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Netflix has added the acclaimed thriller series to its collection, eleven years after the TV show finished up, with all seven seasons now available to binge
Netflix has added the acclaimed thriller series to its collection, eleven years after the TV show finished up, with all seven seasons now available to binge(Image: Channel 5)
Netflix has welcomed a gripping thriller to its library, more than a decade after the television series wrapped up. The streaming giant revealed to subscribers that every season of The Mentalist, headlined by Simon Baker, would be landing on the platform.
Having arrived on Netflix on Sunday, March 1, long-time devotees of the programme can now devour all episodes at their leisure. For enthusiasts of police procedurals searching for their next marathon-worthy series, there are seven full seasons to explore.
Should you be new to the programme, viewers follow the journey of independent consultant for the California Bureau of Investigation, Patrick Jane (Baker). Jane has built a name for himself through unorthodox and unusual investigative techniques, combined with a disregard for standard procedure. Oh, and he also claimed to be a psychic.
Whilst the “psychic” element may be bogus, Jane possesses razor-sharp observational abilities and an exceptional understanding of human psychology to crack cases, reports the Express.
Beyond collaborating on investigations with law enforcement, he exploits his connections within the CBI to track down the mysterious serial killer Red John, who brutally killed his wife and daughter – a storyline forming the backbone of much of the series. Yet his quest for justice isn’t always straightforward.
The debut season appeared to split critics, though it’s lauded for featuring “all of the key components of the perfect crime investigation series,” according to the Pittsburgh Post-Gazette.
The final series, which broadcast in 2015, achieved an 83 per cent overall score on Rotten Tomatoes. Jeff Jensen wrote for Entertainment Weekly about the concluding season: “That hard-working bunch earned their party. I think the show honored the fans who stuck with it and by it. On a personal note:
“My late wife-who loved The Mentalist, who turned me onto the show, who found the show easy to forgive and enjoy after the disappointment of the Red John denouement-would have been very pleased.
“I enjoyed it on her behalf and chose to take the story’s conclusions, as easy and sentimental as they may have been, as a challenge to hope and optimism for a better tomorrow. Jane and Lisbon, thank you for that gift.”
Darragh McManus wrote for The Guardian: “Funny, thoughtful and intricately plotted, The Mentalist is one of the best things to appear on TV in a long time.”
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The BBC’s director-general has issued a statement of regret after a moment when John Davidson, who has Tourette’s Syndrome, shouted the N-word during the BAFTAs was broadcast
BBC boss says they ‘profoundly regret’ broadcast of BAFTA racial slur(Image: BANG Showbiz)
The BBC’s outgoing director-general Tim Davie has said the corportation “profoundly regrets” that a racial slur was broadcast during the time-delayed coverage of the BAFTA Film Awards on BBC One.
During the BAFTAs, which were aired on 22 February, John Davidson, who has Tourette’s Syndrome, involuntarily shouted several slurs and offensive comments at guests and presenters.
This included the N-Word, which was shouted at Michael B. Jordan and Delroy Lindo as they presented the award for Best Visual Effects, which made it into the live broadcast, despite the show airing hours after it was recorded. Davidson has coprolalia, a form of Tourette’s where vocal tics include expletive and offensive remarks.
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In a letter to the chairwoman of the Culture, Media and Sport Committee, Dame Caroline Dinenage, Davie said: “I’d like to make clear: although the racial slur was symptomatic of a disability and an involuntary tic, it should never have been broadcast. It was a genuine mistake, and we take full responsibility for our error.”
Davie also responded to questions about why the incident was not edited out of the broadcast. He said: “Although this is the subject of ongoing review, our initial evidence gathering has found that no one in the on-site broadcast truck heard this when they were watching the live feed.
“Because no one in the broadcast truck was aware it was on the live feed, there was therefore no editorial decision made to leave the language in.”
Davidson has said he is “deeply mortified” by what happened at the BAFTAs. In a statement released on 23 February, he said: “I wanted to thank BAFTA and everyone involved in the awards last night for their support and understanding and for inviting me to attend the broadcast.
“I was heartened by the round of applause that followed this announcement and felt welcomed and understood in an environment that would normally be impossible for me.”
Referencing an announcement made by show host Alan Cumming explaining Davidson’s condition to the audiences there and at home, he added: “In addition to the announcement by Alan Cumming, the BBC and BAFTA, I can only add that I am, and always have been, deeply mortified if anyone considers my involuntary tics to be intentional or to carry any meaning.
“I was in attendance to celebrate the film of my life, I Swear, which, more than any film or TV documentary, explains the origins, condition, traits, and manifestations of Tourette’s Syndrome. I have spent my life trying to support and empower the Tourette’s community and to teach empathy, kindness, and understanding from others, and I will continue to do so. I chose to leave the auditorium early in the ceremony as I was aware of the distress my tics were causing.”
His team added that Davidson reached out to the Sinners team to apologise directly to Jordan and Lindo. Lindo said he and Jordan “did what they had to do” during the incident but wished “someone from BAFTA spoke to us afterward”.
BAFTA released a statement in which they said: “At the BAFTA Film Awards last night our guests heard very offensive language that carries incomparable trauma and pain for so many. We want to acknowledge the harm this has caused, address what happened and apologise to all.
“One of our guests, John Davidson MBE, has Tourette Syndrome and has devoted his life to educating and campaigning for better understanding of this condition. Tourette Syndrome causes involuntary verbal tics, that the individual has no control over. Such tics are in no way a reflection of an individual’s beliefs and are not intentional. John Davidson is an executive producer of the BAFTA nominated film, I Swear, which is based on his life experience.
“We take the duty of care to all our guests very seriously and start from a position of inclusion. We took measures to make those in attendance aware of the tics, announcing to the audience before the ceremony began, and throughout, that John was in the room and that they may hear strong language, involuntary noises or movements during the ceremony.
“Early in the ceremony a loud tic in the form of a profoundly offensive term was heard by many people in the room. Michael B. Jordan and Delroy Lindo were on stage at the time, and we apologise unreservedly to them, and to all those impacted. We would like to thank Michael and Delroy for their incredible dignity and professionalism.
“During the ceremony, John chose to leave the auditorium and watch the rest of the ceremony from a screen, and we would like to thank him for his dignity and consideration of others, on what should have been a night of celebration for him.
“We take full responsibility for putting our guests in a very difficult situation and we apologise to all. We will learn from this, and keep inclusion at the core of all we do, maintaining our belief in film and storytelling as a critical conduit for compassion and empathy.”
“Pond rules” dictate that if an animal is hungry, the creature that’s about to become a meal should accept its fate. That’s the first lesson that Mabel (voiced by Piper Curda), an idealistic university student whose mind is transferred into the body of a robotic beaver, learns while interacting with wildlife as one of their own in Pixar’s inventive “Hoppers.” In typical human fashion (we love to meddle with nature), Mabel ends up breaking that directive by saving a “fellow” beaver, the slumberous Loaf (Eduardo Franco), attracting unwanted attention that leads her to a wacky group of characters who will transform her rigid young worldview.
For his second feature, Daniel Chong, best known for creating the popular “We Bare Bears” series for Cartoon Network, has unleashed a hilariously unexpected and outrageous crowd-pleaser with “Hoppers.” Recently, I bemoaned that a movie like Sony’s “Goat” stood as further proof that talking-animal animated films had mostly run their course. Chong and screenwriter Jesse Andrews swiftly push back on that read with this environmentalist tale in defense of people who stand up for something, even when it seems no one is willing to stand beside them.
“Hoppers” is Pixar by way of a creator, Chong, whose career isn’t exclusively tied to the studio. That’s likely why his movie is more daring in its humor and tone, bringing a refreshing infusion of mischief to Pixar while maintaining the genuine emotional gravitas that has endeared the company to audiences for over 30 years.
Why is Mabel’s psyche roaming around inside a fake beaver à la “Avatar”? After discovering that this technology has been developed by one of her professors, Mabel thinks it could be the answer to saving the local forest glade where self-aggrandizing mayor Jerry (Jon Hamm) wants to build a highway. Mabel’s grandmother instilled in her an appreciation for nature as a reminder that she’s part of something greater than herself. Collecting signatures isn’t yielding results to stop construction, so, to the dismay of the scientists in charge, Mabel hops into the human-made mammal to learn from the creatures themselves why they’ve left the glade, giving Jerry carte blanche to destroy their home.
The poignancy-to-comedy ratio is precisely calibrated. Sharp gags, whether visual or in superbly timed lines of dialogue often laced with irony, work on multiple levels. A few moments like an accidental death or the wild introduction of an aquatic character are so wonderfully out of left field they make one’s head spin. That also goes for instances late in Mabel’s adventure in which “Hoppers” steps into amusingly creepy terrain, paying homage to the horror genre. These impish touches involve a wicked caterpillar (Dave Franco) whose mother, the Insect Queen, is voiced by acting royalty Meryl Streep. Each group of animals has its own ruler.
Since most scenes occur in the forest glade, the artists at Pixar have created strikingly rendered settings which, while aiming for photorealism, also have a fantastical glow to them, highlighting the inherent magic of nature. That such a seemingly commonplace location is elevated to feel mesmerizing speaks to how animation can make the mundane anew. That’s on top of how the rotund beavers in “Hoppers” have been conceived for maximum cuteness. One of them, Mabel’s guide through this ecosystem, is the disarmingly adorable King George (Bobby Moynihan), who wears a tiny crown (Where did he get it? No one knows) and rules over all mammals with a gentle hand.
Mabel’s friendship with King George, who doesn’t know she is human, becomes the movie’s heartstring-pulling core. The jovial royal believes he can persuade Jerry to change course. Mabel, conversely, doesn’t think Jerry will listen. Her cynicism and King George’s sincere faith in others clash. Among Mabel’s non-furry pals, Tom Lizard (Tom Law) becomes a scene-stealer. (The crazy-eyed, eloquent reptile first became an online sensation as part of a post-credits scene in “Elio.”)
Chong and his team include a minuscule but brilliant detail that illustrates how character design can have major narrative impact: When the animals are speaking among themselves, their eyes are large and expressive, full of life. But when the film takes the perspective of a human looking at the forest dwellers, their eyes appear small and dark, almost nondescript. It’s a subtly visual symbol for how we often fail to gaze at others with understanding.
There are many heavy hitters still to come, but “Hoppers” feels like the first great animated movie of the year. At a time when our right to protest is under siege, this sci-fi yarn exalts the way an individual’s conviction can plant seeds of change, leading to a stronger sense of community. Neither simplistically optimistic nor preachy, “Hoppers” smuggles timely ideas inside a rodent body. Pond rules would probably call that a beaver victory.
‘Hoppers’
Rated: PG, for action/peril, some scary images and mild language
Gogglebox’s Izzi Warner received a sweet gift from her beau Toby Joyce during the latest instalment of the Channel 4 show but her co-star sister Ellie Warner was far from impressed
Joe Crutchley Screen Time Reporter
22:20, 06 Mar 2026Updated 22:21, 06 Mar 2026
Gogglebox’s Izzi brutally mocked by sister Ellie after boyfriend’s sweet gesture(Image: C4)
Gogglebox’s Ellie Warner was not impressed after her sister Izzi Warner received a sweet gift from her beau.
Over the years, Ellie and Izzi, who live in Leeds, have had fans in stitches thanks to their hilarious one-liners and comical takes on the latest telly highlights.
Away from the long-running TV show, Izzi is loved-up with boyfriend Toby Joyce. She also shares children – son Bobby and daughter Bessie Rose – with her ex long-term boyfriend Grant.
And on Friday (March 6) Izzi was back on screens with Ellie for a new Gogglebox episode. During the instalment, Izzi was left delighted after receiving a present from Tony – but Ellie was not too impressed.
“Toby’s texted me, he’s said he’s left me a present on the stairs. Let me go see what it is,” Izzi said, before going to retrieve her gift. Walking back in the room with a gorgeous bunch of flowers she said: “Awww.”
However, Ellie quipped: “He’s such a wet wipe!” Sticking up for him Izzi said back: “He’s not!” Ellie added: “Ooo they smell nice, what has he done?” Izzi said: “Nothing!”
She then accidentally knocked over a glass of juice onto her carpet and declared: “For frigs sake.” A smug Ellie replied: “That’s what you get for floating with your flowers.”
Fans were stunned in 2024 when Izzi announced the end of her decade-long relationship with Grant before introducing her followers to new man, Toby, sharing glimpses of their blossoming romance through social media posts.
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In December, she gave fans a look into their relationship by posting sweet snaps from a festive family outing to the Christmas markets.
One image shows Izzi beaming as she cuddles up to partner Toby, captioning the post: “Bessie’s Nativity followed by a Christmas market adventure with my favourites.”
And in August, Izzi shared a proud update as she posted a photo of her and Toby at the Royal Military Academy Sandhurst.
She captioned the post: “A sunny day in Sandhurst for the Sovereigns Parade.” She added: “Congratulations to @tobyj1 for completing two years working as an instructor at Sandhurst. Very proud of you for all your hard work and sacrifices.”
The Queen delivered a moving message about children’s literacy as the BBC 500 Words writing competition winners were announced at Windsor Castle
20:49, 06 Mar 2026Updated 20:50, 06 Mar 2026
Camilla spoke at the 500 Words final(Image: BBC screengrab)
The One Show viewers were touched as Queen Camilla delivered a heartfelt message.
The Royal was present to announce the winners of the children’s writing competition, 500 Words, on the BBC show on Friday evening (March 6). The special episode was hosted by Alex Jones and Roman Kemp at Windsor Castle, reports Wales Online.
Camilla attended the ceremony, where she shared with the audience: “I hope you have enjoyed taking part in the 500 Words, but in doing so you have discovered a secret. A secret that reading and writing are the best fun ever. And don’t just take my word for it.”
She continued: “Many years ago, a famous author said this, ‘In the main, writing is just the thrill. The thrill of exploring.’ Now the man who found writing so thrilling was AA Milne, who exactly a hundred years ago published the first book that introduced us to his beloved bear, Winnie the Pooh. Pooh like all of us here, had firm views about storytelling. He didn’t much like long, difficult words. But rather short or easy words. Like, ‘What about lunch?'”
When it was time to reveal the winners, the Queen stated: “Let me leave you with one more quote from our author of the day AA Milne. ‘Always remember, you are braver than you believe, stronger than you seem and and smarter than you think.’ Which makes you all winners.”
She then told Alex and Roman: “I think to get children reading and writing stories, especially nowadays, is so important. And also, it gives them time to get away from some of their phones!”
The speech resonated deeply with audiences, prompting one viewer to post on X, formerly Twitter: “I’m not crying.”
Another gushed on Instagram: “What a nice clever and inspiring speech!!” A fellow viewer described it as “marvellous”. One fan remarked: “How thoroughly lovely,” whilst numerous others flooded the platform with heart emojis.
One audience member declared the initiative “brilliant” whilst another commented: “Her Majesty is just an extraordinary woman. Truly inspiring.”
The BBC Bitesize-supported competition attracted over 46,500 submissions from throughout the UK. Six young writers were honoured as champions during the finale.
Famous faces including Jodie Whittaker, Joanna Page, Sara Cox, Bradley and Barney Walsh, Big Zuu and Paterson Joseph participated in the ceremony, whilst Paddington made a special appearance to perform The Explorer and The Bear from Paddington The Musical and West End sensation Marisha Wallace delivered a rendition of A Million Dreams from The Greatest Showman.
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In its second week of release, the sophomore season of “Paradise” is already at its midpoint. And it just delivered one of the season’s shocking twists with the death of — don’t worry, we won’t spoil it for you.
The post-apocalyptic drama, which dropped its fourth episode this week, has ventured outside bunker life this season as our Secret Service protagonist Xavier (Sterling K. Brown) continues his journey through Atlanta to find his wife — and now, he’s got a baby to keep safe in the process. Meanwhile, back inside the idyllic simulated town in the depths of Colorado, which anchored the first season, things have started to unravel and the fight for control intensifies. And the mastermind behind it all — Samantha “Sinatra” Redmond (Julianne Nicholson), the tech billionaire who set up the bunker town after a massive catastrophe threatened the extinction of the human race — isn’t MIA anymore. Last seen unconscious in a hospital bed after being shot, she’s awake and ready to regain order and control. Nicholson stopped by Guest Spot to talk about what she finds intriguing about her character’s motivations.
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Also in this week’s Screen Gab, our recommendations include an ever timely reminder from Anthony Bourdain on the gift and privilege of discovering a new culture and engaging it without judgment, as well as a suburban noir starring a trio of TV heavyweights that spins middle-age malaise, swinging and murder into an addictive tale.
Read on. Then press play and give your thumb a break from all the fast-forwarding you did while watching the wedding episode of this season’s “Love is Blind.” See you next week.
— Yvonne Villarreal
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Recommendations from the film and TV experts at The Times
Anthony Bourdain visits Havana in 2015 for an episode of “Anthony Bourdain: Parts Unknown.”
(David Scott Holloway / CNN / Turner Entertainment)
“Anthony Bourdain: Parts Unknown” (HBO Max)
It was Bourdain’s masterpiece, the last and best of his several series, and arguably the greatest travel show ever. Bourdain will occasionally fetch up at some fancy eatery, but the heart of any cuisine is formed on the street, or in the country, or along the sea. As a story of how people live, with a good bit of historical context thrown in, the series is explicitly and implicitly political, philosophical and autobiographical; Bourdain has no time for bigots, fascists or bullies — or, one would imagine, McDonald’s cheeseburgers — but he revels in complexity and contradiction. (See Season 4, Episode 6, “Iran.”) The episode on Massachusetts encompasses clambakes and heroin. “I visited and learned to love many places not my own,” says the host, “cultures and beliefs very different from the Upper East Side of Manhattan.” They include, among many other places, Cuba, Ethiopia, Beirut, Buenos Aires, Hanoi, Sri Lanka, Puerto Rico, Scotland, Borneo, Los Angeles and Hanoi, where he sits down with then-president Barack Obama in a family-run noodle shop. Gorgeously filmed, the series can be heartbreakingly beautiful, and sometimes plain heartbreaking. There are 12 seasons running from 2014 to Bourdain’s death in 2018, and I can’t help but believe that anyone who watches them attentively will come out a better person. — Robert Lloyd
Jason Bateman, Linda Cardellini and David Harbour in “DTF St. Louis.”
(Tina Rowden / HBO)
“DTF St. Louis” (HBO Max)
The true-ish crime series about a deadly love triangle is so wonderfully twisted and unexpectedly deep, it’d be criminal to miss this dark comedy starring David Harbour, Jason Bateman and Linda Cardellini. Initially inspired by a real scandal (covered in the 2017 New Yorker article “My Dentist’s Murder Trial: Adultery, False Identities, and a Lethal Sedation”), it evolved into something else. Set in the suburbs of St. Louis, the seven-part series follows fastidious local news weatherman Clark (Bateman), the TV station’s guileless sign language interpreter Floyd (Harbour) and Floyd’s calculating wife, Carol (Cardellini), as each grapples with a middle-age identity crisis. Seeking to spice up their sex life, the men join the discreet, eponymous hook-up app, and one of them ends up dead. Solving this peculiar whodunit is anything but predictable, and the case consumes seasoned detective Homer (Richard Jenkins) as well as young crimes officer Jodie (Joy Sunday). But it’s the quest for connection among all these misfit characters, including Floyd and Carol’s troubled son Richard (Arlan Ruf ) and an unlikely hookup (Peter Sarsgaard), that makes this series so powerful. — Lorraine Ali
Guest spot
A weekly chat with actors, writers, directors and more about what they’re working on — and what they’re watching
Julianne Nicholson as Sinatra in a scene from Season 2 of “Paradise.”
(Ser Baffo / Disney)
If you see Nicholson on screen, you know things are about to get good. She consistently and compellingly delivers strong performances in some of your favorite films and TV shows, whether she’s expressing both quiet strength and palpable desperation as a mother in “Mare of Easttown” or bringing comedic pizzazz as a social media star in “Hacks.” Her latest captivating performance, in Hulu’s “Paradise,” brings power to a complicated character. She plays Samantha “Sinatra” Redmond, a deeply emotional and eerily ruthless billionaire mastermind responsible for the underground bunker city that grounds the series. Driven by the intense grief of losing a son and a desire to control her environment to protect her family, the character is faced with trying to regain order of the simulated utopia after tension and chaos erupts. Over email, Nicholson shared her thoughts on the morally ambiguous character and the Dustin Hoffman film that brings her comfort. — Yvonne Villarreal
Sinatra is not the usual “villain” in a post-apocalyptic story. Despite her approach, there is an altruistic motive, at least initially, that drives her actions. Which version of her fascinates you the most: pre-global disaster Samantha, who is trying to figure out a way to protect her remaining family, or post-apocalyptic Sinatra, who is closer to facing a reckoning in the aftermath of what she’s created?
I am especially interested in Sinatra after she wakes from the coma. Finding the balance between vulnerability and control. Taking back her power while also recognizing no amount of it or money will necessarily keep herself/her family safe. And then the idea that the bigger picture she’s been working towards the whole time may actually be coming true with the introduction of Link [Thomas Doherty], and who he may be to her, cracks her wide open.
There have been real-life assessments of the power billionaires wield and their influence in the White House — those figures are primarily men. How have those conversations shaped your performance or how you think about the power dynamics of “Paradise’s” fictional world?
I love that Dan Fogelman wrote the most powerful person in the room as a woman. Normalizing women in power can only be a good thing. Even if we don’t necessarily agree with her tactics, she sure is fun to play. I love her take no prisoners/no apologies attitude.
This season Sinatra wakes from her coma and faces a new obstacle in Jane (Nicole Brydon Bloom). What intrigues you about how they play off each other and how Sinatra is navigating the threat Jane may pose?
One of the most fun scenes to play in Season 2 was when Jane is trying to find out what Sinatra remembers of the shooting. The wonderful director, Ken Olin, really encouraged us to make a cat and mouse game of it with neither giving anything away. And I love we don’t ever find out what Sinatra remembers. I think it’s a real case of keep your friend close here. Sinatra realizes Jane is much more valuable as an ally than an adversary.
In “Paradise,” Sinatra (Julianne Nicholson), left, was last seen in a coma after being shot.
(Ser Baffo / Disney)
You delivered a brilliant performance in Season 4 of “Hacks” as TikTok sensation “Dance Mom.” What’s a memory that stands out from filming those scenes? And did you find yourself giving a dance lesson on the set of “Paradise”?
I loved every moment of working on “Hacks.” I loved having dance/choreography sessions with Cory Baker in the run up to filming and the utter absurdity of the “boofing” scene. I also almost lost it when DM was passed out on the stoop on Wisteria Lane and Jimmy [Paul W. Downs] and Kayla [Megan Stalter] come driving around in the golf cart looking for her and shouting, “Dance Mom!” That name alone is so funny to me. Alas, there were no dance lessons in “Paradise.”
What have you watched recently that you are recommending to everyone you know?
I was blown away this year by the film “Sirât.” I recommend but also warn as it is a deeply affecting, intense film and not for the faint of heart. I love its exploration of a world I know nothing about (a traveling rave culture set in Morocco), the humanity in it and the real faces and performances of the actors. [And] its originality and bravery.
What’s your go-to “comfort watch,” the movie or TV show you go back to again and again?
“Tootsie” is one of my favorite films and I can watch that any time. It’s partially nostalgic as I remember watching it in the theater when it came out and I was so taken with NYC at that time. The tall buildings, yellow cabs and hustle and bustle. It’s such a smart comedy with brilliant performances across the board, starting with Dustin Hoffman but each actor is as perfect as the next! So much heart and depth without ever taking itself too seriously. And just very, very funny.
The BBC soap will see the Mitchell brothers reunite to film poignant scenes for Nigel Bates’ dementia storyline, with Ross Kemp reprising his role as Grant Mitchell alongside Steve McFadden
Ross Kemp is making a return to Walford(Image: BBC/Jack Barnes/Kieron McCarron)
EastEnders icons the Mitchell brothers have reunited to shoot moving scenes centred around Nigel Bates’ devastating dementia storyline.
New photos reveal the returning Walford favourite Ross Kemp stepping back into the shoes of Grant Mitchell, filmed alongside Steve McFadden, who portrays Grant’s elder brother Phil, on a coastal location near Portsmouth in Sussex, as they support their longtime mate as his condition progressively worsens.
Ross, now 61, was last spotted in Albert Square this past February during the soap’s landmark 40th-anniversary celebrations, returning to stand by his on-screen sibling during a harrowing suicidal crisis. He also heroically saved former flame Sharon Watts’ life, dramatically pulling her from the flames of the burning Queen Vic.
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Now he’s made another comeback to rally around dementia-stricken Nigel, portrayed by Paul Bradley, whose well-being is rapidly declining. The brothers are captured seated on a bench in a contemplative mood, both sporting their signature leather jackets. Phil is pictured enjoying a seaside walk with Nigel as well as sharing a brew beside a beach hut, in images obtained by The Sun.
Grant makes his way back to Walford following an urgent message from his son Mark, who has recently returned to the Square and has been staying with Phil, where Nigel is currently living with his wife Julie. Witnessing Nigel’s deteriorating condition firsthand, Mark pleads with his father to visit his longtime mate before it’s too late.
Nigel’s on-screen daughter Claire (Gemma Bissix) recently returned after an 18-year absence to be at her adoptive father’s bedside in the hospital. Discussing his forthcoming return to the BBC soap, Ross commented: “I’m truly delighted to be stepping back into Grant Mitchell’s shoes and returning to EastEnders later this year.”
As he hopped in a taxi, Oscar Branning (Pierre Counihan-Moullier) noted that Nigel was unlikely to ever be back to Albert Square – and fans agree. When he arrived at the care home, Nigel became agitated and then unresponsive. His behaviour was deeply distressing for Phil (Steve McFadden), who had been caring for his friend. Breaking down in tears, Phil apologised to Nigel and gave his hand a squeeze, but Nigel did not move. As such, many fans think Nigel will die soon.
“I don’t know why, but I feel maybe next week, maybe Nigel’s final week,” one wrote. “I don’t know because seeing this episode made it feel like his time is near, and it’s so devastating and heartbreaking.”
Another added that Nigel’s unresponsive behaviour made it look like he was already dead. “Very much looked like he died at the end of the episode as he didn’t react to the door slamming or the card falling.” Others shared that they thought this would become a euthanasia storyline. “I genuinely thought Phil was gonna suffocate Nigel OMG,” one wrote.
A second said: “For a minute there I thought Phil was gonna ease his pain by suffocating him by putting the jacket on him, but I’m glad it didn’t happen as it would have been even more heartbreaking.”
They later added that they loved a conversation between Yolande Trueman (Angela Wynter) and Nigel’s wife Julie Bates (Karen Henthorn) and felt this was leading towards Nigel’s death too: “I thought they were gonna go down the route of euthanasia.”
As part of Nigel’s dementia storyline, his daughter, Clare Bates (Gemma Bissix) has returned to the Square for a short stint. Clare is Nigel’s adoptive daughter. They became family in 1994 when he married her mother, and he continued to care for her after her mother died a year later.
Though Nigel and Clare both left the show shortly after, Clare made a comeback in 2008 without him, and she has made a return again. Her return was not such a happy one, as she had been estranged from her father, and he failed to recognise her for most of the episode. Eventually, Julie helped Nigel remember his daughter in a touching moment.
The Hollywood Pantages Theatre on Thursday announced its 2026-27 season, which contains a whopping seven L.A. premieres including “Maybe Happy Ending.” The hugely buzzy show about the complicated love between two humanoid helperbots was originally developed and staged in South Korea, and won six Tony Awards last year including musical, direction (Michael Arden), leading actor (Darren Criss) and book and original score (Will Aronson and Hue Park).
An early version of the show was first staged in Seoul in 2015, seven years before the rollout of ChatGPT and the ensuing AI doomsday alarm that platform sparked about the rise of hyper-intelligent robots. It will be interesting to watch “Maybe Happy Ending’s” lead robot characters, Claire and Oliver, contemplate their existence during a time when Elon Musk says his Optimus humanoid robots will be in widespread use by the end of next year.
Five shows will be staged at the Pantages before “Maybe Happy Ending,” starting with the season-opening L.A. premiere of “Water for Elephants.” Based on Sara Gruen’s 2006 novel, this musical about the dramatic life of a traveling circus performer during the Great Depression premiered on Broadway to mixed reviews in 2024 and closed after 300 performances.
Next up: The L.A. premiere of “The Outsiders,” based on S.E. Hinton’s iconic 1967 novel about the conflict between two gangs of disaffected youth. The show opened on Broadway in 2024 and was nominated for 11 Tony Awards — it ultimately won four including for musical and direction.
After that a new revival of the beloved rock opera “The Who’s Tommy” will take to the stage. Given the show’s 30-plus-year history of destroying audiences (in a good way) with its classic rock grooves, it’s sure to remain a steadfast crowd-pleaser.
Get your dancing shoes on for the L.A. premiere of “Buena Vista Social Club,” which was co-produced by John Leguizamo and opened on Broadway last year, garnering 11 Tony nominations and five wins, including a special Tony Award for the Buena Vista Social Club band. Based on the lives of musicians in Havana from the 1950s through the 1990s, and featuring plenty of infectious Latin music presented in Spanish, the show is set to launch its North American tour in Buffalo this fall before making its way to the Pantages.
The L.A. premiere of “Operation Mincemeat: A New Musical” is up next. The World War II-themed comedy about a British plan of deception premiered on Broadway last year and was nominated for four Tonys including musical.
Rounding out the L.A. premieres are a lavish production of “The Great Gatsby” and the season closer, “Death Becomes Her,” both of which are based on hot properties with plenty of audience recognition.
If you’re looking for a classic, fear not: “Hamilton” and “The Lion King” are returning next season to do what they do best: Thrill audiences and sell out shows.
I’m Arts editor Jessica Gelt contemplating a season pass. Here’s your arts and culture news for the week.
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The week ahead: A curated calendar
FRIDAY From John Doe to Lonesome Rhodes: Anti-fascism From the Archive A double bill of “Arch of Triumph” (1948), a tragic romance set in 1938 Paris starring Ingrid Bergman, Charles Boyer and Charles Laughton, and “Voice in the Wind” (1944), a low-budget B-movie with Francis Lederer as a persecuted Czech concert pianist, opens this short series of films that were restored by the the UCLA Film & Television Archive. The series continues with Saturday’s pairing of “The Burning Cross” (1947) and “Open Secret” (1948) and “A Face in the Crowd” (1957) on March 20. 7:30 p.m. Billy Wilder Theater, UCLA Hammer Museum, 10899 Wilshire Blvd., Westwood. cinema.ucla.edu
SATURDAY Nuun to Midnight A 37-film, 12-hour festival that merges music and visual arts serves as a fundraiser for curated arts presenter Middle Ear Project. Noon-midnight. Automata Theater, 504 Chung King Road, Chinatown. automatala.org
Sarah Davachi + Robert Takahashi Novak: New Commissions The Broad lobby’s unique characteristics will be utilized to create a deep listening experience for newly commissioned compositions by electroacoustic and minimalist organist Davachi and conceptual sound and contemporary electronic music artist Novak. 8 p.m. The Broad, 221 S. Grand Ave., downtown L.A. thebroad.org
The Great Wall of Los Angeles Judy Baca’s iconic mural inspired Gustavo Dudamel and Gabriela Ortiz to gather composers Juhi Bansal, Nicolás Lell Benavides, Viet Cuong, Estevan Olmos, Xavier Muzik and Nina Shekhar for this salute to the city, augmented by a video installation created director Alejandro González Iñárritu and cinematographer Emmanuel “Chivo” Lubezki. 2 p.m. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com
Alexander Malofeev The young Russian pianist performs a program featuring works by Sibelius, Grieg, Rautavaara, Scriabin, Stravinsky, Arthur Lourié and Prokofiev. 7:30 p.m. Broad Stage, Santa Monica College Performing Arts Center, 1310 11th St. broadstage.org
The Opera Buffs Emerging musical artists from Southern California perform six mini-operas. 8 p.m. Saturday and Sunday. Sierra Madre Playhouse, 87 W. Sierra Madre Blvd. sierramadreplayhouse.org
Wild Up The orchestral collective Wild Up performs “The Odes,” a program highlighting experimentation across the ages, featuring works by French Baroque composer Jean-Féry Rebel, English dramatist Henry Purcell and Soviet modern polystylist Alfred Schnittke, as well as modern artists. The group will be joined by guest vocalist and composer Julia Holter, students from the Herb Alpert School of Music at CalArts and special guests. 8 p.m. REDCAT, 631 W. 2nd St., downtown L.A. redcat.org
TUESDAY Beetlejuice The Broadway musical based on Tim Burton’s 1988 horror-comedy makes a local stop on its national tour. Through March 22. Hollywood Pantages Theatre, 6233 Hollywood Blvd. broadwayinhollywood.com
Malice: Stories of Injustice The Odyssey, in partnering with Mar Vista Voice and West Los Respuesta Rapida, presents a program of monologues based on the true stories of families and communities impacted by ICE, with proceeds benefiting the two charities. 8 p.m. Tuesday (in English) and Wednesday (in Spanish). Odyssey Theatre, 2055 S. Sepulveda Blvd. odysseytheatre.com
The Rilke Project Piano Spheres presents pianist Vicki Ray performing works by Bernstein, Ives and Eötvös, as well as pieces from Los Angeles-based composers Steuart Liebig, Andrew Tholl, Joseph Pereira and David Rhodes, and the poetry of Rainer Maria Rilke. 8 p.m. 2220 Arts + Archives, 2220 Beverly Blvd. pianospheres.org
Six The national tour of the Broadway musical by Toby Marlow and Lucy Moss, a modern pop take on the sextet of women who were the wives of Henry VIII. 7:30 p.m. Tuesday-March 13; 2 p.m. Saturday. Segerstrom Center for the Arts, 300 Town Center Drive, Costa Mesa. scfta.org
THURSDAY Turning Points Guest conductor Dinis Sousa leads the Los Angeles Chamber Orchestra in Huang Ruo’s “Tipping Point,” Schumann’s “Violin Concerto” with solo violinist Isabelle Faust, and Mendelssohn’s “Symphony No. 4,” a.k.a. the “Italian.” 7:30 p.m. Wednesday. The Wallis, 9390 N. Santa Monica Blvd., Beverly Hills; 7:30 p.m. March 6. Colburn School, Zipper Hall, 220 S. Grand Ave., downtown L.A. laco.org
Arts anywhere
Kevin Kline and Laura Linney in the series “American Classic” on MGM+.
(David Giesbrecht/MGM+)
American Classic The limited series (eight 30-minute episodes) stars Kevin Kline as an out-of-control Broadway star who returns to his Pennsylvania hometown. Featuring a fine supporting cast that includes Laura Linney, Jon Tenney, Tony Shalhoub and Len Cariou, Times TV critic Robert Lloyd calls the show “a love letter to theater, community and community theater.” Streaming on MGM+ (free 7-day trial available).
KUSC Local classical music fans know very well the treasure we have in Classical KUSC, one of the few all-classical music stations left on the planet. And, indeed, people from all over the world listen online. But what if you’re just “classical curious” and don’t know where to start? With round-the-clock programming, multiple specialized streaming channels devoted to movie scores, seasonal sounds and more, plus live concerts and knowledgeable hosts, this is the place for enjoyment, enlightenment and education. And remember, it’s listener-supported! If you can afford to give, please do. Listen at 98.7 FM and stream at kusc.org
The jacket of the book “True Color” by Kory Stamper.
(Knopf)
True Color Kory Stamper chronicles the life of I. H. Godlove, an eccentric scientist who infused the midcentury Merriam-Webster dictionary with a shockingly kaleidoscopic array of colors using only words. The worlds of color science, color psychology and color production provide a vivid backdrop for a journey across the 20th century. Knopf (March 31 release): 320 pp. $32
Culture news and the SoCal scene
People gather outside for pre-show drinks before Public Assembly theater’s show at the Women’s Twentieth Century Club on Thursday, Jan. 29, 2026, in Los Angeles.
(Carlin Stiehl / For The Times)
The roving company Public Assembly Theatre, which develops three one-act plays monthly in unconventional L.A. spaces, got an up-close look via a fascinating story by freelancer Emma Madden. Madden spent the better part of a month tracking the development process, read-throughs and final show, and tells the story of a tiny company that is making major waves with a Hollywood-weary crowd.
Freelancer Solvej Schou tells the difficult but ultimately uplifting story of an Altadena shop owner who closed twice during the last year: Once because of the Eaton fire, and again because of heavy flooding the following year. In the wake of all the trauma, the owner, Adriana Molina, hired a local muralist to paint a colorful outdoor mural of Altadena as a way to boost morale in the neighborhood.
Dalia Stasevska, a Ukranian-born conductor who is making her L.A. Opera debut with Philip Glass’ “Akhnaten,” poses for a portrait at the Dorothy Chandler Pavilion.
(David Butow / For the Times)
The Ukrainian-born conductor Dalia Stasevska made her L.A. Opera debut last weekend, conducting Philip Glass’ opera “Akhnaten,” which runs through late March. Times freelancer Tim Greiving sat down with Stasevska to write an in-depth profile that delves into her early love of opera and classical music as well as her efforts to raise money for humanitarian aid in Ukraine.
Malia Mendez got the skinny on a Christie’s auction in New York that features the $1-billion guitar collection of the late businessman Jim Irsay. Items on the block included Kurt Cobain’s 1969 Fender Mustang and the Beatles drum head from the band’s legendary appearance on “The Ed Sullivan show.”
Artist Ulysses Jenkins is photographed at his studio in Inglewood on Tuesday, March 8, 2022.
(Christina House/Los Angeles Times)
Mendez also penned a lovely obituary for Ulysses Jenkins, a pioneer of Black experimental video who died last month at the age of 79.
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Chiura Obata, “Full Moon, Pasadena, California,” (1930) Verso, Asian American art
(The Huntington Library, Art Museum, and Botanical Gardens, Gift of the Obata Family)
The new theme for the fourth edition of the Getty’s PST ART has been announced. The 2030 survey will explore “the artistic and cultural exchange between Los Angeles and the Pacific Rim,” according to a news release. PST ART launched in 2011 and has since established itself as one of the region’s most timely and expansive art showcases — with participation from every corner of Southern California.
“PST ART is now an established and central part of Southern California’s cultural landscape, with each edition exploring key aspects of our past, present, and possible futures,” said Katherine E. Fleming, president and CEO of the J. Paul Getty Trust, in a statement. “With our large diasporic communities from around the Pacific Rim, Los Angeles is the perfect place to explore the far-reaching and varied impact of transpacific culture.”
Sam Aston has played Chesney Brown on Coronation Street for several years and the star has two actor siblings who have also set foot on the cobbles
Joe Crutchley Screen Time Reporter
16:30, 06 Mar 2026Updated 16:31, 06 Mar 2026
Coronation Street Sam Aston’s real-life sibling is soap co-star and fans are gobsmacked(Image: ITV)
Sam Aston is a Coronation Street legend playing Chesney Brown and it turns out talent runs in his family.
Actor Sam shot to fame when he was just 10 years old playing Chesney on the ITV soap.
He made his debut in 2003, rocking up to the cobbles as the son of Cilla Battersby-Brown (Wendi Peters) and the half-brother of Fiz Stape (Jennie McAlpine).
Like many child stars, the actor grew up on the show and has had a series of intense storylines including being held hostage, constantly getting dumped and becoming a father of five.
Sam has gone down a treat with Corrie fans over the years. So much so, that he bagged an award of Best Newcomer at the National Television Awards in 2004.
He also picked up Best Dramatic Performance for a Young Actor at the British Soap Awards the following year.
And it turns out soap stardom runs in his family, as his brother Joseph is also a soap star.
Joseph was the second actor to play Tommy Duckworth, the grandson of iconic characters Jack and Vera Duckworth, back in 2000. Also, Sam’s other brother Thomas is an actor and has appeared in episodes of Casualty and The Bill.
What’s more, Sam’s sister Emily, also appeared on Coronation Street back in the nineties. She played Becky Palmer on the ITV soap, between 1996 and 1997 in 51 episodes. Since then, she’s gone on to star in the likes of BBC soap Doctors, This Is England ‘88 and Hollyoaks.
Reacting to Sam’s sister’s stint on Corrie, fans have been left floored. On a Corrie Facebook fan page, one person said: “Wow!! The girl that played Becky (daughter of one of Des’ girlfriends) is actually Chesneys (Sam Aston) real sister!!.”
Someone else said: “Spit of each other aint they.” A third agreed and wrote: “Now you said you can see it wow.” Another person chimed in and proclaimed: “U can tell!!!” A fifth penned: “Shes so like him.”
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In 2023, Sam opened up on how his soap star siblings have helped him on the soap, in particular with his character being a dad-of-five. Speaking to The Mirror and other press, he said: “Because I grew up in a big family anyway, l’ve always been used to the chaos.”
He added: “I’ve got five sisters, three brothers. So I’m used to a lot of people being around in the house and children and all sorts. So it’s not as crazy as it sounds. I don’t think it’s as crazy as what it could be when you initially think there’s four babies on set.
“I think it’s harder if anything when there’s newborns and we were brand new to it. Because I’ve got two kids myself, maybe I am a bit more calm in that situation.”
Coronation Street airs Monday to Friday at 8:30pm on ITV1 and ITVX
A moment of silence for all the comedians, late-night-show writers, political satirists, memers, animators and random influencers who just lost a wealth of inspiration.
Kristi Noem, Homeland Security secretary, was fired Thursday by President Trump, ending the 13-month tenure of a political figure whose bravado, cruelty, incompetence and commando cosplay inspired more wickedly funny material than Dick Cheney, Sarah Palin and Sean Spicer combined.
Social media’s so-called ICE Barbie, the first Cabinet secretary to leave the Trump administration during the president’s second term, was a font of material for “South Park,” “SNL,” late night and thousands more sketch artists, impersonators, musicians and everyday trash posters. She never disappointed, unless you were looking to her for feasible, humane immigration policy enforcement.
Former Homeland Security Secretary Kristi Noem.
(Julia Demaree Nikhinson / Associated Press)
Drama and spectacle marked her brief career, from posing in front of a packed holding cell at El Salvador’s maximum security prison CECOT, where the DHS had shipped and detained deportees, to casting herself as an agent of action in multiple ICE raid videos. Donning a big gun and long, flowing locks of hair, she insinuated herself into operations, vamping for the camera in a bulletproof vest while masked agents rounded up fellow humans like cattle.
Grim, to be sure, but at least she contributed a shred of comic relief (unintended, of course) to our new, sad reality of federal agents invading American cities and abducting people off the streets, out of their cars and from their homes.
“South Park” skewered Noem in unprintable ways. “SNL” brought back Tina Fey to play Noem. Dressed in a lavender pantsuit, too much makeup and brandishing a massive firearm, she introduced herself as “the rarest type of person in Washington, D.C.: a brunette that Donald Trump listens to.”
The endless stream of memes across social media date back to 2024, when in her memoir Noem recalled shooting and killing her 14‑month‑old dog, a wirehaired pointer named Cricket, after deciding the dog was “untrainable.” Gov. Gavin Newsom later trolled the DHS and Noem with a meme captioned “Kristi Noem’s Dog Obedience School: She’ll Treat Them As Good As She Treats Brown People.” The mock ad featured a smiling woman holding a gun and kneeling beside a dog.
If it seems cruel, consider that the DHS posted holiday-themed deportation memes around Christmas, proclaiming that federal agents were stepping up removals “for the holidays,” with a “holiday deal” offering a free flight and $1,000 to those who self-deport. One X post featured an AI-generated image of federal agents in Santa hats with the caption, “YOU’RE GOING HO HO HOME.”
Noem’s dismissal comes on the heels of two congressional hearings this week where she was questioned about her response to the ICE killings of U.S. citizens Renee Good and Alex Pretti in Minneapolis (she incorrectly called Good a domestic terrorist and claimed Pretti was involved in an act of domestic terrorism). She was grilled about the department spending $172 million for the purchase of two jets, the nature of her relationship with top DHS adviser Corey Lewandowski, and her $220-million DHS ad campaign starring none other than Kristi Noem. She testified in the hearings that Trump approved the ads. He said he knew nothing about them.
Her firing triggered an immediate rush of snarky content across social media, and a sharp a comment or two from prominent politicians. “Shouldn’t let the door hit her on the way out,” said Illinois Democratic Gov. JB Pritzker.
But all is not lost for those needing a laugh at Noem’s expense, or at the expense of the DHS, for that matter. The president said Thursday that Noem would take on a new, freshly invented role: Envoy for The Shield of the Americas. He described the position as one that will lead “our new Security Initiative in the Western Hemisphere.” The job title and description already sound like the basis for a villainous political satire, without even trying.
And for the new guy taking the post? He’s Sen. Markwayne Mullin (R-Okla.), a former MMA fighter. Let the memes begin …
Loose Women won’t be on air for a while as Kaye Adams announced a break at the end of Friday’s show.
14:22, 06 Mar 2026Updated 14:22, 06 Mar 2026
Loose Women will be taking a break this month(Image: ITV)
Loose Women will be missing from its regular ITV slot next week, as the panel announced the long-running programme will be taking a hiatus.
During Friday’s episode (March 6), Jayne Moore interrupted their conversation near the show’s conclusion to dab her eyes due to hay fever.
Clarifying that she wasn’t becoming emotional, Loose Women presenter Kaye Adams remarked: “I thought you were getting a bit tearful! There is a reason to get tearful, it’s your last Loose Women for a few weeks.
“We will be back next month. Until then, take care, have a fabulous weekend and Easter, and we’ll see you very soon!”.
Typically, the daytime programme broadcasts weekdays from 12:30pm until 1:30pm; however, next week, Cheltenham Festival coverage will occupy its time slot, reports the Express.
Loose Women isn’t the sole programme experiencing a scheduling reshuffle, as Lorraine will also be off air temporarily.
At Friday’s show conclusion (March 6), Christine Lampard revealed the programme will be pausing.
She stated: “That’s all for today here, Lorraine will be back in a few weeks’ time. Have a lovely weekend. See you soon.”
This follows Lorraine’s absence from her programme for the past two episodes after losing her voice.
Last year the broadcaster unveiled significant changes for ITV Daytime which resulted in 200 job losses. Lorraine will now broadcast for 30 weeks annually, a modification that will similarly impact Loose Women.
With Lorraine off air, Good Morning Britain will be extended by an additional 30 minutes, concluding at 10am. The replacement for Loose Women, following a week of Cheltenham Festival coverage, is yet to be announced.
Discussing the alterations, head honcho Kevin Lygo elucidated: “Daytime is a really important part of what we do, and these scheduling and production changes will enable us to continue to deliver a schedule providing viewers with the news, debate and discussion they love from the presenters they know and trust as well as generating savings which will allow us to reinvest across the programme budget in other genres.
“These changes also allow us to consolidate our news operations and expand our national, international and regional news output and to build upon our proud history of trusted journalism at a time when our viewers need accurate, unbiased news coverage more than ever.”
Loose Women can be viewed on ITVX.
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Four hours before Sienna Spiro is due to launch her first U.S. headlining tour, the 20-year-old singer and songwriter from London sits upstairs in the Troubadour’s empty balcony, peering down as several crew members wheel a grand piano onstage.
“The fact that I’m 11-and-a-half hours from home and that this room is gonna be filled with people that have never met me and that I’ve never seen before — that’s just crazy,” she says. “I’m kind of scared.”
The song that brought Spiro to West Hollywood this past Tuesday is “Die on This Hill,” a showstopping pop-soul ballad about staying in a toxic relationship — “I’ll take my pride, stand here for you,” she sings, “I’m not blind, just seeing it through” — that’s been streamed more than 300 million times on YouTube and Spotify since it came out in October. Built around tolling piano chords and Spiro’s titanic vocal, the song hit No. 9 in the U.K. and broke into the Top 20 of Billboard’s Hot 100; last month, Spiro — whose famous admirers include SZA, Mark Ronson and Alex Warren — was nominated for the Critics’ Choice prize at England’s annual BRIT Awards.
With its unabashed emotion and its throwback feel, “Die on This Hill” can be heard as the latest in a long line of melodramatic ballads by young Brits such as Amy Winehouse, Duffy, Lewis Capaldi and Olivia Dean, the last of whom was just named best new artist at the Grammys. Yet Spiro’s voice stands out: Rich and pulpy, with a crack she knows how to deploy for maximum heartbreak, it might be the most impressive instrument to come out of England since Adele emerged nearly two decades ago.
“Sienna is a true artist with the voice of a generation,” says Sam Smith, one more English singer (and former best new artist winner) with a flair for ugly-cry theatrics. Late last year, Smith, who identifies as nonbinary, invited Spiro to join them onstage in New York for a performance of Smith’s song “Lay Me Down.” Spiro, Smith recalls, “blew the room away” — one reason they brought her out again Wednesday night at San Francisco’s Castro Theatre, this time to sing “Die on This Hill” together.
Says Smith of the younger artist: “The world is at her feet.”
At the Troubadour, where she’ll follow Tuesday’s sold-out concert with an encore appearance Friday night, Spiro describes singing as a life calling. “I’ve known what I wanted to do since — honestly, since I’ve been a conscious human being,” she says. Dressed in a black-and-white-striped turtleneck, she has her legs folded beneath her on a wooden bench; her dark hair hangs loose around her face, yet to be styled into the ’60s-inspired do she’ll wear come showtime.
“I always felt a bit invisible,” she adds, whether at school with friends or at home as a middle child. “Not in a victimized way. But I always struggled with that existentialism. Music is the only thing that’s made me feel real.”
Are we to believe that one of pop’s bright new stars was once … kind of a bummer?
“In my own way, yeah,” she says with a laugh. “It’s OK. It happened. Character building.”
Spiro grew up privileged in London, one of four children of Glenn Spiro, a prominent jeweler who counts Jay-Z as a client and pal. Her dad turned her onto Frank Sinatra and Nina Simone and the Italian film “Profumo di donna” when she was little; by age 10 she’d written her first song (“Lady in the Mirror,” it was called) and played her first gig (at a pub not far from Heathrow Airport).
At 16 she enrolled at East London Arts and Music, a performing arts academy she describes as “the up-and-coming version” of London’s prestigious BRIT School, whose alumni include Adele and Winehouse. Her academic career didn’t last long, though: On her first day of classes she posted a TikTok of herself covering Finneas’ song “Break My Heart Again” that triggered a wave of interest from various record-industry types; soon she dropped out and began regularly traveling to Los Angeles to work on music.
Today Spiro says she has a “love-hate relationship” with the town where she estimates she spends half her time. “I’m very English, and I think something about English people is our honesty — you don’t really have to guess what people are saying. What was shocking to me when I came here was that people didn’t say what they meant.
“I was very, very lonely, and it was hard to make music when you feel that,” she adds. “I make sad music, but it’s hard to be a teenager and be away from your family and your friends and be in a place where you kind of have to play pretend being an adult.”
Did suffering among the two-faced liars of L.A. ever lead her to question her commitment to music?
“No. It just made me question how I was doing it. And not everyone’s a two-faced liar. There are some good ones out there.”
Was she ever at risk of becoming a two-faced liar herself?
“Oh, I’m too English for that,” she says. “If I did that, I’d get a slap.”
Sienna Spiro performs this week at the Troubadour in West Hollywood.
(Ariana Drehsler / For The Times)
Spiro started releasing singles in 2024 and quickly signed a deal with Capitol Records; last year she opened for Teddy Swims on the road and turned heads with “You Stole the Show,” a luxuriously gloomy slow jam with echoes of Adele’s “Skyfall.”
For “Die on This Hill,” which she wrote with Michael Pollack and Omer Fedi (both of whom went on to produce the song with Blake Slatkin), Spiro wanted to capture the feeling of “when you go above and beyond just to feel something reciprocated back from someone,” she says. But if the writing came quickly, the recording didn’t: Spiro jokes that she cut “900 different versions” of the song, including one she says sounded like Silk Sonic and another that sounded like Lauryn Hill.
“I was desperate for something up-tempo,” she says, given that virtually everything she’d dropped so far had been a ballad. Yet Fedi pushed her to cut the tune live with just her on vocals and Pollack on piano. They did four takes, according to the producer, one of which forms the basis of the record that eventually came out.
“Very old-school, very human,” Fedi says of the process. “Maybe I’m corny but with Sienna, less is really more. Her voice is so special, so big and upfront, that you just want to put a giant flashlight on it and let it shine.”
In early January, Spiro gave a bravura performance of “Die on This Hill” on Jimmy Fallon’s late-night show; one clip on TikTok has been viewed more than 70 million times. For that appearance, she wore a retro mini dress printed with an old photo of Johnny Carson behind his desk; for a recent performance in the BBC’s Live Lounge, she wore a different dress showing the faces of the four Beatles.
On stage at the Troubadour, her dress features images of the Chateau Marmont and the Capitol Records tower — a bit of setup, she says, for her next single, “The Visitor,” which is due March 13. Spiro has been slowly assembling her debut album for the past two years, but with headlining concerts to play, she’s reaching back for some of her oldies from 2024.
Some, not all.
“To be real with you, some of my early stuff wasn’t the most authentic,” she says as her drummer starts thwacking a snare during sound check . “I was trying to be someone else because I really wasn’t comfortable with myself.”
Can she point to an example?
“‘Back to Blonde,’” she says, referring to a vaguely Lana Del Rey-ish number about a woman who dyes her hair after killing a no-good lover. “I put it out for all the wrong reasons. It was a mistake — an inauthentic move that I regret making.”
What were the wrong reasons?
“It’s a long story, and it’s not very interesting. I didn’t do it because I loved the song — that’s what I’ll say. But at the end of the day it’s my name and I have to stand by it.”
Which is why she’s taking her time on the LP. Some artists her age don’t care much about the album format but Spiro is a true believer. Among her faves: Sinatra’s “In the Wee Small Hours,” Stevie Wonder’s “Songs in the Key of Life,” Adele’s “21” — “a perfect album,” she says — and Billie Eilish’s “Hit Me Hard and Soft.”
“I love an album where you don’t ever question why a song’s on there,” she says. “Where everything feels intentional.”
She doesn’t want to divulge too much about the work in progress. “The problem with me is I have a huge mouth and I give everything away,” she says, which — hey, great.
“No, I know it is for you,” she adds with a laugh. “But not for me, because then when I actually want to do the big reveal, I’ve got nothing because I’ve said it all.”
She will allow one detail: “It won’t be 12 ballads, I’ll tell you that.” She looks toward the ceiling, jiggling her head slightly, as though she’s doing some mental math regarding the track list.
“I mean, there’s a lot of ballads,” she says. “I just love a ballad — I can’t help it.”
Audrey made her debut on the cobbles back in 1979, where she was introduced as the mum of Gail Platt (Helen Worth).
The character has been involved in several huge storylines over the years, including her tumultuous love life, family drama, and mental health struggles. Audrey notably escaped serial killer Richard Hillman (Brian Capron), and was in a relationship with reformed con-man Lewis Archer (Nigel Havers), as well as battling with depression and alcoholism.
Audrey also got married to Alf Roberts (Bryan Mosley) in 1985, before his tragic death in 1999. Similar to her character, actor Sue has also been through her fair share of heartbreak, following the death of her co-star husband Mark Eden.
Mark was best known for his role as villain Alan Bradley in Corrie – a role he played from 1986 to 1989. Alan’s storyline began when he visited Weatherfield to reconcile with his long-lost daughter, Jenny (Sally Ann Matthews), following the death of her mother and his ex-wife Pat.
Alan soon moved in with Jenny and her foster mother, Rita Tanner (Barbara Knox), who he eventually fell in love with. However, the romantic bliss didn’t last very long.
Alan notably defrauded Rita by forging her signature to mortgage her house for his business, Weatherfield Security Systems. He was also abusive, and cheated on Rita with Gloria Todd (Sue Jenkins). The character’s villainous streak came to an end when he was fatally hit by a Blackpool tram while chasing Rita back in 1989.
Away from the cobbles, actor Sue claimed to have experienced love at first sight after meeting co-star Mark at a fashion party in 1983. The couple were married from 1993 until Mark’s death in 2021 at the age of 92. The actor had been living with Alzheimer’s disease “for some time”.
Tributes quickly flooded in for the beloved star, following his death. John Whiston, the former managing director of continuing drama and head of ITV Studios in the north, previously said in a statement: “We are all hugely saddened to hear of the death of Mark Eden.
“The character he played, Alan Bradley, made a real impact in the three years he was in the show, embarking on a reign of terror and clashing with just about every other character in Coronation Street. He was a consummate actor and played the role of psychotic villain to a tee, making the character both chilling and credible.
“The show owes Mark a great deal as he set the template for all the great villains to come, from Hillman to [Pat] Phelan to our latest baddie, Geoff Metcalfe. It’s a fantastic dramatic legacy. Our thoughts go out to Sue and their family and friends at this sad time.”
Audrey hasn’t been seen on screen in recent months, sparking serious concern from fans. The ITV soap offered an update on the beloved character last week.
During a recent episode (February 26), Audrey’s granddaughter, Sarah (Tina O’Brien), spoke to her mum on the phone, confirming that Audrey was on holiday. Fans will surely be devastated by the update, as they hope to see Audrey back in the salon soon.
Emmerdale airs weekday nights at 8pm on ITV1 and STV, and Coronation Street airs weekday nights at 8.30pm on ITV1 and STV as part of ITV’s new soap power hour scheduling pattern for Coronation Street and Emmerdale
For the latest showbiz, TV, movie and streaming news, go to the new Everything Gossip website
One of the best action blockbusters of the past few years has just been added to Netflix just in time for an adrenaline-fuelled weekend viewing
‘Phenomenal’ action film called ‘pure adrenaline’ now on Netflix(Image: UNIVERSAL PICTURES)
Netflix has just added an exhilarating action film starring two of Hollywood’s greatest stars that you won’t want to miss.
Both leads are featuring in some of the most highly anticipated films of 2026, while the director is one of the most prominent action filmmakers in recent years.
The Fall Guy stars Ryan Gosling as stunt performer Colt Seavers, who reluctantly agrees to a comeback after a life-threatening injury when his ex-girlfriend Jody Moreno (played by Emily Blunt) lands her first gig as the director of a major studio film.
However, the pair soon find themselves wrapped up in a complex conspiracy when the movie’s lead actor, Tom Ryder (Aaron Taylor-Johnson), goes missing.
When Colt is covertly hired to go after the people the producers suspect are responsible for his disappearance, he leaps at the chance to win back his ex by saving her debut. But he quickly realises he’s in over his head.
Both megastars are poised to rule the box office over the coming months. Gosling is about to return to the big screen for the bombastic space opera Project Hail Mary, while Blunt is also tackling extraterrestrial threats in Steven Spielberg’s new sci-fi thriller Disclosure Day.
She is also returning to one of her most iconic roles in The Devil Wears Prada 2, along with Meryl Streep and Anne Hathaway. With The Fall Guy available to stream on Netflix, now is the perfect time to revisit one of their best films ahead of their must-see cinematic experiences.
Fans have been raving about the film since its release, and it received an impressive 82 percent Rotten Tomatoes score from critics, with 84 percent from audiences.
One five-star review from an RT user gushed: “A truly phenomenal film! It’s fun, but locks in when seriousness is needed. I love it so much!”
Someone else described it as “Pure adrenaline popcorn perfection that delivers unfiltered chaos candy!”
The stellar reviews continued on IMDb, where one viewer called The Fall Guy “Pure entertainment” and said: “While watching this movie, I found myself smiling nearly the entire time. If you are looking for pure, unfettered fun (in the form of romcom action of course), then this is the movie for you.
“The plot was fun, the acting was solid, the situations that the characters found themselves in were hysterical, the action was on point, the cinematography was nice, and the romance was entertaining.”
And a final fan wrote: “The Fall Guy is insanely fun, with incredibly cool action scenes, romantically charming elements, and a captivating world of stuntmen.
Get Netflix free with Sky for Bridgerton Season 4
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‘Dearest gentle reader’, as the fourth season of Bridgerton follows second son Benedict love story, there’s a way to watch this fairytale-like season for less.
Sky is giving away a free Netflix subscription with its new Sky Stream TV bundles, including the £15 Essential TV plan. This lets customers watch live and on-demand TV content without a satellite dish or aerial and includes the new season of Bridgerton.
“It’s full-on entertainment, especially for film enthusiasts, with meticulously crafted action sequences in both real and fake movies that look fantastic, grand, and impressively complete.
“Both Ryan Gosling and Emily Blunt have impeccable chemistry, and the portrayal of the stuntman profession is sharp. The film cleverly satirizes the Hollywood industry with excellence.
“Watching this movie in theaters is an absolutely delightful experience. Director David Leitch nails every aspect of the film, truly delivering on the action-packed excitement.”
The Fall Guy is available to stream on Netflix.
For the latest showbiz, TV, movie and streaming news, go to the new **Everything Gossip** website.
Fans of Emmerdale and Coronation Street were not impressed to hear yet again the soaps had been cancelled by ITV in favour of sports coverage, leading to a plea to bosses
10:26, 06 Mar 2026Updated 10:27, 06 Mar 2026
Fans of the soaps have once again been dealt a blow, as there’s no Emmerdale or Coronation Street on Friday(Image: ITV)
Fans of the soaps have once again been dealt a blow, as there’s no Emmerdale or Coronation Street on Friday on ITVX or ITV1.
The soaps have once again been shelved by ITV in favour of sports coverage. It’s sparked fury amongst soap fans who had been promised five days a week of the soaps from January.
Not only that, but most weeks the ‘missing episodes’ never end up being replaced, leaving fans annoyed. This time, it’s the rugby coverage again, while soon it will no doubt be more football that takes the shows off air.
Time and time again viewers have pleaded with bosses to make a change so that fans do not miss out. A suggestion was that the episodes could still drop on ITVX, or sports could be moved elsewhere given ITV as a number of channels.
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Taking to social media, fans called out the move once more annoyed that another Friday would see both soaps dropped in favour of sports. A fan said: “What again !! This is happening way too often.”
Another agreed: “Why can’t rugby go on ITV3?” as a third said: “Exactly! Or they could at least still put the Corrie episode on ITVX.” Another fan said: “This really annoys me when this happens.”
A fan then asked: “When will the missing episodes of Corrie and Emmerdale due to sport on Friday be shown?” The answer is never, as the filming of the episodes would have been planned around the ‘cancellations’, while in future there will no doubt be episodes airing on different days.
It’s happened quite often since January, with fans having fumed about it before this week too. A fan said: “Why can’t the footy and rugby be put on another channel, we always miss out , so unfair!!!”
A fan added: “Never mind the loyal supporters of soaps so just take them off for sport.” Another fan commented: “They’re at it again taking Corrie off two nights this week and not making the time up Why oh why do they that? ITV has four channels plus ITVX so why not put football on one of their other channels and leave Corrie alone?” Other fans disagreed with the comments, suggesting it wasn’t a big deal, but soap fans would beg to differ!
The saga of “A Court of Thorns and Roses” will continue.
Author Sarah J. Maas announced on Alex Cooper’s “Call Her Daddy” podcast Wednesday that two new books will be released in the hugely popular romantasy series, ending a five-year drought since the fifth installment, “A Court of Silver Flames.” The sixth book will be published on Oct. 27, 2026, and the seventh on Jan. 12, 2027.
“It took me a while to find the right story and to be in the right headspace. And then, like what poured out of me was this and it poured out very quickly,” the author told Cooper. “The story that was finally ready to come out of me was big. Really, really big.”
Maas first teased the sixth book on Instagram in July, with the caption “First drafts DONE” on a video that drew nearly a million likes.
Maas did not share details about the book titles, cover art or whose point of view the stories will follow, but did mention that the character’s perspective was “one of the surprising things” for her while writing.
On Instagram, Maas thanked her fans for their patience, passion and “never letting the world fade.”
“I know how long you’ve waited. I know how much these characters mean to you. And I also know these stories deserve more than speed and deadlines. They deserve my best self. They deserve the right moment,” Maas wrote. “I’m so honored by the way you guys have always embraced Prythian as your own. I truly hope it feels like coming home for you like it did for me.”
The first installment of the “A Court of Thorns and Roses” series was released in 2015, but the franchise gained popularity on BookTok — a TikTok subcommunity dedicated to literature — during the COVID-19 pandemic. The books follow Feyre Archeron in the faerie lands of Prythian and her love story with the High Lord of the Night Court, Rhysand.
Maas has sold more than 70 million English copies between her interconnected “Throne of Glass,” “A Court of Thorns and Roses” and “Crescent City” series, according to her website. Maas is a major player in the romantasy — a portmanteau of romance and fantasy — genre, which has soared in popularity on TikTok.
“This is going to sound silly, and you probably won’t believe me, but just talking about things like legacy is beyond for me,” Maas told Cooper. “I’m still very much that girl in middle school or high school sneaking off to watch anime or drool over Legolas and getting to go play in these worlds in my head and do the thing that makes me come alive every day, that’s incredible.”
By my count, Philip Glass has written 28 operas, the same number as Verdi. The count is iffy because Glass pushes the boundaries between what we tend to call opera and the fuzzier idea of music theater. His first, “Einstein on the Beach” in 1976 — a collaboration between the composer and the late, innovative theater maker Robert Wilson — is a non-narrative effusion of imagery, movement, music and text, each a brilliantly independent entity that somehow excites a hard-to-pin-down purpose.
His latest (and probably his last, Glass turns 90 this year) is “Circus Days and Nights” — a touching and thrilling opera for a circus and staged at a circus in Mälmo, Sweden, in 2021 — caps a wondrous 45 years of operatic advancement. You would have to go back to Handel’s 42 operas, Mozart’s 22 or Verdi’s oeuvre for operatic equivalence.
Glass’ subject matter varies widely in epochs and ethoses, from ancient Egypt to Walt Disney’s Hollywood. Taken as a whole, these 28 operas reveal how we got to be who we are historically, artistically, spiritually, politically and fancifully, often including more than one of those categories, as in his third opera, “Akhnaten,” which Los Angeles Opera has now remounted at the Dorothy Chandler Pavilion. The instantly recognizable musical style has remained, over the years, consistently abstract and refreshing. It doesn’t tell you how to think, how to feel, even how to understand. It simply grabs your attention; you do the interpreting.
Still, America knows little of Glass’ operatic enormity. The early “portrait” operas — “Einstein,” “Satyagraha” (about Gandhi) and “Akhnaten” (the 14th century BC Egyptian pharaoh) — appear in repertory here and there (meaning mostly in Europe) as do a trio of operas based on Jean Cocteau films. The rest remain little mounted, while several but not all have been recorded. The Metropolitan Opera, for instance, commissioned “The Voyage” in 1992 to celebrate the 500th anniversary of Columbus’ arrival in the Americas, but the epic opera is nowhere to be found in our semisesquicentennial year. It is sadly no longer even thinkable that “Appomattox,” Glass’ revelatory reminder of an America that once honored goodwill negotiation over political self-interest, return to the Kennedy Center, where its final version had its premiere 11 years ago.
L.A. Opera has been better than most American companies in its attention to Glass. It has excellently presented the three portrait operas on its main stage, beginning with “Einstein” in the final and most brilliant revival of the original Wilson staging. The “Satyagraha” and “Akhnaten” revivals have been the designed-to-dazzle inventions of quirky director Phelim McDermott, a co-founder of Impossible, an eccentric British theater company. When new in the last decade, they felt the most arresting productions of these operas since Achim Freyer’s in Stuttgart, Germany, in the early 1980s. Almost every performance at the Dorothy Chandler Pavilion has sold out.
John Holiday as the titular ruler in Philip Glass’ “Akhnaten” at the Dorothy Chandler Pavilion.
(Ariana Drehsler / For The Times)
McDermott’s “Akhnaten” got the most attention thanks to breathtaking jugglers and lavish costumes, along with a touch of full-frontal novelty as Akhnaten gets clothed in his kitschy, glittery getup for his inauguration. Glass had chosen the pharaoh because he is thought to have been the first monotheistic ruler.
Akhnaten is revealed in episodes of his life that are not fleshed out but presented as ritual, including the ravishing love duet with his wife, Nefertiti. The revolutionary pharoah builds a great city and reduces spiritual chaos by focusing on a single-minded form of worship. He looks androgenous in portraits, which led Glass to create the role for countertenor.
The sung texts are in ancient languages, and there are no projected song titles. Instead, a narrator gives a somewhat notion of what’s what in the language of the audience, as is Akhnaten’s great aria, a hymn to Aten (god of the sun).
Ultimately, the pharaoh’s prescient spiritual optimism comes in conflict with the all-powerful establishment priests, who kill Akhnaten and Nefertiti. The opera ends with Akhnaten’s son, presumably Tutankhamun, restoring polytheism, and then, once the staging jumps millennia into the future, it’s rediscovered by modern-day tourists. The currency couldn’t be missed Saturday, the Shia cleric and Iran’s supreme leader Ali Khamenei having just been assassinated along with his wife at the start of America’s and Israel’s Iran war.
Sun-Ly Pierce as Nefertiti and John Holiday as Akhnaten in Philip Glass’ “Akhnaten” at the Dorothy Chandler Pavilion.
(Ariana Drehsler / For The Times)
In the opera, it so happens, the ghosts of Akhnaten, his wife and mother, have the last word in a glorious trio.
When first performed at L.A. Opera a decade ago, the lavish production, co-produced with English National Opera, helped recover a neglected opera. In the meantime, “Akhnaten” has gone practically mainstream. The Metropolitan Opera, which also mounted McDermott’s production, released it on CD and DVD, winning a Grammy for best opera recording.
Since then, the choreographer Lucinda Childs, veteran of “Einstein on the Beach,” has staged a stunningly chic “Akhnaten” in Nice, France, that is available on YouTube. Last year, director Barrie Kosky created a sensation with his staging at Komische Oper Berlin, which starred American countertenor John Holiday.
Holiday happens to be the Akhnaten in the L.A. Opera revival, and he is magnificent. McDermott had built his production around the gracefully emotive Anthony Roth Costanzo, slight and luminous in voice and build and game for nudity. If Costanzo’s disarming enthusiasm for the role has been significant in mainstreaming “Akhnaten,” Holiday, who is a very different presence, may be the next step.
Although he can be a popularly gregarious crossover performer, here he suggests a ruler of profound, unflappable dignity, rather than vulnerability. His hymn to Aten is an exercise in majesty, an ode not just to the sun but to the expanses in which our solar system circulates.
In general, the singers class up the production. Sun-Ly Pierce as Nefertiti and So Young Park as Queen Tye add allure. The large cast of smaller roles and chorus is excellent. Zachary James returns as both Amenhotep III, Akhnaten’s father, and the engaging narrator who occasionally threatens to get carried away. McDermott had perfectly employed James as the droll animatronic Disneyland Lincoln in his animation-friendly, slightly goofy production of “Perfect American” in Madrid, where the opera premiered. Here McDermott’s inspired staging demonstrated that Glass’ forgiving personal portrait of Walt Disney makes it the quintessential Hollywood opera that no one dares bring to squeamish Hollywood.
Zachary James as Amenhotep III in Philip Glass’ “Akhnaten” at the Dorothy Chandler Pavilion.
(Ariana Drehsler / For The Times)
Hollywood, however, is hardly squeamish when it comes to synchronized jugglers. For McDermott, they suggest somber ritual and were, in fact, known in Akhnaten’s Egypt. For the audience, they are a thrill a minute. For Glass, they may take on deeper meaning now that the circus is where he landed 26 operas later.
As for Finnish conductor Dalia Stasevska, making her L.A. opera debut, she keenly keeps score and bounding balls together with cinematic flair. Glass removed violins from the orchestra to achieve a dark, primordial orchestral sound along with pounding percussion. Stasevska finds light, color and action. She conducts for the moment. Picturesque wind instruments suddenly burst forth as if a flock of birds were flying over the pyramids. Solo brass can sound momentous. The percussion pounds like nobody’s business, opening the score up to all the implied emotion and glitter on an over-stuffed stage.
Childs’ exalted use of dance and Kosky’s dazzling theatrical imagination may have moved us into a sleeker, more sophisticated and paradisal Glassian realm, but the sheer passion McDermott and Stasevska bring continues its own attraction.
In the meantime, McDermott has worked with Glass on a theatrical show, “The Tao of Glass,” that has been seen in New York and will run throughout much of the summer in London. In a better world of Glass, it would be running alongside “Akhnaten” at the Ahmanson. But the Labèque sisters will be at Walt Disney Concert Hall at the end of the month with a two-piano program based on Glass’ operatic Cocteau trilogy. Also check out L.A. Opera’s several excellent podcasts on “Ahkhnaten” — the company has quietly become a leader in the medium.
‘Akhnaten’
Where: Dorothy Chandler Pavilion, 135 Grand Ave., L.A.
When: Through March 22
Tickets: $33.50-$415
Running time: About 3 hours, 40 minutes, with 2 intermissions.
As a child in Newark, N.J., Narciso Rodriguez was often transported back to Cuba by the stories from his family and their friends. He walked the halls of El Encanto, a Havana department store and fashion mecca on the island — one that drew in celebrity clientele and featured haute-couture designs and fragrances from the far-flung fashion capitals of Paris and Milan.
“I don’t know that they could have afforded any of those things when they were in Cuba,” he tells De Los. “But they certainly filled my imagination with beautiful stories and laid the foundation for my work.”
It was the women in his life — the “amazing, powerful, loud, colorful dynamos,” as he describes them — who inspired him to pursue a career in fashion.
“Their stories, their lives, their power, their curves, it all influenced me,” he says. “They’re the reason I wanted to create things.”
Over the last three decades, the renowned designer has earned a reputation for sleek, flattering lines and effortless shapes, most famously seen on the career-launching dress he designed for his friend Carolyn Bessette-Kennedy to wear on her wedding day. The bias-cut silk slip has remained a source of inspiration for generations of brides since, and has been making waves again thanks to the FX series “Love Story: John F. Kennedy Jr. and Carolyn Bessette.”
Omari K. Chancellor as Gordon Henderson, from left, Sarah Pidgeon as Carolyn Bessette, Tonatiuh as Narciso Rodriguez in FX’s “Love Story: John F. Kennedy Jr. & Carolyn Bessette”
(Eric Liebowitz / FX)
“Love Story” will follow the couple’s wedding in the latest episode, out March 5. (Rodriguez is portrayed by Tonatiuh on the show.)
After designing Bessette-Kennedy’s dress, Rodriguez launched his own label and a fragrance line, and has continued to create designs that are woven into the fabric of American history — Michelle Obama wore his dress on election night in 2008.
De Los spoke with Rodriguez about his career, upbringing and memories of designing Bessette-Kennedy’s dress.
You’ve spoken about how inspired you were by the women in your life growing up. Are there any “fashion icons” from your family or neighborhood that you could point to from your childhood?
You know, I’m so lucky because I was raised in a very Cuban household in a very culturally rich community in Newark. I mean, it was Italian, Spanish, Cuban, Puerto Rican, Black. It was everything. But I always think back to when I was very, very young, there was a kind of matriarch here in the neighborhood. Her name was Concha and she was kind of this lightning rod. My dad’s sister was married to her son, so when my parents came to the U.S., she gave them a place to stay. She would teach all of the young women how to cook and gave everyone a place to stay until they got on their feet. She was larger than life, she was like “Auntie Mame.” She had these great ‘60s beehive wigs in amazing wig boxes, she made these beautiful Chanel suits for herself, and had all these gold bangles, great lipstick and stilettos. When she came into the room, she just radiated power, joy and style. I always think of her as being my first signpost on the road.
They were all beautiful, you know? My aunts and my mom were the most beautiful, glamorous women. None of them were wearing designer clothes, but they took great pride and great care in how they looked, and that really made an impression on me.
How did that impression translate into a concrete passion? How did you go about actually pursuing a career in fashion?
I loved architecture. I loved building things, so I was always drawing, sketching and sculpting. Then I would see my mom take a piece of fabric and the way she could take something flat and shapeless and turn it into a garment was fascinating. By the time I was 13, I was doing fashion illustration, and I got a job in a tailor shop. Later, I enrolled myself in Saturday courses at Parsons [School of Design], and I kind of had to hide it from my parents at first. I felt like I couldn’t be a fashion designer, you know, because of the whole “macho” idea, but I just kept going. I was lucky that I was someone who always knew what they wanted to do, and that Parsons recognized I had talent for it at a young age.
I was exposed to really great people there, too. Donna Karan was a critic, Calvin Klein was a critic, Oscar de la Renta too. I got to do projects with all of them, and then I was hired after school by Donna Karan while she was still at Anne Klein. It was an amazing experience, and then I got poached by Calvin Klein, which was a very different experience.
How so?
It was incredible, but just very different. Whereas Anne Klein was this melting pot of creativity, Calvin was much more image-driven and precision-driven. He brought in great talents to collaborate with, so on any given day, you’d be working with the most amazing photographers, stylists and art directors. It was a really great finishing school as a young person.
You arrived at Calvin Klein during a period of reinvention for the brand. This was in the era of Kate Moss, and the famous “Marky Mark” print ads. We see a version of it in “Love Story,” but what was it like to actually be there?
When I got there, I think around 1989, it hadn’t really started to change yet. And I thought, “Wow, I made a really big mistake. This is not my aesthetic, not my thing.” But it changed very quickly, and it was very exciting. [Calvin] worked very hard. He was very focused, and he appreciated that I could keep up. Like everybody, there was a rough initiation period, but afterward, he gave me the opportunity to work on some tailored pieces that sold really well at retail, so I was rewarded with more opportunities.
But it was the ‘90s, and it was New York, and it was brilliant. It felt like the whole city was reinventing itself, and Calvin was a leader in that. All the best photographers, the most brilliant artists were there. Jacky Marshall, Zack Carr, Carolyn — the talent was endless. I was really fortunate to experience it and build friendships that were lifelong.
I’m curious if you remember your first impressions of Carolyn. How did you two connect?
We were quite friendly immediately, and then we became the best of friends. We lived in the same building, so the rest was history. You know, she’s an incredible person, and she had great style. She was bigger than life.
Carolyn has been regarded as a fashion icon, and especially now, everyone is trying to re–create her look. There was something more subtle and interesting going on than just “minimalist” fashion, so how would you describe what made her style so special?
Carolyn was so authentic in so many ways, and I think that she was very pragmatic about her choices. She had a great eye. She knew what worked for her, and she knew how to present herself. She never wanted to be uncomfortable. She was very connected to herself. I think so many people have this relationship to fashion and what they think they should look like based on the ideas they see in a magazine or being sold to you by the industry, and Carolyn never fell into that trap.
I have this conversation often with young designers, with people, with journalists. Today, everything that we see is inauthentic. Celebrities are paid to wear designer clothes. They’re styled by a stylist, and nothing is innate. That is the opposite of Carolyn. She was 100% real.
Narciso Rodriguez in 1997.
(Paolo Roversi)
We have to talk about her wedding dress. If you’re a bride, it’s impossible to look for inspiration without coming across her dress. What was it like to have a friend ask you to create something for such a special, important moment?
You know, until my children were born, Carolyn was the love of my life. We were very close, and she asked me, as you said, to make the dress that she would marry the love of her life in. It was very personal for me. It wasn’t a press event, it was a conversation between two people who were very close. I knew what looked good on her, she knew what looked good on her. I knew that she would never want to be bogged down with trains and lace. It wouldn’t be her.
What was the actual design process like?
It was an effortless collaboration. She came to fittings in Paris, we pulled the neckline down a bit lower, and the dress was born. I added the gloves, the veil and the shoe. It was just magical, and exactly the way it should be. It really made her the focus. You know, she was the one who pointed that out to me about my work. She always said, “You create a frame for a woman’s beauty and personality to shine through.” I’ve always thought that was a really beautiful thing that she gave me, because it’s true. I never want my work to be what you see first. I think the success of that dress is that you see her and her happiness and the purity of it all.
Everything about the wedding, including the dress, had to be kept a secret. Was it a challenge to make sure that no one knew what you were working on?
I was working in Paris, and I got approval from the owner of [Cerruti]. He was discreet about it. I worked with one pattern maker. I had a fit model who was lovely. Nobody knew who it was for. They always asked. But because I was working in Paris, they didn’t really connect me to her. I was also quite cautious when the dress was in work, I remember I had become quite friendly with Azzedine Alaïa. I asked, “Can I take this dress over to you and have you check it out to see what I’m doing?” I went over and he looked at the prototype, and said, “Why don’t you move this seam over the bum by a centimeter. I think it’ll be more flattering.” And I did, because he was the master, and he tortured me to know who it was for, but I never told him. Later, when it was all over the press, he would call and pretend he was a fancy lady looking for a wedding dress for her daughter. [Laughs] He tricked me a few times into believing some of his gags, but he was an amazing person.
It was just a magical time in all of our lives. And then I flew to America with the dress and went to the wedding, and it was that simple. You know, I’ve heard all these amazing stories about how the dress didn’t fit, and I had to sew her into it, and that she was hours late because of it, and none of this is true. But I love that people have made up all these stories.
Maybe the dress on her seems so effortless that people want to invent a way to complicate it.
[Laughs] I really have heard so many crazy stories, but when you look at the pictures, it certainly doesn’t look like it didn’t fit. That’s for sure.
As you mentioned, the dress was all over the press later. How did that moment impact your career?
Well, I went from Paris to my best friend’s wedding, and then I flew home to New York to do a pit stop at my apartment. When I arrived, there was a huge crowd outside the building with news trucks. I kind of walked through the crowd and into the building, and I said to the doorman, “What’s all that about?” And he looked at me, and he said, “They’re here to see you.”
Oh, wow.
It was a very big, kind of scary, unexpected change in my life. I remember going up to my apartment and trying to navigate that when Anna Wintour’s office called and said, “Anna would like for you to come to the Princess [Diana] benefit in Washington.” And I said I couldn’t go, I needed to be back in Paris, I didn’t even have a white shirt. And they said, “It’s Princess Di and Anna Wintour. You’re going. We’ll send you a shirt.” So I went, and I met Princess Diana, and it was really strange to be at such a big event and have so many eyes on me, because I didn’t expect that, and everyone was curious. I remember they were shady journalists trying to sit next to me and get information about where [John and Carolyn] went on their honeymoon. Life changed dramatically, but it brought great attention to the work that I was doing in Paris, and I was able to then go off and start my own business and do my own thing.
I’m sure you had an understanding through Carolyn about what it felt like to be hounded or followed by photographers and press, but did that firsthand experience in New York give you another layer of understanding for what she was going through?
It’s so funny because society today will do anything for that. But it was a very different time, and she was a very private person. I was a very private person. It’s very invasive, and I was kind of stuck in the middle, because while I needed to promote my work and my shows, and sort of be in the press, it wasn’t something that I was very comfortable with. I mean, I love doing the work more than I like the things attached to it. It can be debilitating, and it was difficult for me, but I adjusted, because I could hide behind my work, but as a private citizen, it was more difficult for her.
Narciso Rodriguez.
(Sølve Sundsbø)
You’ve been a part of fashion history on numerous occasions. Michelle Obama frequently wore your designs, but most famously, on election night in 2008, and then during her final appearance as first lady. How does it feel to have been a part of those moments?
It’s hard to put into words. You know, you spend so much time in it, and you have these amazing moments, like designing a dress that became legendary for brides, or getting to dress the first lady, and it wasn’t until COVID that I took a step back. I think about my mother and father coming here to give their son a chance to live out his dreams. And to have been able to sit with my friends on election night and watch her appear in my dress on such a historic moment — the first African American elected president of the United States — words fail. [Michelle Obama] is such an incredible human being who I admire so much, and to have been a part of that night, I feel so lucky.
I don’t talk about my work with my children, but the other day, when they were on the bus headed to school, they told one of their friends, “My dad went to the Obama White House.” They were proud of me. My parents’ dreams came true, and now I get to share that with my children. It’s very special.
It’s really powerful to hear you frame it that way — that these moments mean so much because of your experience being the child of immigrants. How does it feel to be in the midst of a revival right now?
It makes me want to create more. It means a lot to me that people remember these pieces, and that they’re still part of the conversation. But it also means a really great deal to me because I think it’s an important story to tell today. I think it’s important that young people hear that this kind of thing can happen to the children of immigrants, especially as I’m watching all of the horrible things happening to immigrants now.
I could never do what my parents did. When I think about it now, my parents were so much more successful than I could ever be, because they left behind their home for a cold climate, in a place where they couldn’t speak the language, and they really struggled for a long time before I was born. And now, the idea that we’re trying to take that opportunity away from people? It just blows my mind.
My parents faced so many hardships, their life wasn’t easy, but I can’t imagine if they had been put through what immigrants are put through today. I am the “American Dream,” right? I got the chance I got to do the work that I love and succeed because of them. I want that for everyone. I want that to be the world we live in.
The BBC has come under fire after it emerged that the broadcaster won’t be showing coverage of the royals at the Commonwealth Day service but will air another show instead
Daniel Bird Assistant Celebrity and Entertainment Editor
22:18, 05 Mar 2026Updated 22:20, 05 Mar 2026
The BBC will not be airing the Commonwealth Day service next week – despite the King and Queen attending(Image: Getty Images)
The service, held at Westminster Abbey since 1972, has been televised by the BBC since 1989, connecting the United Kingdom and the 56 nations of the Commonwealth and its 2.7billion people. Each year, a string of senior royals attend the ceremony, with King Charles, Queen Camilla, Prince William and Princess Kate heading to the Abbey this year.
It’s expected that Spice Girls icon Geri Horner and Strictly Come Dancing’s Oti Mabuse will give readings to the 1,800 people in attendance at the ceremony. But while the BBC usually broadcasts the service, people will see a Canadian couple be shown their dream homes in the Central Lowlands of Scotland.
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The move by the national broadcaster hasn’t gone down too well, with royal author and editor-in-chief of Majesty Magazine, Ingrid Seward, telling The Sun: “It’s a ridiculous and appalling decision. The BBC has been doing it for years, and it’s the most important date in the diary for celebrating the Commonwealth.
“If even the BBC doesn’t think it’s worthy to cover and celebrate despite its huge cultural significance for member states and the monarchy, then the Commonwealth could fade into irrelevance with every passing year.” However, a spokesperson for the BBC said: “Our decision not to broadcast the Commonwealth Day ceremony in the same way we’ve done in previous years reflects the difficult choices we have to make in light of our funding challenges.
“BBC News plans to cover the service across its platforms, including the BBC One bulletins and rolling news channel.” Among the congregation will be Commonwealth high commissioners, Government representatives, young people and leading voices from the creative community. The service will feature poignant artistic moments, including the world premiere of the Commonwealth Symphony, composed by Rekesh Chauhan.
The annual service will also feature a bespoke dance collaboration between the Royal Ballet School and Sapnay Entertainments, uniting classical ballet and Bollywood in a powerful expression of cross-cultural partnership. Other performers include a Scottish ceilidh band, the Melodians Steel Orchestra and further special reflections and readings from guests.
As head of the Commonwealth, Charles issues an annual message to the 56 member-nations, which will hold their biennial Commonwealth meeting this year during the first week of November in the capital of Antigua and Barbuda.
The service will celebrate collaboration as the defining strength of the modern family of nations, drawing inspiration from the meeting’s theme of accelerating partnerships and investment for a prosperous commonwealth.
The event next week will be Kate’s first outing since she and her husband William celebrated St David’s Day last week with a trip to Wales. The Prince and Princess of Wales travelled to Powys for a string of engagements, where they tore up their official schedule to greet hundreds of people who braved the rain to see them.
They travelled to The Hanging Gardens, a community hub focused on resilience and creativity, in the mid-Wales town of Llanidloes, arriving to cheers from the crowds, many waving Welsh flags and holding daffodils.
William and Kate then headed to Oriel Davies – a public contemporary art gallery in Newtown. They viewed the Hand in Hand art project, a community scheme co-produced by the gallery and Syrian and Afghan families living in Newtown and the surrounding areas.
The Hotel Inspector Alex Polizzi was married to her husband several years before their divorce, with Alex admitting she felt “bereft” following their split
Joe Crutchley Screen Time Reporter
22:26, 05 Mar 2026Updated 22:26, 05 Mar 2026
The Hotel Inspector Alex Polizzi’s heartbreaking confession about end of marriage(Image: C5)
The Channel 5 show returned to screens on Thursday evening (March 5) for another instalment and Alex was back at the helm to visit a struggling hotel to try and turn things around for the business.
In the latest instalment, she headed to The Navigator in Sussex, a seafront hotel now fighting for survival and with the owner Kathleen drowning in debt, battling constant leaks and crumbling rooms, things were not looking good.
During the episode though, Alex confided in Kathleen about the struggles of running a hotel, revealing the impact it even had on her marriage to ex-husband Marcus Miller.
“I opened a hotel four years ago. It signalled the end of my marriage, I almost lost my mind and it’s quite hard work” she candidly admitted. Alex went on: “And I’m a professional.”
Alex was previously married to Marcus Miller, a professional baker. The former couple got married in 2007 after a 12-year engagement. She and Marcus are parents to two children, teenagers Olga and Rocco.
In 2025 though Alex revealed she had gotten divorced a year prior, revealing she felt “bereft”.
Talking to Great British Life Alex said:”“I have a 16-year-old daughter and an 11-year-old son and I got divorced last year and I felt so bereft, and that everything was on my shoulders, and yet their father is still alive.”
Meanwhile speaking to The Sun about why she decided to wait to marry Marcus, she confessed in 2017: “I still wanted to f*** around, if I’m honest! Who wants to get married at 22? I’m a much better wife than I was 10 years ago.
“Partly, you really realise that this is the person you’re with for the rest of your life, so there’s no point p****** them off.”
Alex has also spoke candidly over the years about her heartache after suffering several miscarriages. The TV star revealed that after welcoming her first child, Olga, she had three miscarriages, including one that came just over five months into her pregnancy.
“It is just so shocking to find out that one’s body lets them down in this way,” she told MailOnline in 2013. Alex went on: “Once you’ve had a child, it seems unusual that one couldn’t have another one. You’re not expecting it, and it comes as such a wallop.”
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The Hotel Inspector airs every Thursday at 9pm on Channel 5.
This article contains spoilers for Season 2, Episode 9 of “The Pitt.”
Midway through Season 2, “The Pitt” has taken on the perils of the digital age and given me a reason to love the show as much as everyone else does.
Don’t get me wrong — I understand perfectly why so many people, including recent Emmy and Golden Globe voters, have lost their minds over the HBO Max medical drama: The propulsive day-in-the-life of a Pittsburgh ER conceit, the dazzling ensemble cast, the writers’ heroic attempts to showcase our perilously broken healthcare system, the healing power of empathy and, of course, the Noah Wyle-ness of it all. His brilliant and gentle-voiced Dr. Michael “Robby” Robinavitch is as aspirational a character on television as we’ve ever seen.
But having recently spent almost six hours passing out and vomiting from pain in the waiting room of my local ER (which was empty except for one other man), while being told there was nothing anyone could do until the next shift arrived, I confess I have watched “The Pitt” with a jaundiced eye. The regular crowd shots of the waiting room too often reduce the afflicted into a zombie-like horde bent on making life more difficult for our beloved medical staff.
Sure it’s tough to work in an ER when you are worried about your mother’s expectations, grieving your dead mentor, struggling with addiction or worrying about your sister, but no doubt many of those in the waiting room are experiencing similar issues while also in terrifying and hideous pain.
I’m just saying.
In this second season, however, “The Pitt” gave me reason to cheer. It chronicles the day before Robby is set to leave on a three-month sabbatical, and in the early hours, we meet his temporary replacement, Dr. Baran Al-Hashimi (Sepideh Moafi). Having already attempted to force those suffering in waiting rooms to create their own “patient portals,” Dr. Al-Hashimi goes on to advocate for an AI-supported system to aid the doctors with pesky paper work.
Robby, of course, does not think any of this is a good idea and since he is always right (and no television writer is going to openly promote AI), her plan backfires almost immediately. First, with a medical notes transcription that gets Very Important words wrong and then after a complete digital blackout.
After a nearby hospital is hacked and ransomed, the higher-ups decide to defend its system by shutting it down, which means business must be conducted in the old-fashioned, paper-and-clipboards way.
The result is chaos, and a few too many jokes about young people not knowing how to work a fax machine or manage paper. Some of the more seasoned staff, including and especially the indefatigable charge nurse Dana Evans (Katherine LaNasa), remember the days before everyone carried an iPad well enough to keep things moving. Even so, Dana wisely calls upon the services of “retired” clerk Monica Peters (Rusty Schwimmer).
When the computer system at the Pitt is shut down, Dana (Katherine LaNasa), center, calls in Monica (Rusty Schwimmer), far right, who arrives to help.
(Warrick Page / HBO Max)
“Laid off by the digital revolution, not retired,” Monica corrects her. “And how’s all this digital s— working out for you now?”
This is where I cheered. I love the digital world as much as the next person currently typing on a computer to file a story that I have discussed with my editors on Slack and that I will not see in hard copy until it appears in the physical paper. But like pretty much everyone, I have suffered all manner of digital breakdowns and mix-ups, not to mention the inevitably increased workload that comes with the perception that I can do the work of previous multitudes with a few additional strokes of a keypad.
Except, of course, that’s a lie — a keypad is capable of nothing on its own. Neither are fingers, for that matter. They must be manipulated by someone whose brain has to figure out and execute whatever needs to be done. This requires an ability to navigate the ever-changing tech systems that store and distribute information (often in ways that are not at all intuitive) while also understanding the essentials of the actual work being done.
In “The Pitt,” that is the emergency medical treatment of human beings, which requires all manner of physical tasks. As this storyline makes clear, many of the medical staff do not quite understand how to order or handle these tasks without a screen to guide them.
Hence the need for Monica, representative of a large number of support workers who do understand because it was once their job to keep everything moving, to answer all manner of questions, prioritize what needs to be fast-tracked and make sure nothing falls through the cracks while also engaging with all and sundry on a human level.
The shutdown is obviously an attempt to underline the limits of AI but it also serves as a fine and necessary reminder of how readily we have surrendered people like Monica, with their knowledge and experience, to keyboards and touch pads (which, of course, don’t require salaries, benefits or lunch breaks).
But — and this is important — computers are tools not workers. Alas, that has not kept companies in virtually every industry from drastically cutting back on trained and experienced employees and handing large portions of their work (mental if not physical) to people, in this case doctors and nurses, who already have demanding jobs of their own.
But hey, you get a company iPad!
Nurse Dana (Katherine LaNasa), left, and Dr. Baran Al-Hashimi (Sepideh Moafi) have to resort to paper, clipboards and white boards to keep track of patients after the hospital’s systems are shut down.
(Warrick Page / HBO Max)
Often, including with those patient portals, what was once paid labor lands in the lap of the consumers, who in “The Pitt” are people sitting in an emergency room and likely not at the top of their game when it comes to filling out forms about their medical history or coming up with a unique password.
ER dramas, like the “The Pitt,” are inevitably fueled by the tension between the demands for speed and the need for humane care, something that is increasingly true, if not as intrinsically necessary, in all facets of our culture.
With computers in our pockets, we now expect everything to be available instantly. But when something in our online experience goes wrong, we need an actual human to help us fix it. Unfortunately, as the overwhelmed staff of the Pitt discover, those people are increasingly difficult to find because they have been laid off — even nurse Dana can’t do everything!
Dr. Al-Hashimi, like many, believes that patient portals and AI-assisted medical notes will save time, allowing the doctors and nurses to spend more of that precious commodity with their patients. But, as Dr. Robby and Dana repeatedly argue, what they really need is more staff.
There’s no point in saving a few minutes at the admittance window, or on an app, if you are then going to have to spend hours waiting for or trying to find someone who can actually help you when you need it.
That is certainly true in the medical sector, where digital technology has done little to eradicate long wait times for medical appointments or in emergency rooms. Being treated in a hospital hallway by people who can barely stop to talk to you is not an uncommon occurrence for many Americans. The U.S. is facing a critical shortage in hospital staff, with the ranks of registered nurses and other medical personnel having plummeted post-pandemic, often due to burn out.
The amount of time the staff of “The Pitt” spend with each patient, while dramatically satisfying, is almost as aspirational as the wisdom and goodness of Dr. Robby.
None of these problems is going to be solved by AI or any other “time-saving” device. We have not, as far as I know, figured out a way to extend an hour beyond 60 minutes or modified the human body so that it does not require seven to nine hours of sleep each night.
Medical institutions aside, I can’t think of any place I have visited lately that wouldn’t have benefited from more paid and experienced workers, especially those who know how to do things when computers glitch or fail.
The minute Monica sits down and starts barking orders in the ER, everyone feels much better. Here is someone who understands what needs to be done, why, and how to make it happen. Moreover, she has eyes, ears, hands and human experience enough to know that, in the end, people are less interested in saving time than getting the care they need.
