Valerie Perrine, the Las Vegas showgirl turned Oscar-nominated actor best known for playing Lenny Bruce’s wayward wife Honey Harlow in “Lenny” and Lex Luthor’s secretary Eve Teschmacher in the 1978 and 1980 “Superman” films, died Monday morning. She was 82.
Perrine’s death was confirmed by Stacey Souther, her close friend and the director of the 2019 documentary “Valerie,” which followed the star’s debilitating battle with Parkinson’s disease.
“It is with deep sadness that I share the heartbreaking news that Valerie has passed away,” Souther announced on social media. “She faced Parkinson’s disease with incredible courage and compassion, never once complaining. She was a true inspiration who lived life to the fullest — and what a magnificent life it was. The world feels less beautiful without her in it.
“I love you, Valerie. I’ll see you on the other side.”
Souther also shared a GoFundMe link and a note that Perrine’s final wish was to be laid to rest at the Hollywood Hills Forest Lawn Cemetery. “After more than 15 years of fighting Parkinson’s, her finances are exhausted.”
Perrine was born Sept. 3, 1943, in Galveston, Texas, to parents Renee and Kenneth, a dancer and a U.S. Army lieutenant colonel. A military brat growing up, Perrine moved frequently and spent time in Japan, Paris and Scottsdale, Ariz.
She attended the University of Arizona, but her academic aspirations were short-lived. She skipped town, trading her textbooks for a feather headdress and G-string in Las Vegas. Soon she was a lead dancer in the star-spangled Lido de Paris show at the Stardust Hotel. She told the New York Times in 1974 that she spent some of her $800 weekly paycheck on experimenting with drugs: acid, mescaline, peyote, cocaine — you name it, she tried it.
Eight years after her foray into Vegas showbiz, her movie career kicked off unexpectedly during a visit to Hollywood. An agent at a friend’s dinner party took a liking to her, she told the Los Angeles Times in 2013. He asked if she had any publicity photos. The only one she had was in her topless Lido costume.
The sexy picture made its way to the desk of Monique James, the head of new talent at Universal. “She called me in and asked if I had ever acted before and I said ‘no,’” Perrine said. “She arranged a screen test.”
Paul Monash, the producer of “Slaughterhouse-Five,” which was based on Kurt Vonnegut’s acclaimed novel about World War II and time travel, directed the screen test. “They told me to wear a bikini because they wanted to see what my body looked like. I didn’t have a bikini. I wore my G-string and that was it.”
“I had been working in Vegas all the time and had been on the beach in St. Tropez, so being [naked] didn’t mean anything to me,” she told The Times. “It was my attitude that sparked his interest and the way I read the line, ‘Oh, you’re a moon child.’ He hired me.”
Dustin Hoffman as Lenny Bruce, left, and Valerie Perrine as Honey Harlow in a scene from the 1974 movie, “Lenny.”
(United Archives via Getty Images)
Soon after, she portrayed the love interest of NASCAR driver Junior Johnson opposite Jeff Bridges in the 1973 sports drama “The Last American Hero.” Perrine and Bridges dated briefly while working on the film. The same year she became the first woman to bare her breasts on television in the PBS telefilm “Steambath.”
Bridges described Perrine in the 2019 documentary “Valerie” as having a “real sense of fun and play.”
“She was excited about life and excited where she was and it’s a contagious feeling,” he said. “Growing up in a military family and traveling all over the world made her a really interesting person and as an actress, she had the ability to bring all of that into her performances.”
In 1974, she tapped into her showgirl background to portray the drug-addled stripper Honey Harlow opposite Dustin Hoffman as Lenny Bruce in the biopic “Lenny.” Her performance garnered rave reviews. She nabbed the lead actress award at the Cannes Film Festival, BAFTA named her most promising newcomer and she was nominated for an Oscar.
Perrine was perhaps best known for her portrayal of Eve Teschmacher, Lex Luthor’s secretary and love interest in the 1978 “Superman” starring Christopher Reeve, Gene Hackman and Marlon Brando. She played the role again in 1980’s “Superman II.”
She also starred in the 1980 disco flick “Can’t Stop the Music” alongside the Village People and Caitlyn Jenner. The movie flopped and Perrine was so mortified by the film’s poor reception that she moved to Europe. She didn’t officially retire from acting until around 2010, and by 2015 she had gone public with her Parkinson’s disease diagnosis.
The 2019 documentary short “Valerie,” directed by Souther, dropped the veil on Perrine’s battle with the illness, with her loss of bodily autonomy captured in the film. She said “the shakes” caused her to struggle and the level of care she required made her feel like a baby.
Still intact, though, were her sharp wit and self-deprecating sense of humor. In the film a doctor explains that there are times when physicians aren’t able to pin down a diagnosis or there are multiple diagnoses.
“The doctors don’t know what’s going on with me,” Perrine says. “They can’t figure it out.”
“What do you think it is?” the doctor asks Perrine.
The French Canadian singer may be making her return to concert performances this fall, according to Variety. In 2022, Dion canceled her North American tour due to muscle spasms and later revealed that her diagnosis with stiff-person syndrome, an autoimmune neurological disorder, would prevent her from performing.
Montreal newspaper La Presse reported that fans were speculating Dion would return to the stage, after Parisians spotted posters referencing titles of Dion’s songs like “Power of Love” and “Pour Que tu M’aimes Encore” throughout the city. La Presse also reported that Dion will likely perform two concerts a week throughout September and October at the Paris La Défense Arena, a venue that seats 40,000 spectators.
Dion has not headlined her own show since her Courage World Tour in 2020, which was postponed and then canceled due to her health issues. She sang an emotional cover of Édith Piaf’s “Hymne à l’amour” during the closing ceremony of the 2024 Olympics. Last November, she performed her songs “I’m Alive” and “The Power of Love” during the 1001 Seasons of Elie Saab fashion show in Riyadh, Saudi Arabia.
The singer publicized her battle with SPS in her 2024 documentary, “I Am: Celine Dion.” In the film, Dion discussed how she’d been experiencing health issues for 17 years before her diagnosis. SPS affected Dion’s ability to sing by causing a strain on her vocal cords, making her voice sound more nasal.
“Sometimes I would point my microphone towards the audience and I would make them sing it. There’s moments where I cheated and I tapped on the microphone, like it was the microphone’s fault,” Dion explained in her documentary.
Even with her diagnosis, the singer made it clear in her documentary that she intended to continue pursuing her love of music.
“If I can’t run, I’ll walk. If I can’t walk, I’ll crawl, but I won’t stop.”
Dion’s representatives did not immediately respond to a request for comment. La Défense Arena declined to comment.
What role has the United Kingdom played in Israel’s war on Gaza? We meet those who say it’s complicit in atrocities committed there.
During the Gaza war, protesters have flooded the streets of major British cities, calling on their leaders to cut off the supply of weapons and other military hardware to Israel.
The United Kingdom’s relationship with its ally is under scrutiny. Jeremy Corbyn, a British MP, set up the Gaza Tribunal to examine whether the UK’s support for Israel amounts to complicity. Doctors and aid workers gave emotional accounts of the horrors they saw while working in the Gaza Strip, and journalists presented evidence of weapons shipments and spy flights allegedly operating from a nearby British air force base. All were making the case that the UK’s unwavering support for Israel is no longer legally or morally justifiable.
In its final report, published on March 16, the Gaza Tribunal said the UK has failed in its duty to prevent genocide and has been complicit in atrocities. It also recommended that the UK end all military cooperation with Israel.
The UK government has yet to comment on the allegations.
The documentary series has been branded a must watch for fans of true crime
Forensics: The Real CSI gives viewers unprecedented access into a local police force(Image: BBC/Blast Films)
A harrowing BBC Two documentary will return to screens with another chilling episode that true crime fans are being urged not to miss.
Forensics: The Real CSI has returned for a brand new series plunging viewers into real life drama as it follows West Midlands Police Force, investigating serious crimes in real time.
In a race against the clock, viewers witness plenty of chaos as officers uncover horrific truths and a sense of urgency in their search for justice. The series also gives a deeper insight into the forensics work that puts together vital evidence during an investigation, with specialised officers often working with little to no evidence.
Branded the perfect watch for fans of 24 Hours in Police Custody, the BBC documentary series returned with a harrowing episode earlier this month, which viewers said left them “shocked”.
Another brutal episode is set to air tonight (March 22) at 9pm on BBC Two. A BBC synopsis reads: “In Cumbria, a 999 call comes in at 1.00: a supermarket cash machine is being broken into by a gang of thieves. They’re working at speed, using high-powered cutting equipment.
“They make their getaway before the police arrive, taking thousands of pounds. It’s the second cash machine in the county targeted in 24 hours.”
It continues: “Seventy miles away, reports of the Cumbrian raids are shared with a specialist West Midlands Police task force who have been chasing a prolific gang of organised criminals suspected of attacking cash machines around the country.
“Their method of breaking into the machines using specialist machinery known as the ‘jaws of life’ has led to them being named the JOL Gang.
“While the task force gathers intelligence in the West Midlands, Cumbria Police takes the lead on forensics. The investigation becomes more urgent when there’s a third attack in Cumbria.”
Taking to social media, one viewer described it as a “brilliant series”. Commenting on last week’s instalment, one viewer said: “Have you watched the latest The Real CSI episode 2 it’s brutal.”
A third added: “Forensics is absolutely fascinating.” One person said the new instalments had their “blood boiling”.
Previously, West Midlands Police promoted the harrowing series as one viewer commented: “I watched it last night. It was very eye opening. The forensics and camera and phone tracking and hacking were brilliant.”
Another said: “Just watched, truly disturbing.” A third added: “Best programme on the t.v, it’s scary the number of teenagers carry knives need to get them off the streets”
A fourth penned: “Easily the best programme on the tv at the moment. The work that the forensic experts do to bring a criminal to justice is unreal.”
Forensics: The Real CSI returns tonight at 9pm on BBC Two.
How Iran’s power structure was built, and how it survives its architect.
After a US-Israeli strike killed Iran’s Ali Khamenei, the war on Iran escalates, and the Islamic Republic faces a critical moment. Mojtaba Khamenei has been elected supreme leader, marking a rare and controversial succession. This explainer breaks down how Iran’s power structure was built after the 1979 Islamic revolution led by Ayatollah Ruhollah Khomeini, and how Ali Khamenei transformed that revolution into a complex political and security structure.
We examine how the supreme leader sits above all institutions in Iran, shaping decisions across government, the military, and the Islamic Revolutionary Guard Corps, and how this system is designed to endure beyond any single leader. As Mojtaba Khamenei takes power, questions grow over how Iran will be governed, how the IRGC will influence decision-making, and whether the system Ali Khamenei built can withstand both internal pressure and external conflict.
From Ali Khamenei to Mojtaba Khamenei, this is the story of Iran’s supreme leader, the system behind power in Iran, and what comes next.
Some viewers have dubbed the new documentary a ‘wake up call’
Samantha King Content Editor
18:25, 18 Mar 2026
The documentary only arrived on Netflix on Monday (March 16)(Image: Netflix)
A brand new documentary just added to Netflix has been dubbed a “wake up call” by terrified viewers.
The Plastic Detox arrived on the streaming service just this week, exploring the impact of exposure to everyday plastic items such as clothing fibres, cosmetics and kitchen tools on human health and fertility.
The feature-length film centres around six couples who are all trying for a baby. They all have one thing in common: they have been unable to conceive, with some of the pairs having spent years trying unsuccessfully to make it happen.
They are tasked with lowering their exposure to plastics over the course of three months supported by scientists and researchers to see if doing so can turn their fortunes around.
Netflix’s official synopsis reads: “Strange symptoms. Unexplained infertility. Human extinction? Six couples cut back on plastics while trying to conceive in this absorbing documentary.” The film is directed by Louie Psihoyos who was behind 2024 Netflix documentary, You Are What You Eat: A Twin Experiment.
Viewers have been quick to flood social media with their first thoughts about the documentary, with one warning fellow viewers: “I was not prepared to be so enraged and also disgusted. So many chemicals. In everything. All the time. Just watch at your own risk.”
A second said: “Everyone needs to watch this. It’s a wake-up call,” as a third remarked: “I just made the grave mistake of watching The Plastic Detox on Netflix and that was a mistake. I mean, it wasn’t, but it was. I would not recommend if you’re a spiraller… because, wow.”
Environmental and reproductive epidemiologist Dr Shanna Swan who appears in the documentary, told Netflix’s Tudum: “I think it empowers people to know that they can do things to protect themselves, at least if not completely, to a large extent.
“And that’s what the film really shows — when these couples took action and reduced their exposure, they saw differences.”
At time of writing, it has been revealed that three of the six couples that took part in the experiment have since gone on to become pregnant. One of the couples, Monique and Bruno, are actually expecting their second baby at the end of this month.
As well as seeing a difference in fertility, the couple shared that they had seen a huge impact in their overall health too. They shared with Tudum: “We sleep better, our skin is less dry, and Bruno’s extreme eczema has decreased considerably.”
The Plastic Detox is now available to stream on Netflix.
Fronted by James Blake, the hour-long film exposes a heartbreaking side to the manosphere’s influence
Samantha King Content Editor
17:08, 18 Mar 2026
Men of the Manosphere is now streaming on BBC iPlayer(Image: BBC)
Louis Theroux’s deep dive into the manosphere is officially the most-watched film on Netflix right now, with the documentary lifting the lid on the lives of some of the most well-known content creators in the space.
The respected documentary-maker meets influencers across Miami, New York and Marbella who all have amassed huge online followings by promoting an uber-macho way of life. Among those he meets is Fresh and Fit Podcast host Myron Gaines, who has carved out a niche humiliating female adult content creators on his show.
Louis also shadows streamer Harrison Sullivan who goes by the moniker HS Tikky Tokky and has developed a following for his fitness , dating and finance content. When viewers meet him in the film, he has half a million followers on Telegram alone who are consuming his tips on how to make a quick buck, though Louis finds little success with his own £500 investment.
However, months before Louis made his documentary on the topic, TV presenter James Blake fronted one for the BBC titled Men of the Manosphere. Rather than focus on the loudest voices in the space and give them an even bigger platform, he met three young men based in the UK and Northern Ireland who had been taken in by the manosphere’s messaging.
It makes for a heartbreaking watch, showing how the words of manosphere influencers can have dangerous consequences for those that buy in to it all. Rather than stoke fury and anger at the subjects on screen, it encourages tenderness, kindness and understanding in the face of horror.
Sam, an isolated 16-year-old is one of the subjects in the film. He admits he has swapped real-life friendships for an online community made up of like-minded males all seeking self-improvement.
One of these boys is a 17-year-old from the US named Vincent, who Sam says is his best friend, despite never having met in person. He shows Vincent’s attempts at making his own YouTube videos, in which he tells his viewers: “You should do things that hurt every single day because that’s what makes you grow. You should hate your body so that you have the motivation to get nice and strong.”
Elsewhere in the film, James also meets university graduate Shayne, from Liverpool, who struggles to feel secure in his relationships and finds solace in the ‘red pill’. Meanwhile builder Jack, from Northern Ireland, is chasing discipline, status and direction when James meets him.
Documentary host James said his film was about “understanding”, and this is clear from the opening minutes. His calm approach and genuine curiosity results in some fascinating – and deeply disturbing – revelations from his interview subjects, with the consequences of the manosphere’s insidious messaging laid out plainly for all to see.
Men of the Manosphere is now available to stream on BBC iPlayer.
Long before he became an NBA Hall of Famer, Paul Pierce was a senior at Inglewood High School thrilled to be chosen to play in the 1995 McDonald’s All-American Game, a nationally televised showcase that has brought together 24 of the best prep players in the country every year since 1978.
The McDonald’s all-time scoring record of 30 points had been set in 1981 by (who else?) Michael Jordan a month after his 18th birthday. Fourteen years later Pierce scored at a blistering pace, yet because someone had stolen his jersey, he played a portion of the game with the name “McCoy” on the back.
Broadcasters credited “McCoy” with several baskets and apparently the scorekeeper couldn’t keep track either. In the box score, Pierce was credited with 28 points. In his mind, he was certain he had more than 30.
He painstakingly watched the game tape and, sure enough, he had scored 31 points. Yet the official McDonald’s record book didn’t recognize it, and Jordan continued to hold the record until Jonathan Bender put up 31 in 1999.
That is just one of the delightful, insightful stories included in the feature-length documentary “Meal Ticket,” an exhaustively researched labor of love by co-directors Corey Colvin and Carlton Gerard Sabbs of production company Stony & Yates. The film will premiere Thursday on Prime Video.
Meanwhile, Jordan had his own beef with McDonald’s — or at least his mother did. He was not given the John R. Wooden Award as Most Valuable Player in that 1981 game even though he set the scoring record and made shots during the East team’s last five possessions, including the winning basket in a 96-95 victory.
Chase Budinger, left, and Kevin Durant, co-MVPs of the 2006 McDonald’s All-American High School basketball game, hold the MVP trophy in front of legendary coach John Wooden, center.
(Denis Poroy / Associated Press)
Deloris Jordan was not happy. On the elevator leaving the arena, she told broadcaster Billy Packer, “Poor Michael. My poor son Michael. He never gets any recognition. He never gets any respect.”
Soon, of course, her son would get his due, first for leading North Carolina to the NCAA title as a freshman — again sinking the winning shot — then for leading the Chicago Bulls to a record six NBA titles in eight years while winning 10 scoring titles. Michael Jordan is widely considered the greatest basketball player of all time.
Produced by Roc Nation, Known Originals and Creative Control, “Meal Ticket” chronicles the 49-year history of the McDonald’s All-American Games. Nearly 50 Naismith Hall of Famers were participants, and many reminisce for the documentary.
For most, the showcase was their first time on national television. At 17 or 18 years old, they were fresh-faced, eager and ultra-competitive. Colvin, 41, and Sabbs, 39, dug deep into archives of games and surrounding activities provided by McDonald’s and ESPN, and the result is a balanced blend of action footage and fond memories.
“We tried to illustrate the parallel between the McDonald’s game and the growth of the sport,” Colvin said. “I honestly feel it’s a power hidden within the McDonald’s game that people haven’t paid attention to. If you want to know where basketball is going, watch the McDonald’s game.”
Among the key developments was founder Bob Geoghan expanding the event to include girls’ basketball, launching a doubleheader format with the boys beginning in 2002 that proved immensely popular.
Two years later Candace Parker won the annual Slam Dunk Contest, defeating among others JR Smith and Josh Smith, both of whom would be NBA first-round picks within months. Parker’s achievement was so unlikely that her own brother hung up on her when she called to tell the family, according to the documentary. Just another nugget unearthed by Colvin and Sabbs.
The creative careers of the Chicago South Side products began with directing branded content, and their mentors, directors Coodie Simmons and Chike Ozah, helped them make a pitch to McDonald’s in 2022 for an independent documentary.
Early fears that the fast-food colossus would be overly brand conscious and dictate content were allayed. Mickey D’s not only gave the directors the rights to tell the story, but also provided game footage while steering clear of editorial meddling.
Bronny James of the West team talks to his dad, LeBron James of the Lakers, at the 2003 McDonald’s All-American Game in Houston, Texas.
(Alex Bierens de Haan / Getty Images)
“You’d think with McDonald’s, they’d be very hands-on to position and push the brand,” Sabbs said. “But they were good partners. We were even concerned about the name, ‘Meal Ticket,’ because it’s kind of edgy, a quadruple entendre. Would McDonald’s approve it? They stood by us. Nobody micromanaged us. And when they were around, we knew we’d be getting some french fries.”
The closest Sabbs and Colvin came to deviating from McDonald’s sanitized version of events came when the directors recognized the role Geoghan played in launching the Games. Amateur basketball luminaries Wooden — the legendary former UCLA coach with 10 national championships — Sonny Vaccaro and Sonny Hill were drawn into promoting the Games largely because Geoghan earmarked profits for the Ronald McDonald House Charities.
The documentary team immersed itself in the 2022 McDonald’s All-American Games, shadowing two boys and two girls throughout the weekend. Part of that story was the outpouring of emotion for Geoghan, who died at 87 in February 2022 and was honored at the Games a month later.
“When we were filming in 2022 we saw how deeply everyone respected Bob,” Sabbs said. “They did a tribute on the Jumbotron before the game and put a Bob Geoghan jersey and a dozen roses on the seat where he watched games.
“Bob never wanted to get rich off the McDonald’s Games. He was a humble guy who some said died penniless. I hope this film helps him and his family get some recognition for what he contributed to basketball. He really ought to be in the Naismith Hall of Fame and I hope that happens.”
All indications point to Geoghan redirecting attention to the court and the sheer number of precocious youngsters who went on from the showcase to legendary professional careers. California has produced the most McDonald’s players on both the boys and the girls teams. And simply considering those who eventually made their marks with the Lakers is staggering.
Magic Johnson starred in the first McDonald’s game in 1978. James Worthy played alongside Isiah Thomas, Dominique Wilkins and Ralph Sampson the next year. Shaquille O’Neal was MVP in 1989. Kobe Bryant made highlight reel plays in 1996. JJ Redick was 2002 MVP and won the three-point shootout. LeBron James was MVP in 2003.
Bryant and James, of course, were among the elite players to jump straight from the showcase to the NBA, skipping college. Another player who did so, Amar’e Stoudemire, was physically dominant even when sharing the court with other future greats.
“I was a different kind of beast, man,” Stoudemire says in the documentary. “I’m not doing a finger roll off the glass move. I’m attacking the basket and I’m shaking the whole backboard. I think from that point on, everyone knew, ‘Stoud, he’s going to the NBA. He ain’t going to college.’ By the time we left, I’m sure there were a few screws and hinges that had left the rim.”
JR Smith also realized he was going to skip college for the NBA after dominating the McDonald’s Game in 2004, scoring 25 points on an assortment of dunks and long-range jumpers. He was committed to North Carolina but had made no secret that he didn’t want to go there.
Upon returning to the hotel after the game, Smith began running through the halls, yelling, “I’m going to the league!”
This year’s Games will take place March 31 at Desert Diamond Arena in Glendale, Ariz. The West boys roster will include Southern California products Brandon McCoy Jr. and Maximo Adams from Sierra Canyon, Christian Collins from St. John Bosco and James Crowe Jr. from Inglewood. Jerzy Robinson from Sierra Canyon and Cyndee Bryant from Corona Centennial will play in the girls game.
Even with NIL money seeping into players’ bank accounts, Sabbs and Colvin haven’t noticed a change in how the best of the best approach the McDonald’s All-American Games.
“All you hear are these stories from all-star games that the players don’t care anymore because there’s too much easy money,” Colvin said. “But these guys are competing, playing defense, diving on the floor. The McDonald’s Games are still a precursor for where the game is going, from elevating the girls to NIL, and we hope that comes across in the film.”
A new documentary has been announced by 5, revealing the devastating impact of a crime that shook two continents
14:35, 17 Mar 2026Updated 14:35, 17 Mar 2026
Chilling documentary confirmed after ‘unimaginable tragedy’ and fans will be in tears(Image: Getty Images)
A chilling documentary has been confirmed after a devastating crime, and it will likely leave fans in tears.
5 has announced a compelling two-part documentary series, Trial By Jury: The Killing of Claire Leveque, which offers exclusive access to the murder trial at the Edinburgh High Court that followed the tragic death of the 24-year-old Canadian. The series will also feature Claire’s family as they faced the “harrowing” days of the trial and beyond.
Claire was brutally killed by her boyfriend while living on the Shetland Islands in 2023. Filmed with rare in-court camera access, granted by the Lord Justice General, the chilling events surrounding Claire’s murder will be examined across two hour-long episodes.
The instalments will reveal the “horrific details that shook a close-knit island community in Shetland and left a family in North America heartbroken.”
The case also highlights the profound toll of intimate partners violence, and the challenges of uncovering domestic abuse in rural areas.
Using a fixed in-court rig, Trial By Jury follows the eight-day trial that led to a unanimous guilty verdict and a life sentence with a minimum term of 25 years for Claire’s boyfriend, Aren Pearson.
Judge Lord Arthurson previously described the crime as “a sustained episode of feral butchery”, while paying tribute to the “dignity and restraint” shown by Claire’s family, who travelled from Canada to attend every day of proceedings.
A synopsis for the documentary reads: “From Claire’s small Canadian hometown to the windswept Shetland village where she lived in near-isolation, the documentary pieces together her final months through testimony, archive footage and investigative reporting.
“The series also follows [Claire’s father] Clint and his fiancée, Jenny, as they make an emotional journey to the island to confront their grief.”
For the latest showbiz, TV, movie and streaming news, go to the new Everything Gossip website
In a statement, Claire’s heartbroken dad, Clint, said: “My little girl was stolen from me. I’ll never get to hug her again, hear her laugh or see her smile. I’ll never see the woman she would have become. She’ll never have the chance to be a mother or grandmother, or to know the love a parent has for their child and know that is the love I have for her.”
Gary Davies, consultant editor for commissioning at 5, added: “This thoughtful series gives a deeply human account of an unimaginable tragedy. It shines a light on the justice process and honours the courage of Claire’s family as they seek truth and remembrance.”
Mark Procter, executive producer for Big Little Fish, echoed the sentiment, saying: “We are profoundly grateful to the Judicial Office for Scotland and to everyone who enabled our access to the trial.
“Above all, we are honoured that the Leveque family have entrusted us to document what happened to Claire. We hope this series serves as a respectful tribute – giving her the voice that was so cruelly taken from her.”
Trial By Jury: The Killing of Claire Leveque will be released on 5
LONDON — The BBC filed a motion Monday asking a U.S. court to dismiss President Trump’s $10 billion lawsuit against it.
The British national broadcaster said that the Florida court where the case is expected to be heard does not have jurisdiction over it. It also argued that Trump could not show that it intended to misrepresent him.
Trump filed a lawsuit in December over the way a BBC documentary edited a speech he gave on Jan. 6, 2021. The claim seeks $5 billion in damages for defamation and a further $5 billion for unfair trade practices.
Last month a judge at the federal court for the Southern District of Florida provisionally set a trial date for February 2027.
The BBC argued that the case should be thrown out because the documentary was never aired in Florida or the U.S.
“We have therefore challenged jurisdiction of the Florida court and filed a motion to dismiss the president’s claim,” the corporation said in a statement.
In a 34-page document, the BBC also argued that Trump failed to “plausibly allege facts showing that defendants knowingly intended to create a false impression.”
Trump’s case “falls well short of the high bar of actual malice,” it added.
The documentary — titled “Trump: A Second Chance?” — was aired days before the 2024 U.S. presidential election.
The program spliced together three quotes from two sections of a speech Trump made on Jan. 6, 2021, into what appeared to be one quote, in which Trump appeared to explicitly encourage his supporters to storm the Capitol building.
Among the parts cut out was a section where Trump said he wanted supporters to demonstrate peacefully.
The broadcaster’s chairman has apologized to Trump over the edit of the speech, admitting that it gave “the impression of a direct call for violent action.” But the BBC rejects claims it defamed him. The furor triggered the resignations of the BBC’s top executive and its head of news last year.
A presenter and explorer had to move fast to avoid a potentially dangerous animal encounter
Steve Backshall has made a show about hippos(Image: Channel 5 screengrab)
Steve Backshall had a “dangerously close encounter” as he filmed a series about hippos.
The naturalist and explorer got up close to the animals while making Hippo Watch with Steve Backshall, which can be viewed on Channel 5. But a clip shared on Instagram showed some of the hippos getting a bit too interested in the camera crew as they shot scenes in South Africa, with Steve exclaiming: “They’re coming our way!”
The clip, captioned “Dangerously close encounter with hippos”, showed Steve and his crew in the water, filming a group of hippos nearby.
“Even on waters where hippos are familiar with boats and people, beware of hippos who break away from their group,” the voiceover warned.
Looking over at the animals, Steve spotted some movement and told viewers: “Oh, he’s standing up and having a good close look at me. Look at that! Spy hopping right up out of the water.
“OK guys, keep a very close eye on him, yeah? Two of them are splintered off from the pod, and they’re looking right at me. Three. Three of them now. And definitely curious.”
As the hippos started to move through the water, he exclaimed: “I think those two are coming our way. No? Yeah, they are. Look, they’re coming our way!”
Someone in the film crew was then heard telling the team: “OK guys, they’re moving now, come on.”
Steve waded hastily back to the boat, admitting: “We’re getting very close.”
The voiceover noted that it was “definitely time to leave”, continuing: “You can never get complacent around these animals, and should always err on the side of caution.”
The Instagram caption said: “Wrong place. Wrong time. @backshall.steve finds himself dangerously close to a hippo that’s broken from the pack… One wrong move could be fatal.”
The series has gone down a storm with viewers, with one posting on Instagram: “Phenomenal documentary.” “Fantastic, thoroughly enjoyed this,” said someone else, as another said it was “incredible” viewing.
“Very interesting,” posted another impressed viewer. “Steve, you’re quite literally my childhood role model,” commented another fan, adding: “So awesome to see all of this content.”
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Hello! I’m Mark Olsen. Welcome to another edition of your regular field guide to a world of Only Good Movies.
If you are anything like me, you felt pretty out of sorts this week, not sure how to process the news that we are suddenly, apparently, a nation again at war. It can make the movies seem frivolous — a glorious, privileged sandbox to stick your head in — but it is also times like these that make them seem most vital and necessary: a place to focus energy and anxiety and maybe figure things out.
I was particularly struck by something New York Times critic Wesley Morris said in an appearance on the podcast “The Big Picture.” He was ostensibly talking about the downside of the Paramount-Warner Bros. merger news (“These people are f— with our dreams here” is how he began) but he landed on why movies matter in their moment, crucial to “how we develop as a culture, how we come to understand ourselves as a people, what this country ought to or should look like 40 years from now.”
The week’s big new release is Maggie Gyllenhaal’s “The Bride!” a sort-of adaptation of 1935’s “Bride of Frankenstein” starring Jessie Buckley and Christian Bale that is also very much its own thing, purpose-built to drive some people up a tree and already sharply dividing critics.
Christian Bale and Jessie Buckley in the movie “The Bride!”
(Niko Tavernise / Warner Bros. Pictures)
In her largely positive review, Amy Nicholson calls the movie “an unhinged scream,” adding, “‘Every wacky second, you’re well aware how perilously close it is to falling apart at the seams. This spiritual sequel to ‘Frankenstein’ is a romantic tale of obsession, possession and fantasy — adjectives that also apply to its filmmaker, Maggie Gyllenhaal, who expends massive quantities of energy jolting it to life. She succeeds by the skin of her teeth.”
I interviewed Gyllenhaal about “The Bride!” — including the significance of that exclamation point in the title. There have been numerous reports about a back-and-forth between the filmmaker and execs at Warner Bros. and Gyllenhaal didn’t shy away from talking about it. She had specific praise for Pam Abdy, co-chair and co-chief executive of Warner Bros. Motion Picture Group.
“Something really alive was born, and I think the movie is better for the work that she and I did together,” Gyllenhaal told me. “I know that’s an unusual thing to say. I know that you have lots of people saying like, ‘Ah, the studio f— my movie up.’ That is not my experience. It’s really not.”
Louis Malle’s ‘…and the Pursuit of Happiness’
A scene from Louis Malle’s documentary “…and the Pursuit of Happiness.”
(Janus Films)
On Saturday, in a co-presentation of 7th House at the Philosophical Research Society and El Cine, the will be a 16mm screening of director Louis Malle’s 1986 “…and the Pursuit of Happiness,” a documentary made for television that explores the immigrant experience in America. The French-born filmmaker traveled across the U.S. interviewing recent arrivals from all walks of life.
Writing about the film in 1988, The Times’ Kevin Thomas called it “an often amusing and always insightful survey of the contemporary emigre experience. … an irresistible array of vignettes depicting cultural accommodation and assimilation in all its variety.”
I got on a video call this week with 7th House programmer Alex McDonald and El Cine founder Mariana Da Silva to talk about why this movie matters now.
The movie is streaming on the Criterion Channel right now. Why was it important to also put this movie in front of audiences right now?
Alex McDonald: I think Mariana and I are on the same page with this. I never let streaming or home video availability deter programming. Growing up, the theater was a holy place, a cathedral of congregation. I feel like these films are meant to be seen with an audience. And thankfully, I feel like our audience recognizes that as well, even if the film is out there. Particularly in our current moment, it’s a very prescient film and it’s one that will be all the more powerful within community.
Mariana Da Silva: I agree fully. One of the biggest things within our program is the communal aspects — just seeing the same people come back, that trust that develops with the audience. The best part I love about going to movie theaters is standing outside with people I maybe would never speak to and having a conversation about a film.
A scene from Louis Malle’s documentary “…and the Pursuit of Happiness.”
(Janus Films)
Do you respond to a movie like this as a sort of time capsule of how things were, or is it important to you that it is saying something about what’s happening right now?
McDonald: That’s something I’m very conscious of when I program repertory titles. When I program social, politically minded films, a lot of what I’m trying to do is to show that the issues within these things have not really changed — the ways in which things have progressed, the way in which we have regressed. Malle has such a humane view on all of these people in the film. He narrates but he doesn’t really editorialize. He just sort of observes, and in doing so, he’s making the most compelling argument for the richness of diversity and everything that these people contribute to this country, what they lose in assimilation, what they have to give up and what they bring. There’s a complexity to it. There are certainly dissenting voices in it and those resonate differently now.
It wasn’t perfect then. Obviously, there’s always been conflict, but I think there was an open-heartedness that has really shifted. And this is kind of a poignant reminder of what we need to try to get back to and recognize.
Da Silva: If we were able to have these conversations more openly, it would put us all on an even playing field. Humans are flawed. There’s been a lot of miseducation. In this moment, especially for me as somebody who is an immigrant, I feel like there’s so many people who I know who are so liberal and so aware, but then they don’t really understand the experience of the immigrant. And it’s not their fault in any capacity. They just haven’t been exposed to somebody like me before.
I think we can all come together on the things we celebrate, but we also need to be very open and come together on the things that we differ on too.
Points of interest
‘Good Night, and Good Luck’ in 35mm
George Clooney, left, and David Strathairn in the 2005 movie “Good Night, and Good Luck.”
(Melinda Sue Gordon / Warner Independent Pictures)
On Sunday afternoon at the Los Feliz Theater, as part of the American Cinematheque’s ongoing “Sunday Print Edition” series, there will be a 35mm screening of George Clooney’s “Good Night, and Good Luck,” introduced by The Times’ own Rosanna Xia.
Starring David Strathairn as pioneering television journalist Edward R. Murrow at the height of the McCarthy era, the film was nominated for six Oscars, including picture, director, actor and original screenplay.
As Kenneth Turan wrote in his original review, “‘Good Night, and Good Luck’ couldn’t be more unlikely, more unfashionable — or more compelling. Everything about it — its look, its style, even its sound — stands in stark opposition to the trends of the moment. Yet by sticking to events that are half a century old, it tells a story whose implications for today are inescapable. … The son of a TV anchorman, Clooney had the nerve to believe that a drama of ideas could be as entertaining as ‘Desperate Housewives.’ He insisted that a fight for America’s soul, a clash of values over critical intellectual issues like freedom of the press and the excesses of government, had an inherent intensity that would carry everything before it. And it does.”
‘Days and Nights in the Forest’ 4K restoration
An image from Satyajit Ray’s 1970 drama “Days and Nights in the Forest.”
(Janus Films)
Now playing at the Laemmle Royal in a new 4K restoration undertaken by the Film Foundation is Satyajit Ray’s 1970 “Days and Nights in the Forest.” In this examination of masculinity and class, four male friends drive from the bustling city of Kolkata to a rural village, mixing with the locals with volatile results.
In a special video introduction, Wes Anderson, a longtime admirer of Ray, admits he lifted a scene from “Days and Nights” for one of his own films — 2023’s “Asteroid City” — and says, “Anything by Satyajit Ray must be cherished and preserved, but ‘Days and Nights in the Forest,’ I think you will agree, is one of the special gems among his many treasures.”
‘Grease 2’ returns
Michelle Pfeiffer on the set of “Grease 2” in 1981.
(Vinnie Zuffante / Getty Images)
The Cinematic Void series at the American Cinematheque will show 1982’s pastiche musical “Grease 2” on Monday. Directed by choreographer-turned-filmmaker Patricia Birch, the film is, of course, a sequel to 1978’s megahit “Grease” but it is also very much its own thing. Largely dismissed on initial release, it has found a growing following over the years thanks in large part to its extremely engaging young cast, including an on-the-rise Michelle Pfeiffer.
In his initial review (more complementary than one might expect), Kevin Thomas wrote, “There’s so much youthful talent and vitality in ‘Grease 2’ that it’s depressing to discover it is so unblushing and relentless and paean to ignorance. … This is a pity, because Birch displays an organic sense of how to make dance evolve out of the kids’ everyday activities — converging en mass at Rydell High on the first day of school or having fun at the bowling alley. But Birch has scant opportunity beyond letting us know she cares for these ignoramuses, most of who seem likable enough beneath aggressively crude exteriors.”
Anti-fascist films at UCLA
Ingrid Bergman and Charles Boyer in the 1948 drama “Arch of Triumph.”
(Enterprise-UA / Photofest)
The ongoing series at the UCLA Film and Television Archive titled “From John Doe to Lonesome Rhodes: Anti-fascism from the Archive” hits a real stride this weekend for two nights of restored rarities. On Friday comes a restored 35mm print of 1948’s “Arch of Triumph,” directed by Lewis Milestone and starring Ingrid Bergman, Charles Boyer and Charles Laughton in a romantic drama of refugees in 1938 Paris. Also playing is Arthur Ripley’s rare 1944 emigree drama “Voice in the Wind.”
Much of the press around the film at the time of its release had to do with the challenge of bringing the racier aspects of the novel by Erich Maria Remarque (“All Quiet on the Western Front”) to the screen. As producer David Lewis told The Times’ Philip K. Scheuer, “I promise you that as Joan, Ingrid Bergman will set the town on its ear. They’ll never think of her as anything but sexy again.”
Saturday brings the world premiere of the 35mm restoration of Walter Comes’ 1947 “The Burning Cross,” in which a returning veteran is recruited into the KKK. John Reinhardt’s 1948 “Open Secret,” about antisemitism, will also play in a 35mm restoration.
The series concludes next week with a 35mm screening of Elia Kazan’s 1957 “A Face in the Crowd,” starring Andy Griffith in an examination of the dark side of populist politics and media manipulation.
The Dunblane Tapes takes viewers back to 1996 to a tragic mass shooting that saw over a dozen primary school children killed. The heartbreaking documentary spans across 73 minutes as it tells the devastating impact of those still dealing with the loss, as well as the successful campaign launched to ban weapons in the UK.
With previously unseen footage, a Channel 4 synopsis states: “After the 1996 mass shooting at Dunblane, a campaign was launched to ban private handguns in the UK. This remarkable story is now told through unseen footage filmed by a bereaved parent.”
The documentary, released to mark the event’s anniversary, was previously aired on Channel 4 last month, but is now available to stream online for those who missed it.
It has been dubbed an “emotional roller coaster” and viewers have been left in tears following the harrowing instalment. Taking to social media, one viewer previously wrote: “Just finished watching The Dunblane Tapes on Channel 4. Extremely upsetting watch, but the families who were devastated by what happened changed the law of the land and definitely stopped it happening again.
“Also extremely pleased the perpetrator’s name was not mentioned, I won’t mention it either as he doesn’t deserve to be mentioned. Please watch it, it’s humbling and devastating and I remember it like it was yesterday, it was 13th March 1996.”
One TikTok viewer, who was wiping away tears while discussing the film, said in a video: “Well I went into this documentary knowing it was going to be sad but oh my God… It is heartbreaking.”
They added: “It’s awful it’s so sad but definitely give this a watch. It’s really well made, just heartbreaking.”
In another video, one person said: “It’s meant to be an absolute emotional rollercoaster. I’m not sure if I can handle this one I’ll be honest.”
Another replied: “I just blubbed the whole way through the Dunblane Tapes”, as one person commented: “Cried all the way through the Dunblane one so so sad.” A third commented: “The Dunblane Tapes was so moving. I cried my eyes out.”
Over on X, one Channel 4 viewer said: “Watching #TheDunblaneTapes.. 7 mins in and I’m already in tears. Gonna be a difficult watch. So close to home.”
Another wrote: “Cried lots watching deeply moving #TheDunblaneTapes.” A third added: “@Channel4 has just done it again with #TheDunblaneTapes. Both harrowing & moving in equal measure.”
The Dunblane Tapes can be streamed now on Channel 4 online. For the latest showbiz, TV, movie and streaming news, go to the new **Everything Gossip** website.
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In US-blockaded Cuba, ingenious mechanics and inventors revive old machines in order to survive during a time of scarcity.
When the Soviet Union collapsed in 1991, Cuba was plunged into crisis. Fuel, food and spare parts vanished almost overnight. This character-led documentary shows how common Cubans refused to give up – and instead built a new culture of radical repair. From Havana’s Malecon to small-town back yards, it follows mechanics, street vendors and a teacher-turned-inventor who live by one rule: “invent and resolve”.
A pristine US Plymouth Fury convertible of the 1950s hides a Soviet engine, Japanese gearbox and handmade parts; washing machines become coconut graters, solar dryers and tools for urban farms. Cuban historians and designer Ernesto Oroza reveal the philosophy behind this “technical disobedience”, treating every object as raw material to hack and extend. Far from nostalgia, the film offers a stark snapshot of a future in which resources are scarce and the power to repair may be our most important tool.
As part of Colombia’s peace process, former National Army soldiers confess to taking part in extrajudicial killings to the victims’ families.
Colombia continues to navigate the fragile aftermath of more than five decades of armed conflict. Although the 2016 peace agreement formally ended hostilities between the state and the FARC-EP rebels, sustaining peace has proven far more complex than signing it.
This episode follows former members of the national army accused of carrying out the so-called “falsos positivos” (false positives) — extrajudicial executions in which innocent civilians were executed, then falsely presented as combat casualties by the government as a way to bolster the numbers of enemies killed. Soldiers testified to their involvement in the assassinations to the families of the victims as part of the peace process. We also explore the suffering and anguish of those who have had their families devastated by these killings.
Their testimonies unfold within the framework of the Special Jurisdiction for Peace (JEP), the justice mechanism established under the peace agreement between the Colombian state and the Revolutionary Armed Forces of Colombia (FARC-EP).
The JEP applies a model of transitional and restorative justice centred on victims and with full guarantees of due process. Its mandate is to investigate, prosecute and sanction those most responsible for serious human rights violations. The system provides two pathways: a restorative process for those who acknowledge responsibility, provide full truth, and contribute to reparation and guarantees of non-repetition; and an adversarial process for those who do not.
Currently, more than 17,000 individuals are appearing before the JEP, including former FARC-EP members, members of the armed forces, and civilian third parties. The jurisdiction has issued indictments for maximum responsibility, delivered restorative and adversarial sentences, and conditionally waived criminal prosecution for non-most-responsible participants.
The 2026 original song contenders come from deep inside the characters singing them: a simple man wistfully looking back on his ordinary life; a budding bluesman with talent to burn down the house; a 17-time Oscar nominee; a demon-hunting K-pop star channeling the real-life singer-songwriter behind her; and a joyous expression of life from inside a documentary’s main “character,” a retirement home for musicians.
‘Dear Me’ from ‘Diane Warren: Relentless’
Music and lyrics by Diane Warren
Diane Warren in “Diane Warren: Relentless.”
(Don Holtz)
When 17-time Oscar nominee Diane Warren agreed to be in a documentary about her life, she found herself back in her childhood home in Van Nuys — specifically the bathroom where she wrote songs as an angsty teen.
“The acoustics in that bathroom were always great,” she says. “It was cool to go back and look at the bedroom window I used to sneak out of. I’m always connected to that 14-year-old me, with a guitar my dad bought me.”
Inspired by the documentary’s examination of her troubled youth, Warren wrote an “It gets better” ballad sung by Kesha: “Dear me, it’s gonna be all right, all right / Trust me, all of the pain is gonna fade.”
“I get notes from all ages; the song makes them feel like they could hug the little kid inside them,” says Warren. “It’s a love song to your younger self.”
‘Golden’ from ‘KPop Demon Hunters’
Music and lyrics by Ejae, Mark Sonnenblick, Joong Gyu Kwak, Yu Han Lee, Hee Dong Nam, Jeong Hoon Seon and Teddy Park
She related to the film’s protagonist, Rumi, a monster-fighting singer who is secretly part monster herself. “She has this side that she’s so ashamed of, that she was born with. I struggled with my own demons that I was ashamed of, growing up in the K-pop industry, [harshly critiqued for] my physical appearance, my voice, my personality.
“Even when writing ‘Golden,’ things were just not happening. It was a really bad time.”
Yet the hit is a catchy K-pop banger.
“It was very cathartic,” she says. “I remember crying while recording the demo. I was desperate.
“Now when I sing it, it’s a different feeling. I was able to reach a dream, and it makes me feel like this is who I was meant to be.”
‘I Lied to You’ from ‘Sinners’
Music and lyrics by Raphael Saadiq and Ludwig Göransson
Miles Caton, center, in “Sinners.”
(Warner Bros. Pictures)
Ryan Coogler’s “Sinners” features a central moment of musical ecstasy. Emerging bluesman Sammie plays a song he wrote as a confession to his pastor father, a paean to the music he loves. As the juke joint crowd responds, he loses himself in the timeless transcendence artists hope for.
Co-writer Ludwig Göransson says, “It doesn’t happen very often, but you have those experiences when you really are getting into the music and time and space disappears. Ryan’s not a musician, but it was written like he’s been in that position.”
In cosmic communion, practitioners of Black music from many eras appear to Sammie, the joint’s roof combusting in his mind. Göransson assisted in the Dolby Atmos mix, moving the music and sound around spatially as the camera travels.
Co-writer Raphael Saadiq says, “Sammie’s father felt secular music was devil music. Even today, you have people who go to church who don’t listen to the blues [for that reason], but deep down inside, they love it because it’s something we inherited from our ancestors.”
‘Sweet Dreams of Joy’ from ‘Viva Verdi!’
Music and lyrics by Nicholas Pike
Milan’s Casa Verdi, a retirement home for musicians depicted in “Viva Verdi!”
(Viva Verdi! LLC)
Even those who know little about opera have heard of Giuseppe Verdi. What many don’t know is one of his most enduring accomplishments is Casa Verdi — a retirement home for musicians. Yvonne Russo’s documentary “Viva Verdi!” captures the vibrant life inside its walls, expressed in the aria “Sweet Dreams of Joy,” sung by soprano Ana María Martínez and composed by Nicholas Pike.
The filmmakers “sent me this 12-minute assembly, kind of like a teaser, and that’s all I saw,” says Pike. “The passion, the vitality of these residents, the mentoring of young, up-and-coming artists … I went over to the piano and wrote the song.”
He says the whole thing took about a day to craft, with its contemporary piano figures and classical vocals, imbued with the vivaciousness of Casa Verdi’s residents.
He wanted to capture the footage’s “energy and life and hope. We’ve all been to retirement homes; they can be pretty down places. This is 180 degrees from that.”
‘Train Dreams’ from ‘Train Dreams’
Music by Nick Cave and Bryce Dessner; lyrics by Nick Cave
Joel Edgerton in “Train Dreams.”
(Netflix)
When “Train Dreams” star Joel Edgerton called Nick Cave to work with composer Bryce Dessner on a song for the film, the postpunk poet and art rocker was on holiday, avoiding the “attendant agony” of songwriting. But Denis Johnson’s book happened to be a favorite of Cave’s.
Edgerton sent him the film. Cave says, “I sat up in bed and watched it with Bryce’s gorgeous score and fell asleep and had a kind of fever dream with all the images of this extraordinary film, and woke up with the lyrics fully formed, which is extremely unusual for me.”
He went to the hotel’s breakfast room, where there was a piano. “It all just sort of poured out of me. The melody and the lyrics fit perfectly to Bryce’s score.”
The song expresses “the inarticulate wonder at the world that the lead character has. There’s this chordal thing after the refrain, that rises up — an expression of that wonder, rising out of the grief.
“‘This has been going on for years … I can’t begin to tell you how that feels.’”
