comeback

Top Gear was suspended before the BBC announced in November 2023 that it would not be returning “for the ­foreseeable future” but now insiders say it is returning

Four years after the horror crash that saw Freddie Flintoff suffer life-changing injuries, the car show Top Gear is being brought back by the BBC according to insiders.

In 2022, Freddie’s life was changed after a car crash while filming BBC1’s Top Gear at Dunsfold Aerodrome in Surrey left him with devastating facial injuries. He underwent extensive reconstructive surgery led by maxillofacial surgeon Mr Jahrad Haq. Freddie is believed to have been paid £9million compensation.

The popular series was suspended before the BBC announced in November 2023 that it would not be returning “for the ­foreseeable future”. However, Prime Video has since announced a reboot of The Grand Tour, the motoring show hosted by Clarkson, May and Hammond after they left Top Gear.

READ MORE: BBC Question Time panelist slams Nigel Farage over £5million gift from Thai-based billionaireREAD MORE: Britain to lose 163,000 jobs amid Iran war fallout – with two UK regions hit the hardest

A new presenting team will replace former hosts Andrew Flintoff, Paddy McGuinness and Chris Harris. BBC Studios has already started work on the reboot, which could be aired next year — half a century after the show launched in 1977.

An insider told The Sun: “BBC bosses are keen to revive Top Gear because they have never filled the space it left behind and so many viewers hanker after a motoring show. And it’s not just in Britain that the programme is much loved, it is a brand in its own right and watched by millions around the globe.

“Which is why it wasn’t just important to satisfy the needs of petrolheads, but also, specifically, fans of Top Gear. They’ll be thrilled to hear it is returning.”

The search is already under way for new presenters for the show.

Hosts over the years

The show’s most successful period came with Jeremy Clarkson and the little-known Richard Hammond and James May — plus the mysterious Stig — from 2002 to 2015.

There was a brief period from 2016 when DJ Chris Evans and Friends star Matt LeBlanc took over. Then in 2019, former England cricket captain “Freddie” Flintoff and comedian Paddy signed up to present alongside motoring expert Chris.

While the BBC insider said the show “is returning” the Beeb and BBC Studios, who produce the show, said they had no updates on whether the show was returning.

A spokesman for BBC Studios said: “The Top Gear brand continues to thrive across digital, publishing, and global formats. As a commercial producer, we’re always exploring new ways to develop the brand and reach audiences by leveraging such iconic IP.”

Boston were 99-98 behind following two Neemias Queta free throws before Maxey scored eight unanswered points to give his side a 107-98 lead with 15 seconds left.

“We started off well and then in the second quarter we kind of relaxed a little,” said Embiid. “Same thing with the start of the fourth.

“But we stuck together, closed it out.”

He added: “It means a lot. You can’t win alone, you need a team to be able win and everybody doing their job.”

Embiid had returned for the last four games of the series after an emergency appendectomy had ruled him out since 6 April.

“What changed in the series is Joel Embiid came back, and they’re a completely different team,” said Celtics coach Joe Mazzulla.

Boston star Jayson Tatum missed the decider because of a left knee issue, with Jaylen Brown top scoring for them with 33 points.

“Loved the looks that we got, loved the process that we had, but hate the result,” said Mazzulla.

Seoul – Shekinah Yawra had no other option but to spend the night at a South Korean jjimjilbang, a 24-hour bathhouse, after every hotel near central Seoul sold out in late March.

But sleep was secondary for the 32-year-old Filipino who had made her way to Seoul’s Gwanghwamun Square at 7am to secure a spot in a crowd that city officials estimated would grow to hundreds of thousands.

All this was for a glimpse at the seven-member K-pop supergroup BTS, who returned to the stage on March 21 after almost four years away from the limelight for their staggered, mandatory military service.

Though she failed to secure one of 22,000 free tickets for BTS’s first return concert in the square, Yawra was still ecstatic to stand on the sidelines and watch the concert live on a big screen set up for the occasion.

“We all came just for this,” she told Al Jazeera, recounting how friends had flown in from the Philippines for a single night to catch the concert.

Worldwide, more than 18.4 million viewers tuned in for the Netflix livestream of the concert.

With an estimated 30 million fans worldwide – who refer to themselves as the BTS ARMY – the K-pop group is the most visible symbol of “Hallyu”, or the “Korean Wave”, and the global surge of interest in South Korean popular culture and the financial revenues being generated as a result.

In late March, BTS’s 10th studio album, Arirang, topped the charts in the United States, Japan and the United Kingdom, the world’s three largest music markets. The group’s upcoming world tour is expected to generate more than $1.4bn in revenue across more than 80 shows in 23 countries.

Domestically, inbound tourist numbers for the first 18 days of March rose 32.7 percent from the previous month, according to Ministry of Justice data, as the return concert approached and hotel prices surged across central Seoul amid the demand for rooms.

In the week leading up to the concert, sales of BTS merchandise – from BTS glow sticks to blankets – surged 430 percent at the Shinsegae Duty Free retail outlet in central Seoul, the company said.

Over the concert weekend, revenues also rose 30 percent at the city’s Lotte Department Store and 48 percent at Shinsegae overall, compared with the same March weekend a year earlier, in 2025.

As far back as 2022, the Korea Culture and Tourism Institute (KCTI) – a government-sponsored think tank and research organisation – estimated that a single BTS concert in Seoul could generate up to 1.2 trillion won ($798m) in overall economic impact.

KCTI researcher Yang Ji-hoon told Al Jazeera that a sample study of the crowd at the BTS comeback event at Gwanghwamun Square highlighted the uniqueness of fandom-driven tourism. More than half of those at the concert were foreign visitors and many required long-haul travel to attend.

“In Europe and the United States, travel tends to be concentrated within its own regions,” Yang said.

“So, for people to overcome such travel barriers and come to South Korea, it usually requires more than just ordinary motivation or typical spending – it’s not something that happens easily,” he said.

K-pop’s transition to the global mainstream

The scale of BTS’s return to the entertainment world reflects a broader state-backed strategy.

When music promoter Hybe requested Seoul city support for the Gwanghwamun square comeback concert, authorities approved it on public-interest grounds, treating the event as a showcase of national cultural influence.

Almost befitting an official event, more than 10,000 state personnel were deployed for security, logistics and crowd control.

According to data retrieved by South Korean publication Sisain, through a public information disclosure request to the Seoul government, close to 130 million won ($87,400) of city funds were spent as part of logistics for the comeback concert.

South Korean government support for BTS has a precedent.

As members of the boyband approached South Korea’s mandatory military service age, policymakers debated special exemptions for members of BTS, which was estimated to have generated $4.65bn annually to the country’s economy.

After BTS’s forthcoming concerts in Mexico City sold out in just 37 minutes, Mexican President Claudia Sheinbaum urged South Korea’s President Lee Jae Myung to “bring the acclaimed K-pop artists more often”, noting nearly one million fans in Mexico had attempted to secure 150,000 tickets.

South Korea’s cultural influence is also extending beyond music.

South Korea’s cosmetics exports surpassed $11bn last year, according to global accountancy firm PricewaterhouseCoopers (PwC), overtaking France in cosmetics shipments to the US, while South Korean food and agricultural exports reached a record $13.6bn, according to data from the Ministry of Agriculture, Food and Rural Affairs.

KCTI researcher Yang described the growing interest as a phase of “transition to the global mainstream”, where South Korean products are internationally recognised and content output is measured against worldwide benchmarks such as the Billboard charts and the Academy Awards.

He also warned that structural reform is now essential to keep pace with the wave of interest in South Korea.

“As the industries expand in scale, they must also evolve in its underlying systems, infrastructure, and workforce,” he said.

“Rather than focusing solely on direct financial support, future governmental policies should move toward strengthening foundational conditions – such as improving labour environments, addressing unfair practices, building relevant infrastructure, and establishing more robust statistical and data systems,” he said.

Politicians appear to be paying attention.

During his election campaign last year, President Lee framed the next phase of cultural expansion as “Hallyu (Korean Wave) 4.0”, with promises to grow the sector into a 300 trillion won ($203bn) industry with 50 trillion won ($34bn) in exports.

In line with this vision, the government set the budget to bolster “K-content”, support the “pure” arts sector and strengthen the overall culture-related fields at a record 9.6 trillion won ($6.5bn) — reflecting the president’s view of the cultural sector as a strategic national industry rather than merely a consumer market.

South Korea’s strategy appears to be paying off.

South Korea now ranks 11th globally in “soft power”, according to Brand Finance’s Global Soft Power Index, placing the country as both “influential in arts and entertainment” and “products and brands the world loves”, just behind the US, France, the United Kingdom and Japan.

The darker side of K-pop: Pressure to become a perfect idol

Amid its global success, the darker side of the K-culture industry has received more scrutiny.

Mega-promoter Hybe has been embroiled in a prolonged dispute with K-pop’s New Jeans, a band considered to be a potential heir to BTS and their all-female colleagues Blackpink. The highly public legal dispute that started in 2024 highlights industry tensions over creative control and artist autonomy.

Since the early 2000s, K-pop has also grappled with the legacy of “slave contracts”, or highly restrictive agreements limiting artists’ freedom. Although reforms by the Fair Trade Commission have improved protections for performers, contractual obligations in the K-pop industry are exacting on new performers and their strict work routines have long been documented.

From their trainee years, aspiring idols endure gruelling schedules that involve long workdays and little sleep.

Many top stars often face contractual restrictions on socialising, using their phones or dating. They are also typically limited in what they can say publicly, relying on agency-managed messaging to communicate with fans and the media.

While the rise of social media and other online platforms has opened new avenues for more direct expression and interaction in recent years, concerns over burnout and depression have continued to shadow the industry, with several high-profile stars taking their own lives.

Beauty standards associated with the K-culture genre have also become another flashpoint for controversy.

A 2024 report by South Korean economy news site Uppity found 98 percent of 1,283 respondents born between 1980 and 2000 viewed physical appearance as among the most desirable “social capital” an individual can possess.

Nearly 40 percent of respondents in the survey had undergone cosmetic procedures, while more than 90 percent held neutral or positive attitudes regarding undergoing medical procedures to enhance beauty.

According to the International Society of Aesthetic Plastic Surgery, South Korea has the world’s highest rate of procedures, with 8.9 per 1,000 people compared with 5.91 per 1,000 people in the US and just 2.13 per 1,000 in neighbouring Japan.

Yoo Seung-chul, a professor of media studies at Ewha Womans University in Seoul, said that K-culture has reinforced the normalising of beauty as a significant metric of personal and social value.

“K-culture has reinforced systems and structures around self-expression,” Yoo told Al Jazeera.

“With the rise of webtoons that incorporate themes like plastic surgery, there has been a noticeable reduction in the stigma towards going under the knife among younger audiences in their teens and early twenties,” Yoo said, explaining that popular plastic surgery platforms such as Unni have further normalised the trend by connecting people to clinics and reviews of these clinics and their surgeons.

At the same time, globalisation has reshaped the K-culture industry itself. Many new K-pop acts now include international members to broaden appeal.

Hybe has expanded this strategy through its US subsidiary, Hybe America, producing globally oriented groups like Katseye, which only has one South Korean member in its six-member girl group.

The shift has prompted debate.

Even BTS’s latest album Arirang – a nod to South Korea’s most iconic folk song – has divided fans over its use of English lyrics and foreign producers.

“K-content is being designed with global audiences in mind from the outset. In film, there has been a noticeable rise in genres like horror and science fiction, which are easier to export internationally,” Yoo said.

“This global orientation is also reflected in K-pop agencies recruiting foreign members for idol groups,” he said.

But international audiences do not always prefer highly globalised versions of Korean content, Yoo said, adding, in fact, that many are drawn to K-pop’s “sense of locality”.

As audiences increasingly seek authenticity, Yoo argues the industry faces a defining challenge.

“Industries and companies need to figure out how to preserve a sense of local identity while effectively marketing to global audiences,” Yoo added.

“Striking that balance will be crucial in shaping the next phase of Korea’s cultural exports.”

Pimblett threw 170 strikes to Gaethje’s 200, with a majority of the contest being contested on the feet.

Gaethje, 37, knocked Pimblett down twice on the way to securing the interim belt and a shot at Ilia Topuria at UFC White House on 14 June.

Pimblett is back in camp and aiming to return to action at UFC 329 in July.

The 31-year-old is waiting to be assigned an opponent but Frenchman Benoit Saint-Denis, currently on a four-fight winning streak, is rumoured to be the current frontrunner.

Pimblett says he is eager to have a rematch with Gaethje in future.

“I’ve got to show everyone why I deserved to get that title shot, show everyone that I’m going to be getting another one in the near future,” Pimblett said.

“I hope [Justin] beats Ilia so I can fight him again.

“That’s all I’m hoping for. He’s got a big ask, beating Ilia Topuria.”

The most decorated American Olympian in athletics, Felix won her only solo gold in the 200m at London in 2012, but also topped the 4x400m relay podium at every Games between 2008 and the delayed 2020 Tokyo Games.

She also won 4x100m relay titles in 2012 and 2016, and took 200m silver in 2004 and 2008, along with 400m silver and bronze in Rio and Tokyo respectively.

The LA native also won a record 20 medals at the World Championships, the most for any woman or man, including 14 titles.

Felix, who also has a daughter born in 2018, attended the 2024 Paris Olympics as a spectator and said she experienced “mixed emotions”.

“There were moments where I was like, ‘Oh, this is so great. It’s so exciting to be in the stands and on the other side,'” Felix told Time magazine, external.

“And then there were moments where I was, ‘You know, I miss this feeling’.”

Felix, a member of the athletes commission for the 2028 LA Olympic organising committee, said she is realistic about her comeback.

“I know, at 40, I am not at my peak. I have no illusions about that,” she added. “I’m very clear in what it is and what I want to see. And so I hope it’s seen that way.

“When I was competing, you just heard this roar for host-country athletes at the Olympics. I would love to experience that.

“I would probably be upset at myself if I just didn’t give it a try. However it turns out, I’ll still be there with my kids, hanging out and cheering everybody on.”

Allyson Felix is attempting a comeback at age 40 that could give her a chance to add to her Olympic-record medal haul two years from now in Los Angeles.

Felix, a mother of two, told Time magazine she thought about coming back some four years after calling it quits and decided: “Let’s go after the thing. Let’s be vulnerable.”

“You know, at this age, I should probably be staying home and taking care of my kids, doing all that. And just, why not? Let’s flip it on its head,” she said.

Felix has won 11 Olympic medals — the most by any woman in track — and has a record 20 medals from world championships.

She is a seven-time Olympic champion, with six in the relays and her lone individual gold coming in the 200 meters at the 2012 London Games.

Before retiring in 2022, she became an outspoken advocate for athletes who become mothers and want to keep their careers going.

Felix, who landed a spot on the IOC Athletes’ Commission in retirement, has two kids — 7-year-old Camryn and 2-year old Trey.

She said she expects to start full-time training with her coach, Bobby Kersee, in October with the goal of competing in 2027. The Olympics will be in her hometown a year later.

“I totally get the person who sticks around too long and you’re like, ‘What are they doing?’” Felix said. “I know, at 40, I am not at my peak. I have no illusions about that. I’m very clear in what it is and what I want to see. And so I hope it’s seen that way.”

The sports-themed panel show, A League of Their Own, is set to make a new comeback just one year after it was axed from TV after 20 seasons on Sky.

A year after the show was axed, A League of Their Own has announced that it will return in the form of a live arena tour, set to take place later in 2026 in the autumn.

It was announced that many of the famous faces from the show will be making an appearance again, with Jamie Redknapp and Jill Scott returning to the show. Jill will be the team captain for the blue team, while Tony will lead the red team.

Tom Davis, Patrice Evra, and Maisie Adam will also make guest appearances, with more A-listers set to be announced. The tour is set to hit major cities including Liverpool, Manchester, London, Newcastle, Birmingham and Glasgow, giving fans the chance to experience the action up close like never before.

As in the TV show, the live tour will include challenges in the studio, but this time performed live on stage in front of audiences.

Speaking about the tour announcement, Jamie Redknapp said: ‘‘I can’t wait to take A League Of Their Own on tour to some of the biggest and best venues in the UK. We’ve put together a top team of League legends, some very special guests, and every night promises to be different.

“It’s gonna be loud it’s gonna be chaotic and it’s probably gonna be full of Leatherman jokes at my expense. Hosting A League Of Their Own Live is a dream job, so come and join in the fun. See you there!”

The announcement that the series was coming to an end came in April 2025, with Sky revealing the series would be ending after the 20th season.

Phil Edgar-Jones, Executive Director of Original Unscripted at Sky, said: “Series 20 is the perfect opportunity to celebrate everything A League of Their Own has achieved and to give it the send-off it truly deserves.

“We’re incredibly proud of the show — it’s been a cornerstone of Sky’s entertainment line-up for fifteen years and has delivered endless laughter, heart, and unforgettable moments. Huge thanks to the brilliant team at CPL Productions and to our fantastic on-screen line-up — Romesh, Jamie, Jill and Micah — who continue to bring such energy and chemistry to the show.”

Tickets for A League of Their Own go on sale on Friday, May 1 on Ticketmaster.

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

BACK in the 80s and early 90s, this movie star was known for huge blockbuster films, and was one of the biggest names in Hollywood.

Sadly, in 1991, the actor’s beloved wife died and he started to take a step back from the limelight and eventually quit fame – but now the 72-year-old star is making his big comeback.

Rick Moranis, famed for 80s films like Ghostbusters, thrilled fans when he made a rare appearance at CinemaCon 2026.

The much-loved actor was spotted at the big event with the cast of the Spaceballs sequel as he prepares for his return to the big screen.

It was announced last year that the Canadian actor would be reprising his role as Dark Helmet.

The original movie, which is a spoof of Star Wars, came out in 1987 and starred many notable names, including Mel Brooks, Daphne Zuniga, Bill Pullman, the late John Candy, and Joan Rivers, among others.

FAME QUITTER

90s soap heartthrob unrecognisable 14 years after final TV appearance

AUGHTS TO KNOW

90s child star from A-list family turns heads with thirst trap – who is he?

Many of Rick’s former co-stars have returned for the sequel, such as Mel, Daphne, Bill, and George Wyner.

There are also several new faces among the cast, including Josh Gad and Keke Palmer.

The cast joined Rick at a panel event to promote the movie at CinemaCon.

Despite the star rarely being seen in the last three decades, the actor hasn’t changed much in appearance.

The Flintstones star wore his trademark round-framed glasses, which he was famed for in his iconic movies.

Other than Spaceballs, Rick starred in many successful films in the 1980s and 1990s, including Honey, I Shrunk the Kids and its sequels, and playing Barney in The Flintstones.

Sadly, Rick started to take a step back from Hollywood when his wife, Anne Belsky, passed away from breast cancer in 1991.

During the 90s, he slowly started to quit fame to focus on parenting his two children.

Although Rick hasn’t been seen on screen, he hasn’t entirely distanced himself from acting.

He lent his voice to several animated projects over the years, including Disney‘s Brother Bear in 2003, and its sequel, Brother Bear 2, in 2006.

Rick’s voice also appeared in a 2018 episode of The Goldbergs and a 2020 episode of the Disney+ docuseries Prop Culture.

However, he hasn’t appeared in a live-action film since Disney’s Honey, I Shrunk Ourselves, which was released directly to video in 1997.

But Rick is now set to be back on the big screen, with production for Spaceballs 2 underway.

The hotly-anticipated sequel is set to hit cinemas in 2027.

Norway is preparing to lift restrictions preventing its $2.2 trillion sovereign wealth fund from investing in government bonds issued by Syria.

The move follows the political transition after the ousting of Bashar al-Assad and the rise of Ahmed al-Sharaa, whose government has been seeking economic recovery and international reintegration after more than a decade of war and sanctions.

At the same time, Norway plans to newly restrict investments in bonds issued by Iran, aligning with ongoing international sanctions.

Policy Shift and Financial Context

The Norwegian sovereign wealth fund, the largest in the world, plays a major role in global financial markets. Its investment decisions often influence broader investor behaviour.

The updated policy removes Syria from the exclusion list for government bonds while adding Iran, reflecting changing geopolitical and sanctions dynamics.

Although the fund does not currently hold investments in Middle Eastern government bonds, the policy shift opens the door for future allocations and signals a reassessment of risk and legitimacy.

Geopolitical Significance

Norway’s decision represents a notable step toward Syria’s re-entry into the global financial system. It comes alongside other developments, including the restoration of Syria’s financial links with international institutions after years of isolation.

The move also highlights a divergence in how states are being treated: while Syria is gradually being reintegrated, Iran remains economically isolated due to continued tensions and sanctions.

As one of the world’s most influential sovereign investors, Norway’s stance could encourage other countries and institutions to reconsider their own restrictions on Syria.

Analysis

The decision reflects a broader recalibration of international economic engagement based on political change and shifting strategic priorities. By opening the possibility of investment in Syrian bonds, Norway is signalling cautious confidence in the new government’s direction and stability.

At the same time, the move remains largely symbolic in the short term. The wealth fund has no immediate exposure to Syrian debt, and actual investment will depend on risk assessments, market conditions, and institutional safeguards.

More importantly, the policy underscores how financial tools are increasingly used as instruments of foreign policy. Inclusion or exclusion from global capital markets can legitimise governments, incentivise reforms, or reinforce isolation.

In Syria’s case, gradual financial reintegration could support reconstruction and economic recovery, but it also raises questions about governance, transparency, and long-term stability after years of conflict.

With information from Reuters.