friends

KATIE Price appeared to ignore her marriage breakdown for the night as she celebrated her best friends’ engagement.

After ending her marriage to Lee, 43, the former glamour model was played a voice note from him on GMB on Wednesday, in which he insisted “there’s been no wool pulled over anyone’s eyes”. 

Tonight, Katie appeared in good spirits as she joined her friends for a boozy night out.

Katie flashed a big smile alongside celebrity interviewer pal Lewis Nicholls and Mike Turner.

He shared a photo of the trio and wrote: “Reunited to celebrate our engagement with Katie tonight,” with a red love heart emoji.

Katie was seen beaming as she held a glass of bubbly in her hand while joining her friends at Bank House Hotel Worcester.

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Speaking to Susanna Reid and Ed Balls this week, Katie candidly confessed that – despite everything – she still loves Lee. 

She said: “I love him… but who is he?

“I love the man I met. I can’t take it. I was stupid to fall for him. It’s really sad.”

Katie also admitted she believes her ex loves her too, saying: “I do believe he did. 

“I think he’s got himself in such a situation… where he copy and pastes what he says to women… I do believe he’s fallen for me.”

Katie then revealed the signs that finally made her open her eyes.

She said: “For example, one of the rings he bought me he said was worth £72,000. So I thought I’d better get it insured.

“So I took it into a shop and got it cleaned to get it insured. When they gave it back to me I said, ‘How nice are the diamonds?’

“They said, ‘They’re really good lab diamonds. They were grown in a lab. The ring is probably only worth about five grand’. Do you know how embarrassed I was?”

On the latest episode of her podcast The Katie Price Show, Katie held up her hand to sister Sophie, 36, and said: “I’m still wearing my ring but on the other hand because I love the ring. 

“I’ve taken Lee out of [my Instagram] bio now. Enough is enough now, it gets to a point where you can tolerate so much… 

“I did what I had to do. It doesn’t matter what people say about whoever I’m with. I have to do what I need to do. 

“If there are things that I question, that’s for me to find out myself to make my decision. Things haven’t added up and I’m not happy about them. He is still in prison and I haven’t spoken to him.”

 GRAMMY-WINNING 90s singer Cassandra Wilson has died aged 70.

The jazz singer died surrounded by family and friends on Wednesday.

The award-winning jazz vocalist from Jackson, Mississippi, worked with the Roots and co-founded the M-Base Collective.

Her manager of 20 years Robert Torre told WBGO: “It is with profound sadness that we announce the passing of Cassandra Wilson, the Grammy Award-winning and legendary jazz artist.

“Cassandra Wilson transitioned peacefully at home, surrounded by family, close friends, and her manager.”

Cassandra blended blues, country and folk music into her work.

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The singer was nominated for four Grammys, and won two in the Best Jazz Vocal Album.

Cassandra won for her 1997 album New Moon Daughter and for her 2007 album Loverly.

She was described by critic Gary Giddins as “a singer blessed with an unmistakable timbre and attack who has expanded the playing field”.

Cassandra was named as a Jazz Master in 2022 by the National Endowment of the Arts.

Tributes flooded in for the star, with fellow NEA Jazz Master Dorthaan Kirk saying she is “devastated” by the loss.

She said they were like family and Cassandra called her “Mother Kirk”.

Dorthaan said: “I’m just devastated. Cassandra completely related to me because she looked up to me as an elder and somebody that was in the business.”

Cassandra took up piano at six, guitar at 12 and launched her career as a vocalist in the 70s, moving to the Big Apple the next decade where she became one of the founding members of the M-Base Collective.

She later signed with Blue Note Records in 1992 and released her seminal album titled Blue Light ‘Till Dawn.

The singer collaborated on albums with Coleman, Greg Osby, and Wynton Marsalis.

Cassandra sang as the character Leona in Marsalis’ recording of his Blood on the Fields oratorio, which became the first jazz composition to win a Pulitzer Prize.

She was a guest vocalist on the Roots’ Silent Treatment and One Shine.

And star collaborators on her own work included Elvis Costello, John Legend, Jon Batiste and Ravi Coltrane.

She told The New York Times in 1994: “I continue to choose the path I take musically,

“And it’s not motivated by becoming famous or having a lot money, or any other pop motivation.”

The beloved comedy was created by The Office star Mindy Kaling

Friends fans might have just found their next TV obsession.

Not Suitable For Work (NSFW) landed on Hulu and Disney Plus in June, and its already drawing comparisons to iconic sitcoms. Created by Mindy Kaling, the series centres on five twenty-somethings as they navigate the transition from university life into the professional world.

Viewers follow the tight-knit group as they attempt to scale the corporate ladder in New York City. English actress Ella Hunt leads the cast as main character AJ, an introverted financial analyst who moves to Manhattan for the role.

She shacks up with her former university flatmate Abby (played by Avantika Vandanapu), who is pursuing a career in celebrity styling. The rest of the ensemble is made up of rising stars Will Angus, Jack Martin and Nicholas Duvernay.

Despite its first season spanning just nine episodes, NSFW has garnered overwhelming praise from viewers. It achieved an impressive 82% audience score on Rotten Tomatoes, where one enthusiastic fan declared: “This series is everything and deserves the f***** best.”

The review continued: “Modern day ‘Friends’, and I say that as the most outstanding compliment. Mindy Kaling, wow! It felt fresh, new and necessary for the time,” reports OK!

Another fan compared it to the nineties classics, commenting: “The cast is brilliant. It clearly feels like an homage to 90’s sitcoms like Friends.” While a third person raved: “10/10 series, a breath of fresh air for comedy in 2026.”

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Yet another viewer shared their glowing verdict: “Such a good show! only complaint is that there are never enough episodes….give us 20 episode seasons.”

Unfortunately, it doesn’t look like NSFW will be releasing new episodes anytime soon. Hulu has decided to cancel the show after one season, although producers are said to be looking for a new streaming home.

Creator Kaling took to Instagram to express her love for the project following its cancellation. Sharing several snaps of the cast, she wrote: “I love this show, I loved making this show, I love these people, and I love all of you for all your sweet comments, messages, edits and for watching.”

All nine episodes of Not Suitable For Work are available to stream now on Disney Plus.

A special type of indie film teaches you how to see it as you watch it — not as an instructor might a student, but as an ally would a new acquaintance. Shatara Michelle Ford’s sophomore feature, “Dreams in Nightmares,” about a road trip, a friendship and a Black queer landscape anchored by care, has that quietly confident appeal, like being invited into something intimate, then let free when your curiosity is at its zenith.

Ford made their name with the micro-indie, micro-focused “Test Pattern,” an act of upending as it dissected an interracial relationship’s fault lines in a moment of crisis. (It’s on the Criterion Channel now.) This time, with the drive of a born iconoclast, Ford sheds plot even further — save the loose construct of three besties in search of their absent fourth. What emerges, as the plot spans a North America whose inviting (or alienating) textures are attentively captured by cinematographer Ludovica Isidori, is an ode to the centering of chosen family when the realities of life, especially for people of color, always seem to demand soul-crushing acquiescence.

For creative writing professor Z (Denée Benton), recently let go from her Los Angeles-based university and uncertain about her future, a recurring dream featuring black-and-white imagery, a door and an enticing expanse of nature puts her in a journeying state of mind. Hopping to Brooklyn to connect with Tasha (Sasha Compère), a nervy consultant also recently shorn from her job, and Lauren (Dezi Bing), an emerging poet, this close-knit trio first decides to go dancing, then to seek out their celebrated artist pal Kel (Mars Storm Rucker), last heard from in the Midwest and who’s cut off all communication.

That framework, though, isn’t treated like some act-structured gauntlet in Ford’s telling. This is a road trip, after all, in that having a direction — to Pittsburgh, then Iowa City, Kansas City, Santa Fe and across the border — allows for some directionlessness, for different speeds, artful touches (conversations that become camera-facing interludes) and delicate epiphanies of feeling. The trio stops for a lively trans poetry reading. There’s a comically weird dinner with Kel’s ex, Sabrina (a scintillatingly eccentric Jasmin Savoy Brown). A stopover to see Kel’s parents (Regina Taylor and Robert Wisdom) illuminates, for better or worse, where some of these friends have come from and why moving forward matters.

In not adhering to the expected rules of conflict-based drama, “Dreams in Nightmares” can confound. But when you realize that this is exactly the point of Ford’s open-ended exploration, you begin to understand why Ford would rather create a roving, sensorial continuum that feeds intrigue (kudos to composer Ohyung) instead of cornering you. The performances bear that out, from Benton and Bing’s steady inner light to Compère’s coiled, watchful Tosha, a compelling portrait of skepticism inside this cocoon of warmth.

Yet of course, just when Tasha appears to be a fulcrum for narrative revelation, Ford re-balances everything, in waves of grace and gentleness, to remind us that sometimes the less we label, the more we’ll observe about the abiding importance of love and belonging. Ford has internalized the humanity of filmmakers like Mike Leigh, Hou Hsiao-Hsien and Jim Jarmusch. Even the most awkward parts of the film feel uniquely alive. But as “Dreams in Nightmares” wends its way to a close, it’s also easy to believe you’re witnessing a percolating virtuosity that’s all Ford’s own.