SHOW BIZ

Gabby Logan hosted the BBC’s live coverage of England’s second World Cup group match

BBC viewers weren’t impressed as they tuned in to watch England play.

Gabby Logan returned to screens on Tuesday (June 23) to present coverage of England’s Group L match against Ghana at Boston Stadium in the USA, as both teams played their second game of the group stage.

This is just the second time that these sides have ever met and the first time they’ve faced each other in a competitive fixture. The last time was back in March 2011, when former Sunderland striker Asamoah Gyan scored an injury-time equaliser to salvage a 1-1 draw at Wembley Stadium.

Gabby was joined in the Salford studio by Joe Hart, Wayne Rooney and Micah Richards, with match commentary coming from Guy Mowbray and Alan Shearer.

However, BBC viewers were quick to issue the same complaints about the broadcaster’s coverage. Many fans weren’t impressed with the “buffering” coverage on iPlayer, as well as a live interview with British rapper Stormzy.

“England v Ghana on BBC iPlayer is buffering like crazy. It’s not just iPlayer, games buffer on ITVX too. Happens on the big fixtures, obvs,” one person wrote on X (formerly Twitter), with another adding: “@BBCiPlayer not fit for purpose. Give me @itvx every time.”

A third wrote: “@BBC what’s going on,” alongside a screenshot of the app not loading.

Referring to Stormzy’s interview ahead of the match, a fourth viewer said: “Dear BBC Sport. Football. Fans. Don’t. Care. About. Celebrities. At. The. World. Cup. Stop it,” with another adding: “@BBCSport wasting licence payers cash yet again with a pointless interview with #Stormzy! Pathetic & nothing to do with football!”

More complaints were issued, with someone else writing: “BBC World Cup coverage is poor. S***,” while another shared: “Their coverage of this #worldcup has been beyond woeful.”

Another commented: “Congrats to ITV and the BBC for making the World Cup unwatchable.”

Meanwhile, other viewers praised the BBC’s World Cup coverage, particularly lead hosts Gabby and Kelly Cates.

“BBC coverage soo much better. Great female presenters with Gabby and Kelly. Miles better than ITV,” one person wrote, with another agreeing: “Yeah the female presenters are excellent.”

The Three Lions will be hoping to make it through to the knockout stages for the third consecutive World Cup. They have only been knocked out at the group stage once in their last seven appearances in the finals.

Tonight’s viewer complaints come after several disruptions to the BBC’s coverage of the football tournament.

Gabby Logan notably made a politics announcement during Monday’s (June 22) live broadcast, just hours before coverage was pulled off air due to France and Iraq’s match being delayed.

FIFA issued a statement after warnings of a “severe thunderstorm approaching” the Philadelphia stadium.

Coverage of the FIFA World Cup 2026 is available to stream on BBC iPlayer and ITVX

A FRIEND of Brooklyn Beckham has spoken out on his heartbreaking fallout with his famous parents – and revealed hopes that the feud will be resolved.

The Beckham feud has been rumbling on for over a year now, largely punctuated by a bombshell statement Brooklyn posted to his Instagram story.

The tell-all statement took the internet by storm, calling out David and Victoria for their ‘performative’ and ‘controlling’ behaviour.

But Brooklyn’s pal DJ Fat Tony (real name Tony Marnoch) believes that an olive branch is still yet to come, and has faith that all will be well with the Beckham clan again.

Speaking to Closer magazine, Tony shared: “I hope that they do sort it out, I really do, for all of their sakes.

“I think they will – of course they will. Like all family feuds, there comes a point where you think, ‘Well, what is this about?’

Read more Brooklyn Beckham

CLAP BACK

Brooklyn Beckham’s wife Nicola takes swipe at his family in cryptic new comment

fiery feud

Brooklyn Beckham ‘absolutely furious’ at David and Victoria’s Father’s Day posts

“But it’s not for me to say, ‘She was wrong, he was right.’ It’s not my business.”

Tony also shared how he tried to correct the misinterpretation of what happened at Brooklyn and Nicola Peltz‘s wedding.

The duo claimed Victoria was dancing inappropriately and grinding on him during the big day, causing humiliation.

But Tony said: “Brooklyn is a friend of mine, and so is Nicola. I went on This Morning to change the narrative.

“The word ‘inappropriate’ was misused. Everyone thought that Victoria was slut-dropping – there was no slut-dropping.

“I wasn’t on there to take down the Beckhams. No one needs to do that. It’s a family and it’s a really sad situation.”

His comments come amid Brooklyn’s fresh frustrations with his parents after they posted photos of him in commemoration of Father’s Day.

Brooklyn has previously instructed his parents not to post photos of him anymore or to tag him in pictures.

But this request has been broken multiple times, leading to Brooklyn blocking his family online.

He found out about the Father’s Day snaps through friends and the media.

His wife Nicola also appeared to take a swipe back, sharing a cryptic quote to her Instagram story that read:  “I am in love with this sentence: “Forgive yourself for not knowing earlier what only time could teach.””

Madonna is just a material girl, living in a material world.

The “Vogue” hitmaker graced the cover of Interview magazine for the Summer 2026 issue and in the accompanying chat, the singer revealed the reason the ultra-hyped biopic with “Ozark” star Julia Garner was scrapped: not enough cold hard cash.

Turns out, Universal Studios was not Madonna’s Mr. Right. According to the pop star, the studio didn’t share her vision for a budget for the film.

“I worked on my script for two years and spent two years at Universal Studios with the line producers doing budgeting and casting,” she told the magazine. “We had a falling out, me and Universal, regarding budget because I needed — I’ve had an extraordinary life. I’ve had a huge life, so I needed a big budget. You know what I mean?”

The film had been in the works for years, and in 2021 Universal Pictures won a multi-studio auction to helm the biopic. According to Variety, the script followed Madonna from her upbringing in the suburbs of Detroit, her artistic awakening in 1980s New York City, and concluded around the 1998 release of “Ray of Light.”

“I found a way to make it for less money in Serbia, but I don’t think they were into the idea of — I don’t know,” she said. “Maybe they just didn’t believe in me.”

Madonna said the studio couldn’t wrap its head around what she was suggesting and countered that she wouldn’t “stay in Serbia more than four days.”

“I said, ‘Did you read the script?’ My whole life has been survival. I’m not going there for a holiday.’”

Madonna said that she was in “limbo” when the movie plans fell apart, and she considered telling her life story through a Netflix series when the streamer came knocking. But she wouldn’t be able to use the script she had penned for Universal without buying it from the studio for “an extortionist’s price,” even though she wrote it.

“That’s just the way it goes,” she continued. “I started trying to understand how making a series would work. It’s a very, very different process. You have to meet a lot of writers and find the right showrunner, and I couldn’t find one. This went on for another eight or nine months. I was like, ‘Good thing I have another job because I need to work, I need to create. I need to do what I was put on this earth to do.’”

Representatives for Universal Pictures, Netflix and Garner did not immediately respond to The Times’ request for comment.

Through the process of writing the script, Madonna was bitten by the memoir bug, but she channeled that confessional energy into her forthcoming album, “Confessions on a Dance Floor: Part II,” which drops July 3. A 13-minute music video weaving together six tracks from the new album was released earlier this month and featured A-list cameos by Sabrina Carpenter, Kate Moss, Lourdes Leon, Benedict Cumberbatch and more.

While the biopic and buzz around Garner’s portrayal of the “Like a Virgin” star had fans of the two blondes chomping at the bit, all is not lost: Art captures life. Garner and Madonna were spotted filming scenes in Venice two weeks ago for the second season of “The Studio,” in which Madonna plays herself struggling to get her biopic made.

The critically acclaimed Australian crime drama is perfect for fans looking for a new binge-watch

Crime drama fans hunting for their next must-watch should look no further than this critically acclaimed Australian series that has cultivated a loyal fanbase across the globe.

Created by and starring Scott Ryan, Mr. Inbetween is a dark comedy-crime drama that chronicles Ray Shoesmith, a contract killer who tries to juggle his perilous criminal existence with the mundane demands of fatherhood, relationships, and friendships.

Over three seasons, audiences follow Ray as he’s compelled to handle everything from underworld conflicts and domestic challenges to personal tragedy.

Mr. Inbetween originally broadcast on Fox Showcase from 2018 to 2021 and garnered widespread praise for its writing and acting.

The series also features Justin Rosniak, Brooke Satchwell, Nicholas Cassim, and Damon Herriman.

Despite spanning only across 26 episodes, Mr. Inbetween has established itself as one of the finest crime dramas in recent memory and has received praise from viewers.

One enthusiast wrote on Reddit: “Mr Inbetween is one of the greatest shows ever made. Believe me when I say this show really is a masterpiece”, reports the Express.

“The camera work is beautiful, so many brilliant shots which feel organic and clear, you are never confused at what you are looking at and it stays consistent since it is the same director every episode.”

They complimented the pacing as “fantastic”, adding: “The action is honestly one of the best showcases of special and practical effects on TV in terms of gun scenes.”

They continued: “The characters are what truly makes the show, every character is acted so well you really believe them and see them like a real person. They all have struggles and motivations that make you care for all of them.

“The dialogue is so well written, so many amazing jokes and threatening, gritty quotes which are extremely effective. One plot thread leads to another all while feeling like a day in the life story.”

The enthusiast concluded: “I can confidently say that this show is far better than any Australian movie or show ever made and can stand up to some of the greatest shows ever made. I implore you to please give this show the love it deserves.”

Another echoed their sentiment: “This show is truly a masterpiece. The acting is sublime, everything about it is unbelievably good and the use of some of Nick Cave’s music so perfectly placed that I think it’s the best show to come out of Australia.”

A third chimed in: “When I finished watching all 26 episodes I thought the same thing. Best show ever made.”

Another concurred: “Absolutely loved it. Best show I have seen since season 1 of true detective. The ending…THE ENDING! ! Magnificent.”

All three series of Mr Inbetween are available to stream now on Disney+.

A coalition of advocacy groups for artists, songwriters and managers is warning musicians about the growing risks of artificial intelligence music.

Recently, many major record labels have inked deals with AI music startups such as Suno, Udio and Klay. But the coalition, which includes organizations such as the Music Artists Coalition and the Songwriters of North America, argues in a new letter that “artists and songwriters whose works, voices, performances, likenesses and creative identities make those deals valuable are not being meaningfully consulted.”

The letter, released Monday, stated that many artists and songwriters in existing recording and publishing agreements are currently receiving letters from their labels and publishers claiming that they “will be opted in to AI-related uses by default, with little actual choice offered.” Even new artists are receiving agreements that include “AI rights clauses as a standard condition of signing.”

“We support innovation and recognise that AI can create new opportunities for music,” the coalition wrote in the letter. “However artists are not simply catalogue assets, and innovation cannot be used to override artists’ rights.”

The National Independent Talent Organization, a live entertainment advocacy group that signed the letter, said many of its members are coming to the organization with label contracts that include “non-negotiable AI usage clauses.”

“We can’t allow for contract language signed decades before this technology existed to be the standard bearer. These rights belong to the creators and they get the final say on usage,” said Nathaniel Marro, NITO’s executive director, in a statement to The Times.

“Music companies are leading the fight to protect artists’ and songwriters’ rights in the age of AI,” said a spokesperson for IFPI, the recording industry’s global trade body.

“While our members have taken different approaches, they share the same fundamental objectives: combating the unauthorized use of music and establishing licensing models that return revenue to artists and songwriters,” the IFPI spokesperson added.

The coalition is asking the industry to move forward on AI deals only under four conditions: that musicians directly consent to any agreement; that artists receive fair compensation; that there be transparency between the companies and the talent; and that companies make a public commitment to end contracts built on default AI opt-ins and forced AI clauses.

“Artists need a real seat in these conversations, clear terms on revenue share, and the ability to say no without losing their deal,” said Ron Gubitz, the Music Artists Coalition’s executive director, in a statement.

This letter comes at a time when policymakers are reviewing copyright rules in response to AI and when streaming platforms and social media platforms are overflowing with AI-generated music.

A little over two weeks ago, the American Federation of Musicians sued Universal Music Group and Warner Music Group. The complaint claims the major labels “received significant compensation” from the AI companies for past copyright violations and licensed “substantial” portions of their music catalogs to them, but haven’t shared that with the musicians.

Despite the confrontational tone of the letter, some signatories struck a more conciliatory note. Overall, the industry seems to be receptive to these AI changes, said Willie “Prophet” Stiggers of the Black Music Action Coalition, another signatory advocacy group. At this point in AI’s development, he added, everyone in the industry — from artists and labels to AI start-ups and policymakers — has a responsibility to establish effective guardrails.

“The companies building these technologies understand that trust is essential to long-term success, and trust begins with respecting creators’ rights,” Stiggers said in a statement to The Times. “There’s still important work ahead, but we’re encouraged that the conversation has shifted from whether protections are needed to how we build them together.”

“The structures being created now will shape the music ecosystem for years to come,” the coalition’s letter said. “The future of music must be built with artists, songwriters and their representatives, not imposed on them.”

Times staff writer Wendy Lee contributed to this report.

The man accused of slaying veteran “Top Gun: Maverick” and “Jumanji” actor James Handy earlier this month is not mentally competent to face criminal court prosecution, a Los Angeles judge ruled Monday.

During a competency hearing, Los Angeles Superior Court Judge Maria Cavalluzzi ordered that Michael Gledhill, 44, is unable to understand the murder case against him and cannot rationally assist his attorney in his own defense, the Associated Press reported.

Monday’s ruling is not a “determination of guilt or innocence,” Gledhill’s defense team said in a statement shared with The Times on Tuesday. Los Angeles County Deputy Public Defenders Donna Tryfman and Robert Krauss said in the statement that Gledhill’s “treatment and restoration efforts” will take priority before criminal court proceedings.

“While the allegations in this matter remain extremely serious, the legal process must continue in a manner that is both just and consistent with constitutional protections,” the statement said. “Nothing about the court’s finding regarding competency diminishes the seriousness of the loss or the pain experienced by those who knew and loved Mr. Handy.”

Police arrested Gledhill on June 3 after West Valley area patrol officers responded to an emergency call in a residential neighborhood of Tarzana. The 911 caller stated, “I am the son of man. I just killed the man of sin.” Upon arrival, police found Handy, 81, in the front yard of the Erwin Street home, unconscious and suffering from a stab wound to his chest.

Paramedics took the actor to an area hospital where he was pronounced dead, officials said.

Police said in a press release that Gledhill “flagged down nearby responding officers” and identified himself as the suspect in the fatal stabbing. Police said Gledhill lives with his mother, Handy’s girlfriend, at the Tarzana home.

Gledhill was arrested and transported to Van Nuys Jail, where he was booked on suspicion of murder. His bail was set at $2 million.

Gledhill has not entered a plea nor appeared in court. During his arraignment June 5, a judge halted court proceedings and directed Gledhill’s case to a court that specializes in mental health evaluations.

The Associated Press also reported that during Monday’s hearing, Cavalluzzi found that Gledhill is unable to make proper medication decisions and signed an order noting he could be involuntarily medicated for one year, citing a psychiatrist’s determination that proper drugs could hugely help his mental health.

A hearing to determine Gledhill’s long-term placement is set for July 14. The case will continue to trial if Gledhill is later found to be competent.

Times staff writer Emily St. Martin and the Associated Press contributed to this report.

Time to break out the “Paper Rings”: Taylor Swift and Travis Kelce’s trip down the aisle is just around the corner.

Since Swift and Kelce’s engagement in August 2025, fans have been wondering when, where and how they’ll tie the knot — and looking for clues anywhere they can.

All of the signs indicate that wedding bells should be ringing any day now. Here’s everything we know so far.

The reception may take place at Madison Square Garden

Leave it to Taylor “Eras Tour” Swift to hold her wedding at the most iconic arena in the U.S. In early June, TMZ reported that the Swift-Kelce wedding would take place at New York City’s Madison Square Garden, with over 1,000 attendees.

Fans immediately jumped on board with the theory, since Taylor has played the venue eight times and famously loves the Big Apple. There’s also notably a “Blank Space” on the MSG calendar between June 28 and July 7. According to TMZ, Swift even secretly had a “massive stage” built offsite to use at the venue, which can hold up to 22,000 people.

The tabloid also broke the news that MSG was not the couple’s first choice wedding venue. Allegedly, they were hoping to tie the knot in Rhode Island, where Swift has an oceanside property, on June 13, but that plan fell through after it was leaked to the press.

Importantly, sources also said that while the celebratory reception is set for MSG, the ceremony will take place beforehand “somewhere more intimate.” Could Rhode Island still be on the table?

It could happen any day now (or maybe it already has?)

Though Swift and Kelce have kept their official wedding date under wraps, signs point to the upcoming Fourth of July weekend. Back in April, Page Six reported that the date was set for July 3, and last Monday, New York Mayor Zohran Mamdani helped legitimize the rumor at a press conference, addressing the city’s preparedness for a holiday weekend with a World Cup matchup at MetLife Stadium along with other high-profile events.

“We are the biggest city in the country,” he said. “We are used to big events, and we are incredibly excited for this one. We know it coincides with July 4, America 250, Taylor Swift’s wedding all happening at the same time.”

However, given TMZ’s report that the nuptials will take place before the massive reception, some outlets are speculating that vows may have already been exchanged.

The bachelor and bachelorette parties may have already gone down

Sightings of Swift and Kelce gathering separately in single-sex groups have prompted major speculation about the stars’ respective bachelor and bachelorette parties.

On Wednesday night, photographers captured Kelce meeting up with pals, including his brother and podcast co-host Jason Kelce, former Kansas City Chiefs teammate Ross Travis and comedian Druski at the members-only Bird Streets Club in West Hollywood.

Across the country, paparazzi captured images of an all-female group — that appears to include Swift and her childhood friend Abigail Anderson Berard — gathering at Swift’s Rhode Island estate. Armed security guards were also spotted on the property.

Rumors of guest list drama are swirling

Unsurprisingly, Swift and Kelce have been tight-lipped about wedding details, but keeping an event this huge under wraps is an uphill battle. Page Six linked the duo to discreet wedding planner Mark Seed, and multiple outlets report that the couple required guests to sign a strict nondisclosure agreement before receiving any revealing information.

Even with the secrecy, rumors of drama have emerged. Swift’s ex-BFF Blake Lively (and her husband Ryan Reynolds) were reportedly not invited to the celebration, and Star reported that a number of guests complained about being invited without a plus one. These kinds of issues might sound familiar to anyone who’s ever planned a wedding — and most people don’t have to add security concerns into the equation.

When the creators behind Universal Studios Hollywood’s soon-to-open “Fast & Furious” coaster discusses the attraction, they speak of it not only as the most grown-up, intense ride at the park, but also as one of the most extreme coasters in Universal‘s global portfolio. That means, in theory, a ride as vaunted as its Florida coasters Jurassic World VelociCoaster and Stardust Racers.

For riders, some of the perception of danger will come from the coaster’s location. Fast & Furious: Hollywood Drift is set on a hill between the park’s upper and lower lots. It will careen over, under and around guest escalators, and take attendees on a journey that includes multiple inversions and speeds of 72 mph, making it the fastest coaster at any Universal park. A particularly unique facet is the ability for its cars, each meticulously designed after a real vehicle, to rotate 360 degrees.

Plenty of coasters have the capacity to spin, but Universal has been hyping the high-speed “drift” sensation of its cars. Each ride vehicle will have distinct programming along the coaster’s 4,100 feet of track, and the hope is to create the feel of a stunt car just barely maintaining its control.

I like a coaster, but I’m also, I’ll admit, a tad squeamish. Hollywood Drift is expected to open by mid-summer, and at the time of writing, only Universal stakeholders had been on the attraction. Jon Corfino, the park’s lead creative executive, was one of those riders, so as he gave me a tour of the coaster, I pressed him to describe what the experience is like. Here’s what I learned.

So Fast & Furious: Hollywood Drift is intense. But just how intense is it?

A loop on Fast & Furious: Hollywood Drift.

(Todd Martens / Los Angeles Times)

The late, great theme dark designer Eddie Sotto once devised a simple formula for what makes a good coaster: Fear minus death equals fun. I wanted to ask Corfino just how scared I would be. Answer: Pretty frightened. Probably.

“It’s a high level of intensity, absolutely, for sure,” Corfino says.

And yet Corfino tried to calm my nerves. Hollywood Drift, he explained, is designed to feel relatively slick — polished, if you will.

“I’ve ridden coasters that I would say are high intensity, but they’re very aggressive,” he says. “They’re very rough. But if you look at what we tried to achieve here, it’s that you’re in a [car] vehicle. It’s very smooth. It’s not something that would be not natural for a car, if that makes sense.”

Well, except for the whole going upside down part. Based on Corfino’s assessment, we can expect some white knuckles, as Hollywood Drift will lift riders off their seats at multiple points.

“You definitely feel you’re coming out a couple times, and not the least of it is when you’re upside down,” Corfino says. The coaster will utilize a lap restraint that extends from the top.

“You’ll be holding on,” he says. “When you’re upside down, you’re holding on.”

What about the drops?

Unversal Studios’ Hollywood’s Fast & Furious: Hollywood Drift is set to open this summer.

(Todd Martens / Los Angeles Times)

Corfino didn’t pinpoint the exact steepness of the drops on Hollywood Drift, but riders will encounter one immediately after launch. When exiting the show building, designed to look like a warehouse garage, Hollywood Drift will take a sudden dip off a cliff. The sharp drop is one of many.

Riders will encounter, for instance, a so-called “bunny hop,” which is typically a series of small hills that provide airtime. But Hollywood Drift will play with riders’ expectations through its terrain. Those mid-ride hills are “actually pretty darn steep,” Corfino says. And then before the ride ends, riders will go up, over and under Universal Studios’ most recognizable feature (except perhaps Stuart the Minion): its escalators.

“When you go up over the loop, that’s very steep. You’re coming straight down over the stairway and then underneath the stairway,” Corfino says.

How real are the cars?

The minicars of Fast & Furious: Hollywood Drift.

(Todd Martens / Los Angeles Times)

The coaster will feature four heavily detailed miniature cars as ride vehicles. These four-seaters — mimicking a Dodge Charger, Mazda RX-7, Nissan Skyline GT-R and Toyota Supra — all come complete with working taillights. And each has its own distinct sound effects, engine and brake noises that match their real cars. Guests will hear brakes each time the vehicle drifts or turns.

The minicars aren’t complete tiny re-creations. The odometers in the coaster cars, for instance, are for show only.

“The truth is I was really laboring,” Corfino says of the accuracy of the coaster cars. “They all have realistic sound effects, and when you hit the bottom, the big launch, I wanted to hear the NOS kick in. But you’re going so fast, at 72 mph, and with the wind, you’re not hearing anything. Quite frankly, your vision is even kind of shaky because you’re going so fast.”

That sort of attention to detail is what separates a Universal or Disney coaster from so much of the industry — even if riders will be clutching their restraints too hard to notice the discrepancies in each car’s engine roar.

I’m eager to get on the ride. I will, however, pretend I didn’t hear Corfino say that thing about “shaky” eyesight.

This week in SoCal theme parks

Dataland is now open in downtown Los Angeles. Theme park fans should give it a look.

(Carlin Stiehl / For The Times)

• “Stranger Things” lives at Halloween Horror Nights. Universal Studios Hollywood’s trickle of announcing haunted houses for its Halloween event continues. After unveiling a “Sinners” house earlier this year, Universal has added “Stranger Things” to the roster. “Stranger Things” is no outsider to the festivities, but this house will be themed specifically to the show’s fifth and final season. Expect, of course, some Demogorgons and other nasty creatures. Halloween Horror Nights is set to launch on Sept. 3.
• Theme park fans, pay attention to this new museum. Now open in downtown Los Angeles is Dataland, which was described by this outlet as a “25,000-square-foot immersive, environmental, generative, multisensory AI arts museum.” While there’s much to discuss and debate regarding the center’s use of AI, Dataland’s inaugural exhibition, “Machine Dreams: Rainforest,” is the kind of all-encompassing, wrap-around display theme parks are known for (I’d argue Dataland is, in fact, more indebted to theme parks than the world of fine arts, but that’s another column). No doubt those in the immersive space are paying close attention as to how Dataland is received.
• “Toy Story 5” has arrived, in theaters and at the Disneyland Resort. Fans of the “Toy Story” franchise will want to make their way to Disneyland’s Pixar Place Hotel, where a second-floor exhibit features drawings and sculptures from the new film. And for hotel guests, coming July 2 is the “Disney Poolside Splash Bash,” a pool party with music, trivia and appearances from Jessie, Bo Peep and Woody. If you’ve seen the movie, I encourage you to check out Amy Nicholson’s review of the work. She found, perhaps, that the toys have overstayed their welcome.
• Bag checks and metal detectors arrive at CityWalk. Universal Studio’s theme park adjacent shopping and dining area is home to a couple should-be cultural institutions: the Los Angeles outpost of Jimmy Buffett’s Margaritaville and one of the finer Imax theaters in the nation. Now getting to either comes with an extra hurdle, as Universal has placed CityWalk within the theme park’s security zone. Prepare for bag checks, metal detectors and extra time if you’re heading to a sold-out screening of Christopher Nolan’s “The Odyssey.” The local film community, as reported by The Wrap, is having a fit.

What I’m thinking about

A media image distributed by Adobe and Walt Disney Imagineering is designed to show how AI software can be used in the design process.

(Adobe / Walt Disney Imagineering)

Generating attention this week was an announcement from Adobe and Walt Disney Imagineering, the creative arm of the company responsible for theme park designs, regarding a new AI partnership. AI is a term I generally believe is rightfully viewed with skepticism, especially when it comes to creative work. As a writer, I view utilizing AI to help craft a story as strictly forbidden; journalism, after all, is a storytelling art. But I’m not above tools that can help accelerate tedious aspects of the process, such as using AI to help transcribe an interview.

So places in which Adobe’s Firefly Foundry could, say, transform drawn 2D renderings into potential 3D models seem not entirely troublesome, especially for an industry in which one of the most time-consuming aspects is the build. And yet there were components of the announcement, as well as the press materials distributed with it, that made me cringe. The generation of on-demand, on-brand assets, for instance — one of the promised abilities of the software — is a job for an artist, not a computer.

And Adobe and WDI proved my point. Accompanying the press release was an image of Disneyland’s Haunted Mansion ride vehicles, the Doombuggies, as re-imagined by the program. A perfect, coffin-like design from Bob Gurr was now bedazzled with garish, grotesque imagery that had little similarity with anything in the Haunted Mansion. That the two companies viewed something this amateurish as a prime example of what the software could achieve should raise an eyebrow.

Tell us your stories. Ask us your questions.

Have a theme park tale to share? Whether it was a good day or less-than-perfect day, I would love to hear about it. Have a question? A tip? A fun photo from the parks to share? Email me at todd.martens@latimes.com. I may feature your note in an upcoming newsletter.

Ride on,

Todd Martens

P.S.

Changes are coming to Disneyland’s classic Autopia ride.

(Allen J. Schaben / Los Angeles Times)

Disneyland’s classic Autopia attraction is facing a deadline. The Disneyland Resort has already stated that the gas-powered minicars of Autopia would be on the way out in early 2027. Disneyland officials confirmed just a few weeks ago that the park has an agreement with the California Air Resources Board to retire the current engines next year. No closing or reopening date has been announced, and no details on the new cars have yet been released.

But, thanks to new reporting from environmental reporter (and former Times staffer) Sammy Roth, it’s been revealed that the theme park faces a strict deadline to begin making the switch. In a recent edition of Roth’s Climate Covered Goggles, the writer noted that due to an agreement with the board, Autopia in its current form must shut down by Feb. 1, 2027.

While that doesn’t shed any clarity on when the ride may reopen with refreshed vehicles, it at least provides a timeline as to how long it will likely exist in its current form.

Walk into the Grammy Museum in downtown L.A., and you’ll see Clive Davis’ legacy everywhere.

The museum’s intimate performance space is named for the late record executive, and his visage greets guests at the front door. (Davis was the first million-dollar donor to the nascent Recording Academy archive and exhibition space.) His sprawling roster of acts — Bruce Springsteen, Miles Davis, Whitney Houston, Alicia Keys, Earth, Wind & Fire — defined an entire art form and business model as preserved in the Grammy Museum. Davis’ pre-Grammy gala was the most coveted invitation in music every awards season.

Davis’ death at 94 is “devastating,” said Michael Sticka, chief executive and president of the Grammy Museum. “Clive was always a north star of music and talent and artistry. We’re all lucky to have his legacy to look up to.”

Davis’ death marks the end of perhaps the most important and enduring career in the record industry. Sticka spoke to The Times about Davis’ remarkable longevity, creative vision and how a career like his will likely never be possible again.

Clive was a giant of the record business. How did his career shape the modern record industry?

His career was iconic. He really had a unique ability to not just bring an artist to their fullest potential artistically, but commercially. From attending Monterey Pop and first seeing Janis Joplin to Whitney Houston and Alicia Keys, I don’t think anybody had that ear in them the way that he did.

With Clive, what you got was not just hearing commercial viability, but an understanding of what was going on in the zeitgeist. That’s what propelled his career and legacy beyond most record executives.

His name’s on the building at Grammy Museum’s theater. What did he mean to the institution — not just for fundraising but as a living connection to music history?

He didn’t just donate to the museum. He donated his time, his historical knowledge of music, his firsthand perspective. He always kept tabs on what was happening in music. I always say the Clive Davis Theater is the toughest ticket in town for its intimacy and the level of programming we do. But he did an annual program at the museum where people could come hear stories directly from him. Once he decided he was in, he was all in.

His gala was the place to be every Grammy season too.

I don’t think anybody could gather a roomful of luminaries like that from entertainment, tech and politics in the way that Clive did. We were lucky to be a part of that. Even with the stature he had, he was still a physical presence there, he was approachable. He was always looked at as this living legend, but his legacy was continuously being built.

That’s true over the arc of his career, which saw him lead Columbia, Arista, J Records and more. He had a lot of resurrections as well as successes.

He had this ability to resurrect. Look at Santana and “Supernatural,” he was a producer on that album that was inducted into the Grammy Hall of Fame just last year. So many of us would just give up, but he just had this resolve to continue, and thank God he did.

The record industry is so different now than when he began his career. Artists find audiences on social media rather than being discovered by label executives. Is a career like his — a famous executive driven by their own taste and individual savvy — even possible today?

That’s true, artists break on social media before they’re even on record executives’ radars now. I don’t know if we’ll see that kind of career arc again. Clive had a rare combination of gravitas and being recognized so publicly. The man and his legacy are not going to be replicated.

Beyond the name on the theater, how do you hope the Grammy Museum will honor him with its programming in time to come?

I don’t know yet. We weren’t really prepared for this. We’re gonna have to sit down and think how to pay tribute to such a legacy. I think that the impact the Clive Davis Theater has, bringing in 120 artists a year — I couldn’t think of a more apropos name on the door.

Fox has adopted a new split-screen approach to ads during the World Cup’s mandatory hydration breaks, after a stir among viewers over how it had been handling the pauses.

At the start of the tournament, the network aired full-screen ads during the three-minute breaks, cutting away from the field during the opening match between Mexico and South Africa. Soccer fans complained that they were missing on-field action, and the backlash mounted.

By the Mexico-South Korea match last week, Fox had changed course, running split-screen advertisements for the first time: two side-by-side panels, one keeping the camera on the stadium while the other played a commercial. The approach hasn’t been consistent, though. For Friday’s U.S.-Australia match, the network reverted to full-screen ads.

Fox declined to comment on the changes.

Viewers were quick to notice the split-screen format and weigh in on social media. “At least FOX stopped doing the stupid full screen breaks,” one user wrote on X. “I can live with split screen.”

The World Cup has posted substantial ratings gains for Fox.

Throughout the first 16 telecasts of the tournament, the network is averaging more than 6 million viewers from Fox and Fox Sports 1, up 128% from 2022’s World Cup in Qatar. The broadcast of the U.S. team’s first game this month was the most-watched FIFA Men’s World Cup telecast in English in U.S. history, with more than 18 million views, according to the network.

The hydration break itself is new to the World Cup. FIFA announced it in December as a way to protect players’ health in the summer heat. In every match, the referee is to call for a break around the 22-minute mark of both halves, regardless of the weather.

In addition to helping the players, these extra minutes created a new advertising window. Networks are allowed to leave the on-field action 20 seconds after the referee signals the hydration break and return 30 seconds before play resumes, allowing for ads of up to two minutes and 10 seconds in total. They can air any full-screen ad they’d like, or run a split-screen ad — though a split-screen has to feature a FIFA partner, such as Coca-Cola or Adidas.

Ads during the tournament’s earlier games reportedly cost around $200,000 for a 30-second slot. The price jumps to $750,000 when the U.S. is playing, according to the Wall Street Journal.

When any rules change in televised sports, the most dedicated fans are going to get upset, said Patrick Rishe, the director of the sports business program at Washington University in St. Louis. Despite all the online uproar, he said that the hydration breaks are overall beneficial, as they allow networks an extra opportunity to recoup revenue and brands to get additional exposure.

“This is commercially fantastic for FIFA and the networks. It’s tactically helpful for the teams, and I do think it’s helpful for growing interest in the sport,” Rishe said. “It makes it easier for the casual fans to stay engaged.”

It’s been more than 30 years, but Andy’s toys are proving irreplaceable at the box office.

Walt Disney Co. and Pixar’s “Toy Story 5” opened to a massive $160 million in the U.S. and Canada last weekend, marking the biggest domestic box office debut so far this year. Internationally, the film brought in $152 million for a worldwide total of $312 million.

With those numbers, “Toy Story 5” broke several franchise records for opening weekend totals. As my colleague Cerys Davies and I wrote last week, it’s a sign of the long-running juggernaut’s firm grip on audiences amid a sea of Hollywood sequels, reboots and spinoffs.

“‘Toy Story’ has been breaking ground since it first hit the screen more than 30 years ago,” Disney Entertainment Studios Chairman Alan Bergman said in a statement. “It’s wonderful to see ‘Toy Story 5’ continuing that tradition and connecting with audiences around the world to deliver the biggest opening for the franchise and the biggest of this year as well.”

For theater owners, “Toy Story” may have seemed like a surefire bet. After all, the franchise has grossed more than $3 billion in worldwide box-office revenue, and its third and fourth installments each made more than $1 billion globally.

The big opening weekend for “Toy Story 5” has no doubt brightened the outlook for many theater operators as the all-important summer movie season gets underway.

Already, last weekend’s box-office totals were a whopping 80% improvement compared with a year ago, when Universal Pictures’ live-action “How to Train Your Dragon” was in its second weekend in theaters. But more importantly, the domestic box office is now up 14% to $4.46 billion compared with the same time a year ago, according to data from Rentrak.

This summer’s lineup of films, including “Toy Story 5,” will play an important role in terms of whether 2026 will truly be the year that the theatrical business turns the corner from the COVID-19 pandemic and the dual Hollywood strikes of 2023.

In one promising sign, summer box-office revenue so far is up 15.2% to about $1.84 billion compared with the same May to mid-June period in 2025. (That summer ultimately ended in a dismal finish of $3.67 billion.) Compared with pre-pandemic 2019, this year’s summer box office to date is down just 1.9%.

Studio executives and theater owners have told me they feel good about this summer and are optimistic about the overall outlook for 2026.

It’s easy to see why. The deck is stacked, with upcoming titles such as Universal and Illumination’s “Minions & Monsters,” Disney’s live-action “Moana,” Christopher Nolan’s “The Odyssey” and Sony Pictures’ “Spider-Man: Brand New Day.”

In a propitious sign, presales for “The Odyssey” and “Spider-Man” have already shown massive demand. Overall, there’s just more and varied movies in theaters now, which expands the pool of potential moviegoers, theater owners have said.

Take A24’s “Backrooms” or Focus Features’ “Obsession,” for instance. The two original and digital-native films shocked the industry by keeping a weeks-long grip on the box office, largely by attracting Gen Z audiences who were familiar with the 20-something directors from their followings on YouTube.

Beyond these two, as well as Steven Spielberg’s “Disclosure Day,” many of this summer’s films continue established franchises.

Although not all spinoffs have performed this year — including Disney and Lucasfilm’s “Star Wars: The Mandalorian and Grogu,” which saw ticket sales drop sharply after its late May opening — “Toy Story” has remained a consistent force in theaters over the decades.

Disney and Pixar executives credit the films’ focus on character relationships, particularly that of Tom Hanks’ Woody and Tim Allen’s Buzz Lightyear. And as the franchise spanned years, its appeal became generational.

“Having parents now that say, ‘I grew up with ‘Toy Story,’ and now I’m showing my kids,’ has been really gratifying,” Pixar Chief Creative Officer Pete Docter told me by phone a week before the movie’s opening.

“Toy Story” is now the most-watched franchise on the Disney+ streaming service, with more than 2 billion hours streamed. And its beloved characters have spawned 19 theme park rides, four themed lands, two hotels and roughly $1 billion a year in global retail sales.

That has no doubt kept the franchise front and center for both adults and children, as well as fueling interest in future stories.

Stuff We Wrote

Film shoots

Number of the week

The FIFA World Cup has been a major boost for broadcasters, as an average of 6 million viewers tuned in to Fox and cable network FS1 for the first 16 group stage matches, an increase of 128% compared with the last World Cup in 2022, according to Nielsen data released last week.

On Spanish language network Telemundo, which is owned by Comcast, the first 12 group stage matches drew an average of 7.5 million viewers, up 234% from four years ago. (The Telemundo telecasts are also streamed on Peacock.)

I was in the Bay Area last week on vacation and didn’t watch many of the games, but I did catch my colleague Clara Harter’s great read about the mutual love and respect between fans of Mexico and South Korea and how that has played out in Los Angeles.

What I’m watching

Since I was out of town last week, I didn’t watch a ton of TV. But I did make time to watch the series finale of “The Way Home,” a quirky time-travel drama on Hallmark that I’ve followed for all four seasons.

I’m a big fan of time-travel stories (The “Back to the Future” trilogy is one of my favorites), so the usual past-future questions, plus the complicated family dynamics anchored by matriarch Andie MacDowell, made this a must-watch for me. The series finale was a satisfying ending, though there are definitely some loose strings that deserve further exploration.

JAMIE and Rebekah Vardy’s success is sky-rocketing post Wagatha Christie – after the footballer’s new podcast proved a hit.

The audio series, Jamie Vardy’s Having A Party, launched hot on the heels of the couple’s ITV doc.  

The pair are understood to have signed a seven-figure deal with media giant Banijay for the series, which launched on June 9.

It’s now been revealed that the first episode has clocked up over 8.4million streams across podcast platforms in the first seven days. 

A source said: “Jamie and Becky could not be more happy with the success of their ITV show, and now the podcast figures have really given them a boost.

“It just serves to show they have a massive following.

“For the first week of a new podcast those numbers are fantastic. And, as for Banijay, they will be delighted with the initial return on their investment.”

The launch of the podcast, which will also feature regular guest appearances from Rebekah, 44, comes just a week after ITV aired three-part documentary The Vardys.

The show followed the family during his first year in Italy after he joined Serie A newcomers Cremonese. 

That series – which consolidated at more than 1.1 million viewers – has proved to be an even bigger hit on the network’s streaming service ITVX – behind only entertainment juggernauts I’m A Celebrity, Britain’s Got Talent and Celebrity Sabotage in the ratings. 

The next footballing destination for Leicester City legend Vardy – now 39 – is currently unknown.

However, the series and podcast illustrate his determination to build, with Rebekah, a powerful post-football brand – even whilst continuing to terrorise defences. 

Speaking of the podcast, Jamie said: “I am still an active player but having an opportunity to chat football and have a banter off the pitch is something that I am really looking forward to.”

The Vardys, which is available to watch now on ITVX, saw Rebekah opening up about the aftermath of the Wagatha Christie High Court trial with Coleen Rooney.

Rebekah said: “I’m living with the judgement the judge made but still to this day, I believe she was wrong.”

“People constantly go ‘well, it’s not going to change anything unless you apologise’ – but I’m not apologising for something I didn’t do.

“Like never, ever, going to apologise for something I didn’t do – it’s never going to happen. Hell will freeze over before I do that.

“It’s over, it’s done, I’m not going to carry on living in the past. I’m so f**king bored of it.”

Barry Manilow has told the story behind his first big hit so many times that I had no intention of bringing up the half-century-old “Mandy” when I sat down with the singer on a recent afternoon at his home in Palm Springs. Among the questions I did ask was how he ended up recording the song that opens his new album, and the answer — as it’s so often been throughout Manilow’s career, beginning with that 1975 chart-topper — was Clive Davis.

“It was all Clive,” Manilow said of “Once Before I Go,” the Peter Allen/Dean Pitchford number that leads off his just-released “What a Time” LP. Davis, the star-making record executive with the so-called golden ears, had been urging him to record the song for years, Manilow told me, which inevitably brought him back to the well-rehearsed tale of “Mandy” — to Davis’ decision that Manilow’s debut for his Arista label lacked a breakout smash and to his suggestion that the singer cut a version of a modest hit called “Brandy” by Scott English.

“So I went in the studio and did it trying to sound like that guy,” Manilow recalled, stomping his foot to approximate a lumbering rock beat. “Clive came in and said, ‘That’s terrible.’ I said, ‘I know it’s terrible.’ But in order to learn the song, I’d slowed it down and changed the key — I found the love song hiding in ‘Brandy,’” Manilow continued. (He also changed the title to avoid any confusion with Looking Glass’ “Brandy,” which had recently reached No. 1.) Manilow played the tune in his more romantic style for the exec. “I’ll never forget it — Clive said, ‘Just do that.’ And that was the record.” He laughed.

“He’s a kind of a genius.”

Davis, who died Monday at age 94, didn’t sing or play an instrument. “I knew nothing about music,” he once said, looking back at his entry into the record business. Yet his instincts made him one of the surest spotters and nurturers of talent in pop history, with a long — and varied — line of success stories that included Manilow, Janis Joplin, Neil Diamond, Lou Reed, Patti Smith, Whitney Houston, Aretha Franklin, Dionne Warwick, Alicia Keys, Jennifer Hudson and Maroon 5, among many others. He even helped the Grateful Dead score a Top 10 single with “Touch of Grey” in 1987.

Davis, who got his start in Columbia Records’ legal department, could identify original voices and seemed to intuit which songs were likely to become hits. Sometimes the hits came from the voices themselves, as in the case of Bruce Springsteen, whom Davis cajoled into writing “Blinded by the Light” for his Columbia debut; sometimes the exec match-made performers and composers, as in the case of “Mandy” or “Freeway of Love,” a zippy Narada Michael Walden jam that launched Franklin’s comeback in the mid-1980s.

A natty dresser with a cosmopolitan air, Davis founded Arista in 1974 after he was fired from Columbia (where he’d ascended to the presidency) amid an embezzlement scandal of which he was later cleared. In 2000, he was ousted from Arista in a corporate shakeup — just months after the label won eight Grammy Awards with Carlos Santana’s 15-times-platinum “Supernatural” LP — then launched a new label, J Records, which scored an immediate blockbuster with Keys’ “Songs in A Minor.”

Clive Davis at the Beverly Hills Hotel in 2020.

(Christina House / Los Angeles Times)

Wherever he worked, Davis’ goal was shepherding hits that spanned formats and generations; he delighted in projects like “Smooth,” the inescapable Santana single pairing the rock guitarist and Rob Thomas of Matchbox Twenty, and a series of Great American Songbook albums by the once-scruffy Rod Stewart. He might also have been the music industry’s biggest believer in ballads, at least among suits: Between 1985 and 1992, Houston alone released almost a dozen of music’s all-timers, including “Saving All My Love for You,” “Didn’t We Almost Have It All” and — perhaps the greatest pop ballad ever recorded — her take on Dolly Parton’s “I Will Always Love You.” (It wasn’t a huge hit, but listen to Houston and Jermaine Jackson’s pedal-steel-drenched “Nobody Loves Me Like You Do,” from Houston’s debut, for an early instance of that crossover ambition.)

One of relatively few nonperformers inducted into the Rock & Roll Hall of Fame, Davis brought his flair for variety to the party he threw at the Beverly Hilton every year on the night before the Grammys — a famously hot ticket that drew A-list celebs from the worlds of music and Hollywood as well as business and politics. You could always count on the exec to have persuaded some number of the year’s splashiest new acts to perform; this year’s bash, in January, had Sombr, Olivia Dean and the women of “KPop Demon Hunters.” But my favorite part of the show was always seeing which veteran Davis had tapped to mix it up with the youngsters — Diamond or Manilow, for instance, or Johnny Mathis, who absolutely killed in 2015.

Davis horrified many in 2012 when he opted to proceed with his party just hours after Houston was found dead in a hotel room at the Beverly Hilton. In the years after the singer’s death, Davis drew criticism for taking too much credit for Houston’s artistic achievements; to some, he became a symbol of the music industry’s efforts to tone down Houston’s Blackness in order to reach white audiences. Five years ago, I asked Warwick, who was Houston’s cousin, whether she’d taken on any kind of consulting role on “I Wanna Dance With Somebody,” the 2022 Whitney biopic that Davis produced.

Bobby Brown, from left, Whitney Houston and Clive Davis in New York in 1998.

(Stuart Ramson / AP)

“Not one thing,” she told me. “I want them to let Whitney rest in peace. Leave her alone. Ten years [since she died] — it’s time to let her sleep.” (In a statement Monday, Warwick called Davis her “dear friend” and said she “can think of no other record man that seemed to have that magical ability to know a hit when he heard a song.”)

I spoke with Davis many times over the years and was always struck by his enthusiasm about music and about his recall of events from decades ago. In 2017, I interviewed the exec alongside Mathis and Kenneth “Babyface” Edmonds about a record the three made together that had Mathis singing newish pop songs like Adele’s “Hello” and Pharrell Williams’ “Happy” — a concept Manilow told me in March he and Davis had been talking about replicating. After my story ran, Davis emailed me and said he’d enjoyed the piece, which had a couple of lines about Davis’ tendency to go overboard hyping his projects.

“Yes, a few of your bites required a personal Band-Aid,” he wrote, “but I did appreciate your perspective of the Mathis album’s quality.”

He knew the music was good; Clive Davis always knew when the music was good.

At the beginning of Mary H.K. Choi’s wildly entertaining presentation for her new novel “Pool House’” at Skylight Books, she reveals she won’t be reading.

“Readings are boring,” she says, tapping her Prada loafers. “It’s like you’re watching someone else play video games.”

Instead, she and Yasi Salek, host of the hit podcast “Bandsplain,” spend the evening riffing on literature, coolness, autism diagnoses and a literary perennial: unrelenting pain.

“How is your mother wound?” Salek asks in her signature vocal fry most often heard ad-libbing about the band Weezer. Salek reveals she is in Jungian therapy, adding, “What Carl says, goes.”

Throughout the discussion, Choi describes her novel as a challenging read — calling it a “gross, decaying meat soup.” She jokes that her career as an author feels like a “Make-A-Wish Foundation wish,” bewildered by any attention her work has garnered. Yet dozens of eager readers have packed into the independent bookstore, spilling into the aisles with copies of the novel balanced on their laps.

“Publishing is so slow, it’s like giving birth to a lawn chair,” Choi remarks. Later, she professes tedium with the resurgence of an alt-lit scene.

“Don’t you find that everyone has to be cool right now? Why is everyone so cool?” Choi asks Salek.

Let’s be clear: Salek and Choi are very cool. Salek sits cross-legged, dressed in all black, with a heart tattoo on her forearm that reads “books.” Before “Pool House,” Choi authored three New York Times bestselling novels. Salek recounts dropping out of her MFA program at Bennington College in 2020 to start what would become a cult-classic podcast.

Book-themed sugar cookies sold at a past Little Literary Fair at Hauser & Wirth.

(Francine Orr / Los Angeles Times)

“I love that you started a podcast instead of getting an MFA,” Choi replies.

Like Skylight Books, independent bookstores across Los Angeles have become gathering places for readers and writers alike. Authors ranging from household names to debut novelists regularly draw enthusiastic crowds. Increasingly, bookstores are functioning not only as retail spaces but as community hubs.

A few blocks from Echo Park Lake, local favorite A Good Used Book has transformed Sunday mornings into one of the neighborhood’s liveliest recurring gatherings. Visitors browse used books while enjoying charcoal portraits, handmade jewelry and Hawaiian shaved ice. Buy a book and you might even end up on the store’s coveted Instagram Story — the hottest plug in town.

“It feels like in a city as big as Los Angeles, books are still underrepresented. So there’s a lot of room to grow, and that’s exciting,” says Chris Capizzi, who founded the bookstore in 2017.

Earlier this month, the Los Angeles Review of Books hosted its annual Little Literary Fair at SCI-Arc, drawing hundreds to literary panels and workshops on zine-making, publishing and finding an agent. Vendors from across California filled the space, representing independent presses, bookstores and literary magazines.

“I find writers based [in the L.A. area] to be socially incisive in equal measure as being experimental, innovative and just fun,” says Emily VanKoughnett, the events director at the Los Angeles Review of Books. “I love the L.A. lit scene because it invites people to explore pockets of the city and connect over writing.”

This summer, literary events across Los Angeles are continuing to draw readers into bookstores, community spaces and alternative venues alike. The city’s literary scene remains as weird, profane and sentimental as ever.

Julie Hayden and Gail Gregory, the self-proclaimed ‘dementia rebels’, appeared on This Morning to share their experiences of living with dementia and challenge misconceptions about the condition

Two women determined to challenge the stigma surrounding dementia have shared their personal journeys living with the condition.

Julie Hayden and Gail Gregory, the self-proclaimed ‘dementia rebels,’ featured on Tuesday’s This Morning to mark Alzheimer’s Society’s Forget Me Not month.

Chatting to hosts Ben Shephard and Cat Deeley, Gail, from Lancashire, disclosed she had received her diagnosis in 2019 aged 54, and was informed at the time she only had six to seven years to live.

“I was running my own business, and we’d noticed changes with my personality,” she explained. “I had an embroidery business like teddy bears and clothing, and we put personalised messages on, and I was taking a lot of information in which I wasn’t retaining. So when people were placing orders, I was having trouble retaining information, so I was making mistakes, which we put down to stress at the beginning because we had just moved.

“As you do, you put things off, and you think it’s going to get better, but it doesn’t get better, it goes worse, and so other things start to creep in,” reports Lancs Live.

Eventually, Gail chose to consult a medical professional and described the assessments she underwent at the doctor’s that proved challenging, such as drawing a clock face, “getting the numbers muddled up,” and attempting to recall an address.

Reflecting on that moment, she said: “You realise there’s something wrong. It’s then that it’s reality, that there’s something wrong. But what, you don’t know.

“Nobody tells you it’s going to be dementia, and you don’t imagine it’s going to be dementia, especially not at the age of 54.

“This is where the perception is wrong. Everybody expects it to be an older person in their later years, what they don’t expect is that people younger than me have been diagnosed, there are even children diagnosed.

“It’s that perception we need to change, because it’s not the end of life, it’s the beginning of a new one.”

Julie also revealed how she had been suffering from “life-changing” symptoms for more than five years when she was diagnosed, but was dismissed by the doctors.

She was told she was depressed and going through menopause, and it took Julie more than five years for a diagnosis.

Julie and Gail are now both supporting other people with dementia, particularly younger people, and fighting back against the stigma of people living with the condition.

As she urged for more training and information to support doctors, Julie said, “I can’t tell you what it’s like to live with cancer and go through the treatments because I’ve never been there. Nobody can tell you what it’s like to live with dementia unless they’ve actually lived with it.”

She added, “I had huge surprises as to what it was like, compared to how I thought it was going to be like when I got my own.”

Sharing her gratitude for the support they’ve both received from friends, family and those spreading awareness, Gail read: “A diagnosis of dementia, it can change many things but it should never, ever change our worth.

“We don’t need pity, and we don’t need to be pushed aside, because we need understanding and support and the opportunity to continue to live our lives with purpose, dignity, and connection.”

She added, “When I got my diagnosis, they said to me I would have six to seven years to live. I’m in those years now, and I’m still going, and what people should be saying to us is, go outside and live your life. Do the things that you want to do because that’s what life’s about at the end of the day, it’s about living.”

She continued: “I’m very grateful for dementia, because dementia has made me calm down. It’s made me appreciate the things that we have, like nature and things like that; it’s been wonderful. We get so many opportunities that we wouldn’t even dream of having, like coming here today, it’s wonderful.”

This Morning airs weekdays from 10am on ITV1 and ITVX.

For more information, visit https://www.alzheimers.org.uk/

Paul Avery, a journeyman actor best known for his role on “All My Children,” and his wife, Sheila, have died following a house fire. He was 81 and she was 77.

The couple’s death was confirmed by their daughters Parker Sanchez and Kyle Avery, who said the fire broke out in their home in Blairstown, N.J., early last Tuesday morning. While firefighters were able to reach Paul and Sheila inside the Mohican Road home, the couple succumbed to smoke inhalation.

The cause of the fire is under investigation.

Paul had a recurring role playing Hughie the bartender at Foxy’s on the ABC daytime soap “All My Children” for 12 years. He also acted in the 1978 film “Superman,” “Three’s Company,” “Soap,” and appeared in more than 300 commercials. He also acted in theater productions and produced plays in both New York and Los Angeles.

According to his daughters, the actor joked that his “elastic face” landed him multiple national commercials that ran concurrently. Casting directors looking for a “Paul Avery type” would turn the actor away because he was in too many commercials.

“He had a teeny tiny part — one line in Superman — but boy did he make a meal out of that,” Sanchez joked.

Kyle Avery added that at the Oscars, they played a clip from “Superman” that featured Paul reciting his line.

“His good friend ran into the kitchen and made him an Oscar out of tinfoil and handed it to him,” she said. “But I think the thing that he was proudest of was that he could make a living as an actor.”

Paul Avery was born Oct. 8, 1941; and Sheila Avery was born May 22, 1949. Paul was raised in Indianapolis, served in the Vietnam War in his 20s and moved to Los Angeles and then New York by his late 20s to try to make it as an actor. Sheila was raised in Kansas City, Mo., and moved to New York where she worked as a registered nurse but also had a background in theater.

She studied the craft in college, performed on a USO tour in Vietnam and worked as a costume mistress.

According to the couple’s daughters, the two brought their Midwest charm and sensibilities to the East Coast.

The couple met while living in an apartment building filled with other journeymen actors in the late 1970s.

“They were all part of this theater community, people who would go from regional theater to regional theater with the season,” Kyle Avery said. “They were a whole troupe of people who’d be in New York for part of the year, but then they’d go and be in Lakewood, Ohio, or Kansas City or Chicago, just following the theater.”

Sheila was previously married to John Quincy Bruce Jr., also an actor in the New York theater community and the father of Sanchez. Sheila and Paul got together in 1982 and married in 1984. They celebrated their 42nd wedding anniversary in April.

Paul was a jack-of-all-trades and master of many. He was a small plane pilot who often flew into a tiny airport in Blairstown, N.J., which is how the couple discovered the town they’d call home. There, they opened a bookstore, Cabbages and Kings. Paul also launched a magazine: the Warren County Companion. According to the couple’s daughters, Paul was the first internet service provider in town. He also penned film reviews for the New Jersey Herald and some for the New York Times as well.

Sheila found what her daughters called the “perfect job,” which brought together her work as a registered nurse and background in theater: speaking in schools about domestic violence and sexual assault. She also became a counselor who worked with survivors, and a trainer who worked with volunteers, teaching them how to interact with victims.

“People who took her training 20 years ago have been contacting us and saying, ‘Your mother changed the way I thought about the world, she is the basis for my feminism,’” Sanchez said. “It’s been so fascinating to hear the ripple effects of young women who took that training from her, and who are now middle-aged women who are still thinking about her.”

The daughters said that their parents were community icons who were dedicated to service. “They had a sense of duty to the people around them,” Kyle Avery said.

“They loved to throw parties,” Sanchez said. “They hosted an annual event called Faux Giving and they would have these insane traditions, like we would have a head-measuring contest and measure the circumference of people’s heads, and then a winner gets to eat their pie first, and a badge.

“Whoever had the smallest head, everyone there would shout, ‘Pin head! Pin head!’ at this person, and it was the silliest thing in the world, but everyone who attended that event, even if they came one time, would talk about it forever.”

Kyle Avery added, “They were incredibly memorable.”

“They were community builders, they were people who wanted to nourish you in every way, and they were so good at it.”

They are survived by their children: Kyle Avery; Parker Sanchez and her husband, Pablo; Paul Avery’s son from a previous relationship, Stuart Sutherland; and their grandchildren, Avery, Duncan and Liana.

LIAM Payne’s ex Kate Cassidy has revealed she’s been “dumped” by her new man over “anger” issues – just two weeks after going official.

The influencer, 27, admitted in April that she felt “ready to start dating again” before sharing a video of her being swept off of her feet by a man.

But it looks like the new romance is over as she took to TikTok to share a relationship update.

Kate told her followers: “I got broken up with, I got dumped you guys.

“I’ve been super MIA online here about my updated dating situation going on, that is because I recently met someone.

“I feel like things were moving super fast kind of, if you know me, you know I have a tendency of moving fast.

READ MORE ON KATE CASSIDY

KATE’S HELL

Sad truth behind Kate Cassidy bikini pics after trolling from Liam Payne fans

BEAUTY IS PAIN

Liam Payne’s girlfriend Kate Cassidy reveals long list of cosmetic surgery

“Let’s just name this guy Joe. Joe was really sweet and I feel like he was kind of like a lot of things I wanted in a guy.

“He’s really super low-key, he doesn’t have any social media which I actually really liked. I met his family, he took me on a trip, things were going really well, really quick.

“I f****d up. Dating after losing somebody that you genuinely thought you were going to spend the rest of your life with is really tough because I physically look for Liam in every single guy that I meet,” she bravely admitted.

“If they don’t hit all the check marks, I tend to either back away or almost resent this person and it’s so crazy.

“There were certain times where I would get so angry with this guy because I physically would be like, ‘oh Liam would do this so why aren’t you doing this?’

“Or he would do something and I would be like, ‘Liam would never do that, why are you doing that?’

“He texted me yesterday and we should go our separate ways because it’s just too much and I understand,” Kate explained.

“I feel sad because I don’t like losing people and I feel like especially in the beginning of a situationship, it’s so fun and you’re so excited to see where it goes.”

Her TikTok followers rallied around her in the comments section and offered her support as she continues to live without Liam.

One person wrote: “The whole point of the dating journey after losing someone is to learn and understand your feelings.

“You won’t always compare every guy to Liam, and you’re learning that as you go along.”

Another social media user penned: “I didn’t know you were actually dating someone, I’m so sorry you got broken up with though, you will find the one someday!”

Somebody else said: “Liam would be proud of you for putting yourself out there again. I’m sure all he wanted was for you to be loved the right way and someone will come along who will do that again.”

While a fourth added: “Your heart isn’t ready yet. Don’t blame yourself. He wasn’t the one.”

Earlier this month, Kate shared a video of herself walking into a lavish event while donning a blue silk gown.

A handsome man in a suit walked beside her and put his arm around her before lifting her up and into his arms.

Twirling her around, the man held on tightly to Kate as she beamed from ear to ear.

“I love having a crush,” she penned in the caption of the post.

Meanwhile, over the top of the video, Kate wrote: “When you know you know.”

The content creator was in a relationship with the One Direction star before his tragic death at the age of 31 in October 2024.

They were together for two years and first met in South Carolina in the Autumn of 2022.

The pair were holidaying together two days before Liam’s fatal fall at a hotel in Buenos Aires, Argentina.

Liam Payne’s 9-year-old son has inherited the late singer’s fortune.

Bear Grey Payne, the only child of Payne and British singer and former “X-Factor” judge Cheryl Cole, has been named the sole beneficiary of the former One Direction star’s estate, according to court documents reviewed by People.

Bear now has more than $29 million to his name. According to the filing, a portion of the inheritance can be accessed now, but the majority will be held in a trust for another nine years, until Bear turns 18.

During a 2019 appearance on “The Jonathan Ross Show,” Payne opened up about fatherhood and spending time with Bear after the singer and Cole had called it quits.

“He comes over to my house every so often, and we just hang out and do whatever,” Payne said of his then-2-year-old son. “I think you put pressure on yourself as a dad sometimes. It’s hard to connect with it with a 2-year-old … but they literally will laugh at anything. We put this Batman costume on him in the house, and it was a little bit slidey on the floor, and he kept falling off the sofa. And if I said ‘Whoopsie-daisy!’ and it was like the best thing ever.”

Payne, who was one-fifth of the global boy-band sensation One Direction, died Oct. 16, 2024, after falling from a balcony at the CasaSur Palermo Hotel. Officials determined the 31-year-old singer died from multiple traumas caused by the fall. He had traces of alcohol, several narcotics and a prescription antidepressant in his system when died, according to officials.

The boy-band star turned solo artist had been open about his battle with addiction and mental health and shared updates on his sobriety journey on social media.

After Payne’s death, the National Criminal and Correctional Prosecutor’s Office of Argentina charged five people for alleged involvement in the pop singer’s death, including a representative for Payne and the manager and the head of reception of the Buenos Aires hotel where the British singer fell to his death.

Another hotel employee and a waiter whom Payne met in a restaurant were charged with supplying the singer with narcotics.

Times staff writers Alexandra Del Rosario and Karen Garcia contributed to this report.

Football fever is sweeping the nation, but one TV vet says the excitement of World Cup matches could be having an unexpected impact on pets

As football fans soak up every goal, near miss and dramatic result, many may be overlooking one beloved member of the household. According to one TV vet, the noise and excitement surrounding World Cup matches could be causing hidden stress for dogs.

Dr Scott Miller issued the warning during an appearance on ITV’s This Morning over the weekend. He explained that while humans may enjoy the thrills and spills of tournament football, dogs can find the experience far more overwhelming.

“It’s so exciting having the World Cup and people get excited, overexcited, and there’s a lot of high-pitched shrill noises that emanate from our beings,” he said. “They’re the sounds that our dogs are particularly sensitive to.”

The vet explained that dogs have far more sensitive hearing than humans. According to Dr Miller, a dog can hear sounds from around four times further away than a person.

“So if you can hear something from 20 metres away, they can hear it from 80 metres away,” he said. “You can imagine when you have your family, who are normally calm and lovely, suddenly screaming away beside them.”

Dr Miller compared the sudden outbursts during matches to the effect fireworks can have on pets. He said unexpected cheers, shouting and celebrations can be frightening because animals receive no warning before the noise occurs.

“It’s just these high-pitched sounds that happen out of nowhere,” he explained. “They don’t get any warning for them.”

The warning comes as millions of football fans prepare to watch matches throughout the tournament. Research from Dogs Trust suggests many dogs can experience anxiety when exposed to loud or unfamiliar noises, with fireworks, thunderstorms and shouting among the most common triggers.

Animal welfare charity Blue Cross claims signs of stress in dogs can include trembling, panting, pacing, hiding, excessive barking and attempts to escape from noisy environments. Some dogs may also become withdrawn or unusually clingy when feeling anxious.

Fortunately, Dr Miller says there are several steps owners can take to help. One of the most important is ensuring pets have access to a quiet space away from the excitement.

“Have somewhere that your dog can slink away to, or your cat as well, away from the noise and the hubbub of the game,” he advised. He also suggested tiring pets out before kick-off. A walk, interactive play session or mentally stimulating activity can help encourage relaxation later in the day.

“Making sure they’re nicely tuckered out, maybe play an interactive game with them, stimulate their minds as well as their body, and then feed them as well,” he said. “So they’ve got that sort of Sunday afternoon feeling. They are a bit sleepy and a little bit relaxed.”

For households expecting particularly loud celebrations, Dr Miller recommended drawing the curtains and playing low-level background music. These measures can help mask sudden noises from both inside and outside the home.

While football fans may be focused on the action on screen, experts say it’s worth keeping an eye on pets too. A little preparation could help ensure that both owners and their dogs enjoy a more comfortable tournament.

ROMEO Beckham has made his acting debut in a gay tennis movie – as he flirted with his co-star in a first look of the film.

This comes days after Romeo and girlfriend Kim Turnbull enjoyed a pricey Harrods picnic after he was pulled over in £100k Porsche.

Romeo stars opposite Paul Kircher (The Animal Kingdom), Guillaume Canet (Sink or Swim) and Benjamin Voisin (The Stranger).

The movie, Forty Love, centres around Sacha Gallo, a tennis superstar who’s been training with his father to win a major trophy in Paris.

But the arrival of a charismatic new rival — played by Romeo — challenges everything Sacha thought he understood about competition, ambition and himself.

The synopsis reads: “For the first time, he faces an opponent of an entirely different nature — love.

OFF TRACK

How Lando Norris’ on/off girlfriend really feels about his wild night in Monaco

LIP REVEAL

Katie Price unveils results of new lip lift surgery after being left bruised

“A force as exhilarating as it is destabilizing — and far more dangerous than anything he has encountered on the court.”

Romeo, the son of football legend David and fashion designer Victoria, has modelled for the biggest luxury brands like Yves Saint Laurent and Balenciaga for years.

Fans flocked to comment on social media and one wrote: “Romeo picking a debut where the rival becomes the love interest is bold casting.”

Another said: “Watching this to see if romeo can sell the moment the match turns personal.”

A third said: “Beckham energy meeting soft tennis drama is giving unexpected but welcome character arc.”

“This setup turns every serve into a metaphor and i’m here for it,” said another.

While a fifth wrote: “From the football pitch to a romance film…. That’s an unexpected career move. Wishing him the best for his acting debut.”

Forty Love marks the first directorial outing by renowned fashion photographer Pierre-Ange Carlotti.

The film is produced by Hugo Sélignac and Paco de Bary at Chi-Fou-Mi Productions, a Mediawan company, and co-produced by Studiocanal and Manna Studios.

As Coronation Street revealed it was Sarah who killed Theo on Monday, actress Tina O’Brien addressed whether she could be leaving the ITV soap and her reaction to the twist

Coronation Street’s Sarah Platt has been exposed as Theo Silverton’s killer.

Now, actress Tina O’Brien, who has played the character since 1999, has addressed whether she’s about to bow out for good. Flashbacks during Monday’s episode confirmed what really happened to Theo, and who was to blame.

We saw Sarah accidentally killing Theo after he turned sinister. As he threatened her, she shoved him before hitting him over the head with a metal pole, leading to him plummeting off the scaffolding.

In the fallout, Sarah will be desperate to cover her tracks. But will she be caught out, and could it lead to a prison stint, or possibly a permanent exit from the ITV soap after after nearly 30 years in the role?

Tina shared: “It’s not just about her now, it’s about her family and her son, and there are times when she can’t cope with the pressure and you think she’s just going to hand herself in. And then she thinks about her son growing up without a mum, if she’s convicted and can’t prove she acted in self defence.

“And because of those things, she’s so desperate to do whatever it takes to be part of her family’s life.” It was her ex Gary that she frantically called for help, with him now keeping her secret.

With Gary’s rivalry with Sarah’s partner Kit Green now at boiling point, Tina explained why Sarah told Gary and not detective Kit. She said: “I think she absolutely went into panic mode, shocked, stunned and numb. She obviously didn’t know what to do, she didn’t know how to react and in that moment she thought, I can’t call Kit because of his job in the police.

“And so in that moment, she thought who can I call and it was Gary. There’s a lot of guilt there and I think also, selfishly, she feels like she’s ruined her chance with Kit, because if he knows what she’s done, he might not want her anymore and she so wanted him to be her future.”

This isn’t the first time Sarah has been caught up in a murder plot. Fans will recall that back in 2015, Sarah’s sister-in-law Kylie Platt murdered Sarah’s love interest Callum Logan. Callum had tried to attack Sarah, leading to Kylie killing him with a wrench.

Sarah and Kylie, with the help of Sarah’s brother David Platt, covered up the crime, and buried the body under their house. Sarah’s mental health spiralled in the fallout, and she was admitted to a psychiatric unit for treatment.

With Sarah caught up in another murder, Tina said this time her character could face prison. She teased: “If she’d have called the police straight away and explained what happened, she would have been in a much better situation, because it was clearly not pre-meditated, it was a situation where she felt she had no other choice.

“But to cover it up, to actively cover something up, she knows that she crossed a line that she can’t come back from.” She added on exit fears: “I genuinely didn’t worry, at the end of the day this job is incredible, but to be an actor is not necessarily a job for life. So, I just was really excited to be given the honour of being the murderer, and then hopefully, however it plays out, I’ll enjoy Sarah’s arc.”

So does this hint that Sarah will stick around? After keeping quiet for months, Tina shared: “I’ve literally been a big bag of nerves. It’s been so difficult, I told my mum and I just recently told my daughter Scarlett and my son Beau. You’re seeing all the chat on social media, everyone’s saying I think this, and I think that.

“Actually filming these scenes the weeks after have been the hardest thing I’ve ever filmed because I felt like my face looked guilty constantly and I thought everyone’s going to know it’s me instantly.”

It came as no surprise to Tina though that Sarah killed Theo. She explained: “I completely understand how it happened, why it happened. For me to get into her character and her head, I feel like in that moment, she didn’t feel like she had any other choice.”

Coronation Street airs weeknights at 8:30pm on ITV1 and ITV X. * Follow Mirror Celebs and TV on TikTok, Snapchat , Instagram , Twitter , Facebook , YouTube and Threads.

Amazon’s Prime Day sale is underway, and members can subscribe to platforms such as Apple TV, Paramount+ and MGM+ with up to 60% off.

Amazon has slashed the price of Apple TV, Paramount+ and MGM+ by up to 60% to mark the start of its latest Prime Day sale. On Tuesday (June 23), the retail giant kicked off its latest site-wide sales event, where subscriptions for several major streaming platforms now start at £2.99.

During the sale, Amazon customers can bag an Apple TV subscription for half price at £4.99 (was £9.99) per month. Those securing the deal will lock in the lower price for two months, after which it reverts to the usual £9.99 until cancelled.

Similarly, MGM+ – the home of Project Hail Mary – is now £2.99 (was £5.99) for two months, while Paramount+ is £2.99 (was £7.99) for one month. The deals are running until July 2 and come as Amazon kicks off its Prime Day 2026 sale.

READ MORE:

Across June 23-26, there are discounts on thousands of items exclusively for Prime members or shoppers on a Prime 30-day free trial. Elsewhere in the sale, Prime Video is offering free trials of Lionsgate+, Studiocanal Presents and Crunchyroll.

A caveat is that both the reduced streaming subscriptions and free trials will roll on to standard paid subscriptions at the end of the promotional period. This means subscribers should make sure to cancel their subscription before the end of the discounted or free period if they want to avoid paying the standard rate.

Get Apple TV half price for two months

£9.99

£4.99

Amazon | Apple TV

Get Apple TV+ here

Amazon customers can subscribe to Apple TV through Prime Video for £4.99 per month for two months until July 2.

Elsewhere, Sky is giving away streaming subscriptions at no extra cost with its TV packages, with customers signing up for the £24 Ultimate TV bundle able to claim free access to Netflix, HBO Max and Disney+. It also comes with around 135 channels, including Sky Atlantic

For those opting for Apple TV, the streamer has released some highly acclaimed titles already this year. Including comedy horror Widow’s Bay, which holds an impressive 98% Rotten Tomatoes score.

Just launched is the sophomore season of Sugar. The neo-noir detective series led by Colin Farrell as private investigator John Sugar.

Also available to stream are beloved series like Ted Lasso, Severance and Slow Horses. Alternatively, Apple TV offers a seven-day free trial when signing up directly on the platform.

MGM+ also has some hit new titles streaming now, such as Ryan Gosling’s space epic Project Hail Mary. The box-office smash only hit cinemas in March but is included at no extra cost with the Amazon deal, alongside series like Outlander and the James Bond film catalogue.

On Paramount+, members can catch the latest series of Michael Fassbender’s spy thriller The Agency and new episodes of Yellowstone spin-off Dutton Ranch. These are also available on the Paramount+ platform, which is running its own £2.99 deal.