for three of the Cano Home’s four walls. “I wasn’t expecting to lay a single tile, let alone take on the filing, sanding, rearrangement and all the care and attention required when most tiles come in odd sizes.”

Seven years and plenty of mishaps later, including the time a truck got stuck on the narrow, winding streets of Mt. Washington hauling 42-foot wooden beams, Cano-Lasso finally has a finished home that feels peaceful and warm.

With eye-catching details everywhere, the 2,250-square-foot homes feel relaxed and reflect the style of a Spanish designer inspired by Frank Lloyd Wright and Rudolph Schindler. (Cano-Lasso once lived in Schindler’s Sachs apartment in Silver Lake.) The open floor plan, designed by his father, Spanish architect Diego Cano Pintos, features warm oak floors, inexpensive radiata pine walls and ribbed wood ceilings.

“I am enjoying witnessing the house being lived in,” Cano-Lasso says of renting his house to music producer Jennifer Jimenez and interior designer Hanna Li, pictured right.

The rooms of the Cano House are filled with colorful art, accessories and custom furniture by Andrew Riiska and Cato. “Although we were working toward a deadline on a project that had already been under construction for several years, most pieces of furniture were designed and fabricated on site, with the conviction that we were building something special,” Cato says of setting up a furniture workshop in the garage.

Ceramic rain gutters from Ceramiques Est in Spain have been repurposed as wall-mounted light fixtures for indoor use. Door handles are made from stones found on the beach, and glass light fixtures by Luz Mixtura in Spain echo Robert Irwin’s disc installations. Large boulders from the excavation were brought inside to serve as furniture. Built-ins were made in Spain and shipped to Los Angeles in three containers. Outside, the house is covered in shou sugi ban charred-wood siding, which they installed themselves.

Both homes have similar structures and layouts with four bedrooms and four bathrooms, but La Canaria House features canary yellow powder-coated aluminum tubes inspired by California sunsets, while the Cano House is minimal and warm. “The homes are all about the beams,” Cano-Lasso says, which makes them look like they are floating above the city.

The neutral rooms feel warm and simple, with striking pops of yellow that reflect Southern California’s sunshine and decks that allow a smooth flow from indoors to outdoors.

Li, left, and Jimenez in their music room. The custom DJ workstation, designed by Li, is clad in ceramic tiles designed to look like plywood.

Behind the Cano House, Cano-Lasso created a narrow outdoor space with built-in banquette seating, a raised-bed herb garden and a water fountain. Now the house opens up to the outdoors, making it easy to entertain. “The garden is the coolest feature,” he says. “It really makes the house feel special.”

In some ways, the modern design has revived the midcentury ideal by using post-and-beam construction, an open floor plan, simple materials and easy indoor-outdoor access, all with Cano Lasso’s artistic touch.

But finishing the project also left Cano-Lasso with the large debt he took on — he estimates the project cost about $1 million, although he saved around 40% by acting as his own contractor.

Cano-Lasso and his wife divide their time between La Canaria House and a project in Venice, so he is renting out his dream house to interior designer Hannah Li and music producer Jennifer Jimenez, who grew up together in Pasadena.

Li descends the spiral staircase to the music room on the first floor.

Renting such a personal project might seem overwhelming for the tenants, since the rental included some of Cano-Lasso’s custom furnishings, but the two have made the house their own. They added a striking listening room on the first floor, with a turntable lined with ceramic tiles designed by Li to resemble plywood.

“We’re all artists in this house,” Jimenez says. “We’re always creating here, and other music producers often come over to make music and jam with us. It’s such an inspiring, creative space.”

“It’s a very comfortable house,” adds Li, who enjoys practicing archery on the terrace deck.

The friends’ rental is filled with treasures from their travels, along with pieces Li designed specifically for the home. Li turned one of the first-floor bedrooms into a cozy study by paneling the walls with wood and adding textiles she collected on her trips.

Recently, they hosted a birthday party with art-making stations, candle-making and even goats and they invited their landlord. “Mt. Washington has so many artists, so it’s wonderful to bring everyone together,” Li says.

Cano-Lasso, greets Jimenez, center, and Li on their side-by-side terraces.

When asked if he might consider tackling another hillside project, Cano-Lasso laughs.

“When I finished, I said, ‘I will never do that again,’” he says. “Now I’m starting to think there’s a plot of land for sale nearby. We installed a sewer line, so why not take advantage of it?”

Despite his debt, he isn’t planning to sell the house. “In a way, the project doesn’t finish with construction; I am enjoying witnessing the house being lived in,” he says. Even if he’s not the one living in it.

ADULT content star Lily Phillips has had her say on the ‘degrading’ moment where she was shooed away by Phil Foden’s girlfriend.

The controversial OnlyFans star addressed the viral video which saw her being swatted away by Foden’s partner and left Lily feeling ‘like s**t on a shoe’.

The moment was captured while the Manchester City ace was spotted ringside at Tommy Fury’s box-office clash with Eddie Hall.

Viewers watched as the porn star was turned away abruptly by mum-of-three Rebecca Cooke after asking the footballer for a selfie.

Lily explained her version of the toe-curling situation on TikTok and how she found it unnecessary – just because of the industry she’s in.

“The Phil Foden debacle, I just want to clarify a few things here. I went over as a fan just to ask for a photo.

FOD OFF!

Moment Phil Foden’s girlfriend shoos away Lily Phillips after asking for selfie

NOT ONLY FRIENDS

Huge rapper secretly took Lily Phillips on date after sliding into her DMs

“I didn’t know if he had a missus or a girlfriend in all honesty, I didn’t even know she was with him.

“When you’re at the boxing, you’re just sat next to random people most of the time.

“Usually when you go up to a celebrity to ask for a photo, you ask them, not the people around them. That’s just from my experience.

“And before I could even finish my sentence, I was shooed away. 

“See, I think it’s your prerogative if you don’t want to get a photo with me, that is so fine.”

Lily continued: “I think there are definitely different ways to go about communicating it. 

“And acting like I’m a piece of s**t on your shoe because of the industry I’m in is a little degrading I may say.

“I will say, a simple ‘no thank you, not today’ probably would have just sufficed.

“That’s just my opinion and opinions are subjective.”

Rebecca shares three kids with the footballer and has been with him since they were at school.

Followers were divided as they commented on her video.

One user stated: “She [Rebecca] was taking care of business.”

“The only thing that is surprising here, is that you’re surprised,” noted a second.

“She didn’t shoo you away at all, she’s protecting her family,” wrote a third.

Others backed Lily and supported: “Well said. No need to be disrespectful to people.”

“Seriously just a photo. Why did she do this?????” asked a second.

“There is no issue with someone asking for a photo. I watched the video – she did seem a tad aggressive, like you were going to ask something sinister,” observed another.

Lily, who is famous for several outrageous NSFW stunts, was seen working her way around the arena on the night of the Fury vs Hall fight.

She was spotted stopping and getting pictures with various celebrities attending the event.

At one point, she even approached Molly Mae, who recently welcomed her second child, a boy named Midas.

Netflix’s comedy series Leanne is returning for Season 2 this summer and some huge names have joined the cast.

Fans of the beloved sitcom Leanne can gear up for another binge-fest soon.

Leanne Morgan’s bingeworthy comedy series, Leanne, is set to return for a second season this summer, with the star expressing how “so grateful” she feels about returning to Netflix. The Big Bang Theory producer, Chuck Lorre, who is behind the popular series that proved a massive hit with viewers, said of the show’s comeback: “Congrats to Leanne and the entire cast and crew.

“This has been an incredible journey that began with a visit to Knoxville, Tennessee. Leanne Morgan is the whole package. A comedic genius, a warm, loving human being, and an absolute joy to work with.”

Kristen Johnston, Celia Weston, Blake Clark, Ryan Stiles, Jayma Mays, Tim Daly, Graham Rogers, Hannah Pilkes, and Andrea Anders are all set to reprise their roles for the second season. Fresh faces are also joining Season 2 and here’s everything you need to know about the new series.

When is Leanne Season 2 out?

Leanne is making its Netflix comeback for a second season on August 27, with the sitcom’s latest run consisting of 10 episodes.

Fortunately for devotees, all 10 instalments will arrive simultaneously, allowing them to binge-watch to their hearts’ desire.

The second run is considerably more compact than the first, which featured 16 episodes, and it remains inspired by Leanne’s stand-up performances.

The sitcom chronicles Leanne’s journey as her world gets flipped upside down when her husband of 33 years unexpectedly walks out on her for another woman.

Throughout the series, “Leanne learns to embrace the chaos and finds strength, laughter, and hope in the most unexpected places”.

Who is joining the cast of Leanne Season 2?

Fresh faces include country music sensation and Yellowstone star Lainey Wilson.

The 34 year old country artist from Louisiana made her television debut in Yellowstone in 2022, taking on the role of Abbey.

She also has her own Netflix documentary chronicling her career, and made her big-screen debut in the film adaptation of Colleen Hoover’s novel Reminders of Him.

Actress and model Jaime Pressly is also joining the cast, best recognised for her portrayal of Joy Turner in the NBC sitcom My Name Is Earl.

Actor and comedian Billy Gardell, famous for Mike & Molly, has similarly signed up for the series, alongside accomplished film and theatre actress Tyne Daly.

Leanne season 2 arrives on Netflix on August 27.

MADONNA oozed youthful glam in a see-through mini dress as she made a striking appearance at Paris Fashion Week.

The Vogue songstress, 67, looked half her age in the cobalt blue frock, opting to go braless in the sheer attire as she headed to an evening bash in the French capital.

She finished off her stylish look with thigh-high silver boots, nude fishnet tights and matching jewellery.

Madge pulled on a pair of sunglasses and threw a metallic jacket over her arm as she exited the French venue, with her blonde hair styled in heat curls flowing over her shoulders.

The American chart star – who recently showcased her huge video which launched her comeback – kept a serious expression as she walked out of The Ritz flanked by bodyguards.

Yet she did flash a pout as she took a brief glance over her shoulder.

HUG UP ON YOU

Madonna & Charli XCX END feud with hug weeks after ‘dancefloor is dead’ swipe

SMOKING HOT

Madonna & Charli XCX smoke cigs at fashion show as they make-up after feud

Earlier this week, Madonna was seen smoking cigarettes at the same event with Charli XCX as they healed their feud.

They then confirmed they were back on track with a hug.

The pop stars were filmed posing for photos, and puffing on long, dark cigarettes at the Saint Laurent menswear show in Paris.

Madonna looked sensational in a red lace long-sleeved mini dress which she paired with pink and black toed heels and stylish shades. 

Charli rocked a red dress with lace detailing across her chest, black tights and long-toed heels.

Rumours sparked of a feud between the pair after Charli’s new single Rock Music featured the bold lyrics: “I think the dancefloor is dead, so now we’re making rock music.”

Madge’s dance-heavy new album, Confessions On A Dancefloor: Part II comes out on July 3, and she certainly didn’t agree.

Taking to Instagram she posted a snap with a very telling caption.

She wrote: “If your dance floor feels dead, maybe you’re playing the wrong music.”

At the time, the Like A Prayer hitmaker posed in a skin-tight pink dress, fishnet tights and knee-high leather boots.

Less than two months after being sued by two former housekeepers, Kylie Jenner has been hit with a third workplace lawsuit. The beauty mogul’s former private chef alleges a grueling workload led to her miscarriage.

Filed Monday in Los Angeles Superior Court, the complaint alleges the woman routinely worked 11- to 12-hour shifts, five days a week, and was assigned physically demanding tasks despite alerting supervisors to her high-risk pregnancy.

A representative for Jenner did not immediately respond to The Times’ request for comment.

According to the filing, reviewed by The Times, the woman was told she was selected to work as Jenner’s private chef around Thanksgiving 2024. In early December 2024, the woman claims she informed her supervisors, also named as defendants, that she was three months pregnant and “required reasonable accommodations to protect her health and pregnancy.”

On New Year’s Eve in 2024, supervisors who had allegedly been hostile with the former chef directed her to “lift and transport heavy food items across the street and uphill without assistance,” the documents say.

As a result of the physical exertion, the former chef claims that she “became dizzy, began choking and gasping for air, and required assistance from security personnel, who intervened by providing water and aid.”

Around Feb. 1, 2025, the then-chef, five months’ pregnant at the time, was assigned to work Jenner’s child’s birthday event in Palm Springs, where she wasn’t provided “adequate support” despite the scale and demands of the party, according to the lawsuit. The former chef claims that when she asked for help and expressed concern over the workload, she was ignored by supervisors.

“Due to exhaustion and overwhelming physical strain, [she] broke down emotionally in the bathroom during the event,” reads the suit. “That evening, [she] experienced extreme physical exhaustion and heaviness throughout her body as a result of the prolonged and intense workload.”

The next morning, while the former chef was still in Palm Springs, the filing states that she awoke experiencing severe hemorrhaging and drove herself to the emergency room. “At the hospital, [she] was informed that there was no detectable heartbeat and that she had lost her unborn child.”

According to the former chef, she informed her supervisors of the miscarriage and medical emergency and, in the following days, was “falsely accused of leaving the kitchen and refrigerator in disarray following the Palm Springs event,” the lawsuit states.

The court documents claim that the former chef suffered severe hemorrhaging again on Feb. 8 and collapsed in her bathroom. The filing states that after the miscarriage she suffered severe depression and emotional distress, and claims that a supervisor reprimanded her, saying, “Stop it, just stop it. You are upsetting Kylie. You are making her depressed.”

“Celebrity status does not exempt anyone from California’s employment laws. We look forward to presenting the evidence in court and allowing the facts to speak for themselves,” attorney Della Shaker told The Times.

The former chef is seeking an unspecified amount of damages and claims that in addition to suffering accommodation failures, pregnancy discrimination and harassment, she was misclassified as an independent contractor, did not get paid on time or for the appropriate hours she worked, and was wrongfully terminated.

After being let go, the former chef claims that she sent a formal written complaint to co-defendant Tri Star detailing the alleged discrimination, harassment and wage theft. The lawsuit states that on May 22, 2025, the management team sent her an email offering a settlement and release agreement (essentially offering her money to sign away her right to sue).

The legal filing follows two lawsuits brought by former housekeepers of the embattled reality star. Less than two weeks after one woman on Jenner’s cleaning staff sued her, claiming her co-workers harassed and discriminated against her, another housekeeper came forward with allegations claiming the “Keeping Up With the Kardashians” star didn’t intervene while she suffered abuse from fellow staff, despite the housekeeper slipping the reality star a letter pleading for help.

Shaker also represents Angelica Hernandez Vasquez, who filed the suit against Jenner on April 17, and Juana Delgado Soto, who filed her lawsuit on April 29.

Chris Appleton could be about to count on the support of pal Kim Kardashian from the Strictly stands as he gets ready to take on the BBC dance competition

Kim Kardashian could be set for a part in Strictly Come Dancing after playing a key role in Chris Appleton’s sign-up, according to reports. The reality TV star is said to have been a big player in making the celebrity stylist join the current roster of celebs hitting the dance floor.

The hairstylist was the fourth star announced for the upcoming series after Lacey Turner, Dani Dyer and Delta Goodrem. And he is set to get the support from some of his high profile clients, which have included Jennifer Lopez, Kim Kardashian, Sofía Vergara, Ariana Grande, and Katy Perry.

And it’s the Kardashians star who is said to have helped him bag the gig in the first place. A source said: “Kim’s most important advice to him was simple: before you launch a brand or product, make people feel like they know you, are invested in your life, in you.”

It comes as Chris reportedly wants a little more in life, namely, his own brand of hair products. And Kim sees the reality contest as the perfect way to introduce him to the British public.

The source went on to tell The Sun: “It was Kim who pushed him toward Strictly – he’s had a lot of reality TV show invites in the US.

“He was initially very hesitant to put himself out there as a ‘star’ but Kim argued that a successful run on the show would do more for his brand than a year of PR campaigns and huge ad budgets.”

They added: “Being in the Strictly spotlight makes him a household name in the UK, gets him into every room and red carpet event that matters in London, and builds the kind of public warmth that no advertising budget can manufacture – and that’s exactly the diving board you want to launch a brand from.”

And it’s claimed if Chris ventures into the later stages of the competition then Kim could come to the UK to support him from the crowd. The source said Kim has given Chris “free rein” to discuss their friendship too.

After he was announced as a Strictly contestant, Chris said: “I’m thrilled to be joining Strictly Come Dancing and coming home to the UK for this incredible experience. I’ve always believed that the best things happen when you take a chance and try something new.

“I may know my way around a salon floor, but the dance floor is a whole different story – and I can’t wait to get started.”

Chris grew up in Leicester, but he now lives in Los Angeles. But it’s said the UK will always be home to the star and he will be using the contest to be closer to home.

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The Academy of Motion Picture Arts and Sciences invited 529 artists and executives to join its membership Wednesday, including actors Jenna Ortega, Teyana Taylor, Jacob Elordi, Mia Goth and Josh O’Connor and filmmakers Benny and Josh Safdie, as the organization continues to reshape the body that votes on the Oscars.

If all invitees accept, the academy’s voting membership will grow to 10,338 members, up from roughly 6,000 a decade ago, as the organization continues to expand its ranks and broaden its international reach. Overall membership, including emeritus members who no longer vote, will rise to 11,319.

The academy’s expansion accelerated after the 2015 #OscarsSoWhite controversy, which drew attention to the organization’s overwhelmingly white and male membership and prompted a sustained effort to recruit more women, people of color and international filmmakers. The academy met its initial post-#OscarsSoWhite diversity targets several years ago but has continued to expand and internationalize its membership.

The latest class includes 95 Oscar nominees, 21 Oscar winners and three recipients of Scientific and Technical Awards.

“We are delighted to invite this remarkable group of film artists and professionals from around the world to join the Academy,” academy CEO Bill Kramer and President Lynette Howell Taylor said in a joint statement. “Through their commitment to filmmaking, this year’s exceptionally talented class has made significant contributions to our global movie industry.”

The academy said 42% of this year’s invitees are women, 56% are from underrepresented communities and 53% are from 60 countries and territories outside the United States. Last year’s class was 41% women, 45% from underrepresented ethnic or racial communities and 55% international.

Across the academy’s overall membership, 36% are women, 25% come from underrepresented communities and 22% are international, according to the organization.

Other notable invitees include actors Jon Bernthal, Julia Garner, Bill Skarsgård, Anthony Ramos, Jemaine Clement, Jenny Slate and Simu Liu; singer-songwriter Sara Bareilles; documentary filmmaker Andrew Jarecki (“Capturing the Friedmans”); and director Zach Cregger (“Weapons”).

Nine individuals, including filmmakers Benny Safdie (“The Smashing Machine”) and Josh Safdie (“Marty Supreme”), received invitations from multiple branches and must choose one upon accepting membership.

Membership in the academy is by sponsorship rather than application. Oscar nominees are automatically considered for membership in the year they are nominated, while branch executive committees review additional candidates before recommendations are approved by the academy’s Board of Governors.

The latest class is five names fewer than last year’s group of 534 invitees. The academy’s largest-ever class came in 2018, when it invited 928 new members as part of a broader effort to diversify its ranks.

The 99th Oscars will take place March 14, 2027, at the Dolby Theatre at Ovation Hollywood.

Sony Pictures will invest $100 million and take a minority stake in virtual reality venue operator Cosm, as the studio continues to build a business in communal experiences.

As part of the investment, Sony Pictures Chief Executive Ravi Ahuja will also join Cosm’s board of directors, the studio said Wednesday. The size of Sony’s minority stake was not disclosed.

The El Segundo-based Cosm currently operates three venues — one at Hollywood Park in Inglewood, and the others in Dallas and Atlanta. The company plans to open additional venues in Detroit and Cleveland.

Cosm bills itself as a “shared reality venue,” and its facilities center around a massive, wraparound screen that is intended to envelop viewers with additional digital effects. The company has largely focused on sports, though it has also shown Cirque du Soleil shows and done several collaborations with Warner Bros., including recent screenings of 2001’s “Harry Potter and the Sorcerer’s Stone” in honor of the film’s 25th anniversary.

“Cosm sits at the intersection of several trends shaping the future of entertainment,” Ahuja said in a statement. “We’ve followed Cosm since before launch and have been impressed with the quality of the experience and the enthusiasm it’s generating with audiences.”

The investment is Sony’s latest venture into experiential entertainment. In 2024, the Culver City-based studio acquired dine-in theater chain Alamo Drafthouse Cinema.

Kara Zor-El (Milly Alcock) can swill an entire sorority’s supply of booze. As a Kryptonian, her hangovers are instantly cured by a yellow sun. And so director Craig Gillespie’s “Supergirl” follows a trail of empty beer bottles to find Superman’s lonely younger cousin marking her birthday on a solo interstellar bender, pounding shots alongside her dog, Krypto.

Unlike sweet-natured Kal-El (David Corenswet), a.k.a. Clark Kent, who escaped Krypton as a baby, this traumatized 20-something bore witness to their home planet’s long and painful extinction. Playing grief like the sandblasted absence of emotion, Alcock’s Supergirl isn’t in the mood for Metropolis do-gooding. She prefers slumming it at extraterrestrial honky-tonks with suitors who look like armadillo-plated slugs. She’s most visibly depressed when she tries to convince herself she’s having fun.

Who doesn’t want to go on a “Star Wars” cantina crawl? The opening stretch of “Supergirl” is great — Alcock even passes out on a toilet with aplomb. Briefly we hope that Gillespie and screenwriter Ana Nogueira are shaking up the superhero format like a bottle of gas-station champagne. I’d love to see Alcock’s heroine in a grotty, silly “Animal House”-style comedy, out-drinking a galaxy of alien squids. But the limits of Hollywood’s imagination squeeze Supergirl to stop partying and start doing some regular old rescuing. Sigh. Someone’s gotta save franchise movies from themselves.

As usual, there’s a tyke in trouble: 13-year-old Ruthye (Eve Ridley), a fellow orphan with a ramrod disposition and a tidy brunet braid that gives away that her character is modeled on Hailee Steinfeld’s vengeful teenager in “True Grit.” Ruthye wants to hunt and kill the creep who murdered her family. Unlike Supergirl, the child thinks it’s healthier to exorcise — not imbibe — one’s heartache. The duo visit an Epstein-island-like planet of kidnapped breeding women where, in one of the script’s subtler sick horrors, the locals imply that pubescent Ruthye is more valuable than aged 23-year-old Supergirl. (Although some of the caged extras appear to be as ancient as 30.) It’s yet another swiped idea, this one from “Mad Max: Fury Road,” for a minor story beat that’s unnecessary. Still, Alcock reacts with exactly the right note of disdain: “Cool,” she croaks. ‘Nuff said.

They’ve come to this cesspool to find the villainous Krem, an unrecognizably vile Matthias Schoenaerts with a mug that’s been pierced all over like he face-planted into a pile of thumbtacks. His biker-scumbag-times-infinity prosthetic design is fantastic, but what makes it genius is that the makeup team allowed a couple of metal studs to fall off Krem’s forehead before his first close-up. You know, for that lived-in barbarian sex trafficker look.

As Ruthye, Ridley’s crisp British elocution is the cleanest thing in the movie, which is shot by Rob Hardy in shades of mustard smog and latrine brown. Neither Supergirl as a babysitter nor Gillespie as a storyteller let the kid carry her share of the action, but I suspect Ridley has the talent for it. She seizes her small opportunities to impress in the film’s second half. Spitting on a baddie, her righteous loogie stings like a moral disinfectant.

Meanwhile, Jason Momoa swaggers into the fray from the cover of an ’80s hard-rock album with Kiss’ makeup, Manowar’s muscles and Meatloaf’s motorcycle. His character, a blue-skinned bounty hunter, only tangentially slots into the plot. Really, Momoa’s massive presence is here to prove that James Gunn was serious when he announced he was hard-resetting DC Comics’ film canon up to 2023’s “Aquaman and the Lost Kingdom.” Momoa as Aquaman is dead. Long live Momoa as Whoever This Guy Is.

Gillespie likes to champion difficult women, from Tonya Harding in “I, Tonya” to the Dalmatian-skinning Disney villain of “Cruella.” Yet as his budgets have mounted, so has the pressure to make his problematic ladies popular with a mass audience. “Supergirl” feels anxious to entertain. The jokes all have the same sense of snarky humor, no matter what species is cracking them. One scene even has a comic slow clap that, in my theater, didn’t get a reaction. The camera and cutting pace refuse to relax. Major set-piece action shots are impossible to follow. You can’t squint past the distracting lens flares.

Alcock’s wildling Supergirl is the one reason to see the film. As in her too-brief role on the “Game of Thrones” prequel “House of the Dragon” and her rollicking cameo at the end of 2025’s “Superman,” the Australian actor is a striking combination of grounded conviction and otherworldly essence, the ideal one-two for a character who plays anti-gravity fetch with her dog. Floating weightless in the stars, her hair unbrushed and bathrobe-like jacket shrugged on, she makes the impossible look casual. (Supergirl’s iconic red-and-blue minidress is so not her style.)

Alas, Krypto the pup is sidelined early on with a whimper, both from him and us. Maybe he’ll get more screen time when the digital animators figure out how to make him look more realistic. (Between the mutt’s anime eyes and that gawky-phony deer in “Disclosure Day,” are CGI creatures getting worse?)

Grief tethers Supergirl to Ruthye, even though they disagree on how to handle it, and it also seems to repel her from Corenswet’s dopey, innocent Clark Kent. There’s rich irony in the personality contrast between the cousins. Her Kryptonian parents raised her to help humanity; his parents intended their son to rule it. But due to twists of fate, she’s the miserable, maladjusted one. The movie has no time to mine the psychology underneath their clash, let alone summon a sniffle for the other pitiful characters who die during this escapade. Perhaps it’s holding that tension back for a sequel, but I’d rather invest in the characters now.

A flashback to Supergirl’s first touchdown on Earth has the awkwardness of a study-abroad student realizing she doesn’t like her host country at all. Despite our planet seeming to have enforced its monoculture on outer space — an extraterrestrial dive bar band even does “The Girl From Ipanema” — Supergirl appreciates little of it besides some product-placement dog treats and, in a forced touch, the pop music on her headphones as well as crammed into the soundtrack next to Claudia Sarne’s gravelly score. I’ll accept this degenerate Supergirl sporting a retro Blondie shirt, but not her willingly choosing to listen to mopey contemporary Earth jams like Rilo Kiley and a twee cover of Jimmy Eat World over, say, Kryptonian death metal.

Still, the production design has imaginatively askew takes on the mundane: gridded jail cells, plodding space buses, clumsy oxygen suits that shimmy on with a satisfying squeak. When Supergirl makes a pit stop at a celestial convenience store, she samples a snack that I’m forced to call poop-corn. If “Supergirl” sells enough of it, hopefully Alcock can rampage again in a more confident sequel that truly cuts loose.

Richard Montoya of Culture Clash doesn’t mince words when it comes to politics, current events or the state of mainstream Hollywood. But he does sugarcoat his technological limitations as a 67-year-old comic in the dreaded age of video calls with a punchy Chicano twist.

“I’m a low-tech Aztec,” he writes via email when requesting a Zoom link to our Monday interview.

Culture Clash — which includes members Montoya, Ric Salinas and Herbert Sigüenza — arrived on the scene as a guerrilla sketch theater group from the San Francisco Mission District in 1984. By that time, the Chicano movement had reached its peak, thanks to the United Farm Workers labor movement, as well as student activist organizations like Movimiento Estudiantil Chicano de Aztlán (MEChA), which advocated for Chicano unity, political empowerment and educational access.

Luis Valdez, founder of El Teatro Campesino — who began putting on social justice-oriented plays for the striking Delano farmworkers in 1965 — backed the slapstick satire troupe, considering the trio “the cutting edge of fresh, new Latino comic genius.”

Culture Clash stood out in a time when Chicanos became more vocal and visible — and its members challenged an entertainment industry that has historically lacked Latino representation. Between 1993 and 1996, Culture Clash hosted its own self-titled TV show on the syndicated Fox network. The show, which was filmed at the Mayan Theater in downtown Los Angeles, is widely considered the first Latino sketch comedy to air on American television.

Throughout the last four decades, Culture Clash has parodied nearly every prominent Latino figure in history, including Che Guevara, Frida Kahlo, Ritchie Valens, Rita Moreno, Edward James Olmos and others. Its members have mocked hard-shell cholos and gangsters, often by placing them in funny scenarios. For instance, take this clip, in which the trio take on cholo characters and reimagine what it would be like to surf on the Southern California shore.

But they’ve also taken on more serious topics in their classic “Chavez Ravine” play, which looks into one of the darkest chapters in L.A. history: the forceful removal and displacement of families, mostly Mexican, in the 1950s under eminent domain. Recently Montoya attended a live reading adapted by Somos El Teatro, led by Xolo Maridueña, Mariana da Silva and Angel Villalobos at Elysian Park.

“It gives us so much life that people are finding the issues of swindlers, whether it’s gentrification, the taking over of settlements,” says Montoya. “The generational trauma of losing your home in L.A. has never gone away.”

But not every Culture Clash joke or skit has been safe from criticism. Montoya still remembers how a conservative pundit chastised the group for using light humor to discuss the 1992 riots, when LAPD officers were acquitted for using excessive force in the arrest and beating of Rodney King.

“By looking at it and treating it as dynamite, exploding it and then by bringing some levity and a whole lot of seriousness to the Rodney King matter allows us a moment, a fraction of time to look at the issues a little bit differently,” says Montoya. “That laugh allows us a moment to examine it differently.”

On June 27, Culture Clash will return to Grand Performances, a free summer concert series at California Plaza in downtown L.A., with comedic sketches colored by political and social satire. The show, titled “American Payasos! Culture Clash’s End Times Cabaret” will be co-presented with De Los.

While their 40-year-plus legacy might merit a show reminiscent of old goofball skits — like their early 1989 show “The Mission” that poked fun at the problematic Spanish Franciscan missionary Junipero Serra — this will not be an “oldies but goodies show,” as Montoya put it. “We are highly pissed off about a lot of stuff right now.”

“ We’re thinking a lot about the Mexican American patriarchy, Cesar Chavez, Dolores Huerta and it’s time to address some of these things,” says Montoya. “ We want to look at the service workers of Los Angeles, the people that sell cotton candy in MacArthur Park, the people that sell ice cream in Echo Park and the people working the World Cup.”

For the veteran comic, son of the late Chicano poet Jose Montoya, it is also impossible to ignore the immigration enforcement raids that have rattled Los Angeles communities in recent years.

“This is a very strange moment for satirists,” says Montoya. “We have a responsibility to use those tools to say what’s going on in our city and country and provide these moments where we can do a little bit closer examination because the people in power aren’t telling us what’s going on.”

In the last five years, Montoya has fiddled around with digital media, creating sporadic videos featuring old clips of the troupe, as well as videos of Latino media, to connect with technologically diverse audiences of all ages. (One example is a video calling on people to get out the vote, that features clips of Speedy Gonzales and honors political figures like Huerta.)

Although Montoya believes Culture Clash is nearing the end of its career, there’s a question lingering inside his mind: What does a graceful exit look like for a group like Culture Clash, which has never been fully integrated into mainstream Hollywood and still left such a profound legacy in the world of Latino entertainment?

The answer to that might still be unknown, but like any Culture Clash project, it will likely be wickedly satirical and punchy. Says Montoya: “We’re ready to go out with a huge, loud bang that can say something against the power structure.”

Culture Clash will take center stage on June 27 at Grand Performances, in partnership with De Los. Also performing is the retro cumbia-quebradita musician É Arenas (bassist of Chicano Batman), the cumbia-fusion, luchador-masked cumbia group La Nueva Ola de Cumbia, as well as DJ Dali.

BECKY Hill has hit back at the crowd that booed her during her surprise festival set as she addressed a viral video.

The pop star, 32, was treated badly at the weekend after she vowed to play only new songs at her secret set at TRNSMT. 

Speaking about the viral video that showed the crowd, she has now said: “Getting booed is not nice.

“I haven’t found a single one of these easy, it’s really upsetting.

“Because I love this job and that’s not making me love it as much as I usually do.”

Speaking directly to the camera she added: “I wanted to bring a new and exclusive thirty minute set of brand new music to a festival crowd unannouced.

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“I thought it would be a great opportunity to play the new music I’ve been working so hard on.

“And I personally love so much.”

She then thanked the team at the festival for giving her that stage and also the crowd of people who you stayed and danced with her right until the very end.

She added: “It was amazing to have such a captive audience who wanted to hear the new stuff too.

“I said on stage how difficult it is to transition into a new single, and new music and new albums.

“And all this conversation online is exactly what I meant.

“I’m not a jukebox, I’m an artist and the tickets at TRNSMT were not sold with my name as part of the line-up.

“And I wanted to do something new, artistically driven.”

Becky explained that she doesn’t normally get the opportunity to do that much in her career.

She added: “But trust me when my name is on the poster I will always sing the tunes that people know and love.”

“I feel really grateful to have those records in my catalogue,” she explained.

The singer concluded that in order to have a long career she needed to have new music and thanked those that stayed to listen to her.

The pop star has no shortage of hits to choose from, with 19 top 40 singles, six top 10s and a number one to her name.

Becky played her new track Daddy’s Range Rover at TRANSMT which hits out at Jack Whitehall for mocking her when he hosted last year’s Brit Awards.

The pair have since buried the hatchet and Jack admitted he apologised to Becky for calling her “Wetherspoons Whitney”. 

Addressing her fans while performing earlier this year, she said: “I’ve had enough of all this s*** so I wrote about it.