Hill

EXCLUSIVE: Emmerdale’s Katie Hill – who plays Sarah Sugden on the ITV soap – warns there’s a ‘rocky road’ ahead as she details devastating consequences for Charity

Sarah Sugden star Katie Hill has revealed some tragic twists on Emmerdale in the coming weeks.

Fans will know Charity Dingle is currently under investigation for the death of Dr Todd but it was Sarah who killed her. In a shocking turn of events, Charity confessed to Sarah that the baby she thought was hers and Jacob’s was actually Charity’s and Ross’.

Now, actress Katie has warned there’s more trouble ahead for Sarah and Charity in the coming weeks in an exclusive chat with The Mirror at the Inside Soap Awards.

“When the producer told me, I was so shocked. I had no idea it was going to be Sarah that was the one to kill her. It was a massive shock. She didn’t do it on purpose. It’s not in her nature to kill someone,” she said.

“She’s just now found herself in this really sticky situation. And then obviously with the baby thing on top, finding out about that, she’s just acted on impulse. She’s so angry, and she’s thought, ‘This is what I need to do to get my peace,’ type thing.”

However, Katie warned that despite her confessions, Sarah will continue to struggle.

“I think she’s still struggling with the idea that she’s killed someone. We’ll see her go through a bit of a rocky journey with like parenting, sleepless nights,” she told us.

“I think she’s just revisiting what she’s doing over and over again. And the guilt obviously did set in with Charity and reporting her but she’s gone and taken all that back. It’s a rocky road ahead for Sarah.”

Just a few weeks ago, Sarah found out that Charity had lied about the baby’s parentage.

Speaking about the impact of the storyline, Katie revealed: “In Sarah’s eyes, this is the end. I don’t think she believes she will ever be able to forgive her. The dynamic between the two characters has shifted completely. Sarah is taking charge now, and while it’s obviously devastating for Charity, Sarah just can’t see a way past this.

“From this moment on, as awful as it sounds, Charity is essentially dead to her. She doesn’t want Charity to have anything to do with her or Leyla. Sarah is setting very strict boundaries, she’s nothing to her now.”

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

The staging is simple. A circle of nine stately wood chairs on a bare stage. Four actors, affixed with in-ear monitors, occupy different seats as testimony is elicited, provided and undermined.

The Senate Judiciary Committee is back in session in “The Ford/Hill Project,” now at REDCAT through Saturday. What follows is some of the most riveting and distressing testimony ever delivered in such a setting.

Anita Hill and Christine Blasey Ford are called back to testify under oath about the Supreme Court nominations of Clarence Thomas and Brett Kavanaugh, respectively. This documentary drama, created by Elizabeth Marvel and director Lee Sunday Evans, is composed from the verbatim transcripts of these painful proceedings.

In 1991, Hill testified that Thomas had repeatedly sexually harassed her when he was her supervisor at the U.S. Equal Employment Opportunity Commission and the Department of Education. In 2018, Ford testified that she had been sexually assaulted in 1982 by a 17-year-old Kavanaugh when she was 15.

Marvel and Evans create a double helix from excerpts of these two hearings, which are separated by nearly 30 years yet reveal highly entrenched patriarchal patterns. Two women, summoning the courage to tell what they know about two men who are about to be entrusted with the most consequential governmental power, are put through the wringer as the political machine shifts into gear.

The actors wear in-ear monitors that feed them edited clips from the real audio of the hearings.

(Angel Origgi / REDCAT)

Marvel, one of the treasures of New York theater, takes on the role of Ford at the Brooklyn Academy of Music in a run that ends Sunday. (The piece premiered at Woolly Mammoth Theatre Company in 2024.) At REDCAT, the superb Rosemarie DeWitt assumes Marvel’s place, standing in for Ford but never attempting anything as crass as an impersonation.

The production, under Evans’ precise direction, manages to find a tone that might be paradoxically described as emotionally resonant neutrality. Those in-ear monitors that the actors are wearing feed them edited clips from the real audio of the hearings.

Ford, a psychology professor with an expertise in biostatistics, answers prosecutorial questions about a life-altering trauma in a manner that leans on her scientific training for security. Hill, a Yale-educated lawyer asked to elaborate on the prurient conduct she was chronically subjected to at work, never loses her professional composure.

“Indelible in the hippocampus is the laughter,” Ford tells Sen. Patrick Leahy when asked about the strongest memory she has of the incident. (Ford’s voice, resounding at the start of the production, keeps the brutality of the assault at the forefront of our minds.)

Hill, played by Betty Gabriel, describes the threatening nature of the unwanted advances that created such a toxic work environment. Aware of the damage that Thomas could inflict on her young career, Hill was determined to do what she could to salvage an extraordinary legal opportunity.

At times during Thursday’s performance, Gabriel appeared to stumble on her lines, but it was hard to tell because Hill is speaking extempore in the most difficult of public forums and she doubles back on her sentences, carefully parsing out her words. What both DeWitt and Gabriel honor exquisitely in their performances is the quiet integrity of these women as they willingly expose themselves to political attacks for the sake of causes greater than themselves — the truth, first and foremost, but also gender equality and the Senate’s advisory role as a cornerstone of American democracy.

The actors change not only their seats but also their roles.

(Angel Origgi / REDCAT)

Dulé Hill channels the presence of Thomas, who eventually theatrically hijacks the hearing by referring to the experience as a “high-tech lynching for uppity Blacks.” Rich Sommer gives us the voice of Kavanaugh extolling the pleasures of beer and barking at senators who pointedly ask about the extent of his drinking.

The actors change not only their seats but also their roles. The interrogated become the interrogators in a way that gets a little blurry when the focus initially shifts from Hill and Ford to Thomas and Kavanaugh. But the murkiness doesn’t last long in a production that achieves an admirable balance between objectivity and emotion, abstraction and representation.

The restraint imposed by the production adds to its power. There’s no need to editorialize. The proceedings skewer themselves.

When Sen. Alan Simpson quotes from “Othello” in defense of Thomas, he uses Shakespeare’s lyrical authority but fails to realize that he is in fact invoking the false words of the tragedy’s villain, Iago. Not that the easily impressed senators, eager to exculpate a favored man, took note of the irony.

The patriarchy cares mostly about shoring up its own power. Thomas and Kavanaugh were part of the Supreme Court majority that voted to overturn Roe vs. Wade.

The ending, the only time when Evans’ direction loses its poise, blares “make it right,” performed by the Tune-Yards, as Thomas and Kavanaugh, adorning themselves in black robes, find their seated place according to seniority among the nine chairs. The theatrical flourish seems jarring, but so too is the historic moment.

“The Ford/Hill Project” filled me with sadness but not despair. The bravery of Hill, who educated a nation on sexual harassment, and the emotional strength of Ford, who bared her trauma for public enlightenment, live on in the American consciousness as it progresses, in fits and starts, toward justice.

BEIRUT: Since a ceasefire went into effect between Israel and Hezbollah more than two months ago, fighting has stopped in much of Lebanon, but not on a strategic hill overlooking parts of a main southern city.

In recent weeks, Ali Taher hill has been the scene of daily shelling and airstrikes by Israel’s military. Hezbollah, a militant group backed by Iran, has repeatedly attacked Israeli forces in the area with drones.

The United States, which is mediating talks between Lebanon and Israel, had wanted Hezbollah to hand over the hill to the Lebanese army as part of larger plan to disarm the militant group and dismantle its infrastructure. But Hezbollah has refused.

Lebanon and Israel reached a framework agreement in June stating Israel will withdraw from Lebanon as Hezbollah is disarmed. The militant group was not a party to the negotiations and has rejected calls to disarm in areas north of the Litani river, which is where Ali Taher is located.

A full-on battle over this hill near the city of Nabatiyeh could escalate fighting across the country, and unrest in Lebanon complicates efforts to resolve the war in Iran.

On Thursday night, Israel’s military announced it had taken “operational control” of Ali Taher and a network of tunnels beneath it that Hezbollah uses to shelter its fighters and weapons. It is unclear how far Israel’s control extends. Just before Israel’s announcement, its air force was still targeting the hill, according to Lebanese state media.

There has been no official statement from Hezbollah since Israel’s announcement.

US pushes Lebanon to pressure Hezbollah

Hezbollah firmly rejected a proposal from the Lebanese government to hand over Ali Taher to the country’s army. It fears Israel would then seize control of the hill from the Lebanese army and then demand the handover of more territory.

Israel had occupied Ali Taher for 18 years before it withdrew from Lebanon in 2000.

The hill has a strategic location overlooking several villages as well as main roads leading to Nabatiyeh. Losing full control of it would disrupt Hezbollah’s presence and supply lines in the area.

The Israeli military says the site is also important to Hezbollah because of tunnels it built there, with funding from Iran.

Israel said in its statement Thursday that the hill housed underground command centers, weapons storage rooms, generators, living quarters, showers and a kitchen. Israel said it cleared Ali Taher of Hezbollah fighters and was working to “neutralize underground infrastructure sites.”

Hezbollah legislator Ihab Hamadeh questioned why the Israeli military was still attacking the hill if it was really in control of the area, according to the Arabic-language version of Russia’s state-funded news outlet Sputnik. An Associated Press photographer who visited the nearby village of Kfar Rumman on Friday saw no sign of Israeli military presence on the hill.

The hill, topped with a shrine to a Muslim scholar, sits north of the Litani river, which has become the de facto boundary of the area captured by Israel since its latest war with Hezbollah began in early March.

Fighting in the area has heated up in recent weeks

Israel has been conducting military operations around Ali Taher since July, said Nasser Khdour, a Middle East researcher at the Armed Conflict Location & Event Data Project, or ACLED, a US-based group that tracks conflicts around the world.

Hezbollah official Mahmoud Qamati told a Lebanese podcaster in late August that the group’s fighters were repelling attempts by Israeli troops to take Ali Taher. But he, and others, downplayed the significance of the site should Israel take it.

“Ali Taher is important, but if it is lost it does not mean the end of Hezbollah,” Qamati said.

In mid-August, Israel carried out a series of airstrikes on southern Lebanon that it described as retaliation for a Hezbollah drone attack on Ali Taher that seriously wounded three soldiers. The Israeli strikes, which killed 11 people, including women and children, were the deadliest since the US-brokered ceasefire went into effect in late June.

On Aug. 27, Israel carried out a series of airstrikes, killing one person and wounding six, after the military said Hezbollah fired two explosive drones at Israeli troops in the area. Hezbollah did not claim responsibility for any of the attacks.

Lebanon says Israel is hindering its army

Lebanon’s Deputy Prime Minister Tarek Mitri told an Arab TV station in late August that the Lebanese army was ready to take over Ali Taher.

He accused Israel of blocking the army due to its own political considerations ahead of Israeli national elections on Oct. 27.

“The problem is not in the Lebanese army’s readiness but in Israel’s stance,” he said.

Lebanese and Israeli officials are set to meet for negotiations in Rome later this month. Meanwhile, Hezbollah, which has always refused to speak directly to the US, appears to be changing its policy after the major setbacks it has suffered during its wars with Israel since 2024.

A Lebanese official told The Associated Press that indirect contacts are going on between the US and Hezbollah, but refused to give any details. He spoke on condition of anonymity in line with regulations.

The US ambassador to Lebanon, Michel Issa, said recently that Washington is ready to speak with Hezbollah if the group agrees to disarm.

Still, Hezbollah is not likely to take any move forward regarding talks with the US without a green light from its main backer, Iran. While talks with the US over their war have stalled, Iran has sought guarantees that Israel will halt its attacks on Hezbollah as part of any permanent deal.

Capture of Ali Taher could lead Israel to other Hezbollah strongholds

The capture of Ali Taher would open the way to Nabatiyeh and also lead to the nearby Apple Province and Rihan Mountain, where Hezbollah has been building up its presence since the late 1990s.

Israeli leaders have repeatedly pledged to leave troops in Lebanon and threatened to escalate military pressure until Hezbollah disarms.

“Israeli control of the area is an operational and military setback for Hezbollah,” said Khdour of ACLED. He said clearing these sites helps Israel protect towns in the northern part of its country, and increases pressure on Hezbollah.

“This will strengthen Israel’s position in any future negotiations over its withdrawal,” said Khdour.

As a young sportswriter studying journalism at the University of Missouri, Seth Wickersham looked to Los Angeles for inspiration. At the campus bookstore, Wickersham bought his first sportswriting anthology, “The Last of the Best,” a collection of columns from the Los Angeles Times’ Jim Murray, one of four sportswriters ever to win a Pulitzer Prize.

Collections of work from Murray, Rick Reilly, Frank Deford and others offered Wickersham a road map for the career he wanted to build — and he has, with 26 years’ worth of work at ESPN meriting an anthology of his own. “Be on That Hill: Stories From the Summits of Sport,” which will hit bookshelves Sept. 22, is Wickersham’s third book. He said assembling an anthology is both “the coolest thing you could ever imagine happening” and “this weird mind warp.”

“When you’re just on a treadmill like I’ve been, the years just go,” says Wickersham, who’s been covering sports since he was hired by ESPN The Magazine straight out of college. “You don’t realize it, but then you take stock of it, and you’re like, ‘Holy cow, I’ve been doing this 26 years …’ It’s surreal to go back and look at it.”

A premier investigative and feature reporter primarily covering the NFL, Wickersham has also written “It’s Better To Be Feared: The New England Patriots and the Pursuit of Greatness,” and “American Kings: A Biography of the Quarterback.” Both books combine new, headline-generating reporting with intel Wickersham has gathered over decades covering football. With “Be on That Hill,” Wickersham selected stories that he hopes, taken together, “tell a bigger story not only about the games that we love, but the ways we consume them, and even about the country.”

Football has always been Wickersham’s first love — he weaved his journey as a high school quarterback into “American Kings” — but his latest book features stories about a college basketball coach on the job hunt and an NHL enforcer’s attempts to avoid head injuries.

“I’m trying to write about people who have a certain level of inner turmoil,” Wickersham says, “whether it’s Sean McVay after he wins the Super Bowl, or Jerry Jones when he’s threatening to sue the NFL to stop Roger Goodell from signing a contract extension.”

The sports media industry has changed dramatically since Wickersham’s career began. ESPN The Magazine no longer exists. Access to coaches and players is increasingly hard to secure. But Wickersham’s journalistic goals are the same today as they were when he bought Murray’s anthology.

“I want to be a link on a chain,” he says. “It’s hopefully an installment of a body of work that one day might help me be a link on a chain of the best who did this.”

This Q&A was edited for length and clarity.

✍️ Author Recommendations

In addition to Jim Murray’s anthology, here are some other sports books that have inspired Wickersham.

• “The Breaks of the Game” by David Halberstam: This is the Pulitzer-winning Halberstam’s first sports book, following the 1979-1980 Portland Trail Blazers. “When it comes to trying to decode a team, that’s the standard,” Wickersham says.
• “Joe Namath and the Other Guys” by Rick Telander: Namath, the Hall of Fame New York Jets quarterback, serves as an example of quarterbacks’ rising celebrity profile in “American Kings,” and Telander is one of Wickersham’s favorite sportswriters. “The portrait he gave of Joe Namath in his twilight was just so rare,” Wickersham says. “I don’t think a book like that has ever been done.”
• “When Nothing Else Matters” by Michael Leahy: Another book about an athlete in his twilight. This one documents Michael Jordan’s time with the Washington Wizards. “He worked his tail off as a reporter and really gave a brutally honest glimpse into what it was like to live and play with Michael Jordan the last few years of his career,” Wickersham says.
• “The Franchise” by Michael MacCambridge: Wickersham read this history of Sports Illustrated in college. “It really not only gave a glimpse into how so many of these great stories by my heroes … were done,” he says, “but also how those guys got hired at Sports Illustrated. It was like a job road map.”

📰 The Week(s) in Books

Our fall book recommendations answer your call for learning and discovery this season.

(Kissi Ussuki / For The Times)

Our Fall Preview includes 29 books to keep on your radar this fall, as well as television and movies we’re excited about.

Mark Athitakis reviews Marlon James’ “The Disappearers,” a Booker Prize longlisted novel that follows gay men in Jamaica across seven decades.

Can’t get enough of “The Odyssey”? Acclaimed classicist Emily Wilson, who eviscerated Christopher Nolan’s cinematic take on the epic, is translating the Greek poem for a second time.

📖 Bookstore Faves

Sons and Daughters is a new bookstore on Melrose.

(Photo from Sons and Daughters)

This week, we caught up with Raine De Leon, owner of Sons and Daughters Books, a formerly online bookstore that opened a brick-and-mortar location earlier this year. Here’s what they had to say about their IRL location, the local bookshops that inspired them and more.

This interview was edited for brevity and clarity.

Your bookstore began as an online store in 2024. What motivated you to open an online store? How did it grow from there?

A brick-and-mortar was always the end goal, since I wanted a physical space for writers, readers and other artists to come together for events and community building. Originally, the online store was actually an online poetry journal, where I published poets from around the world, wrote reviews, and held virtual readings. I wanted to translate that into an in-person experience.

What other bookstores, in Los Angeles or elsewhere, served as inspiration for the type of bookstore you wanted to open?

Skylight Books in Los Feliz and Village Well Books and Coffee in Culver City really inspired how I wanted the store to feel: warm, inviting and dynamic enough to serve both a neighborhood and a larger L.A. audience. I took inspiration from the Painted Porch in Texas in regard to curating the selection of books in the store. City Lights in San Francisco was also a huge inspiration for not only my store, but my life in general. The place it holds in the history of its community, the history of publishing and the history of poetry are profound, and I am trying to emulate that legacy as best I can.

What inspired the name Sons and Daughters Books?

The poet Charles Olson wrote a landmark essay, “Projective Verse,” in 1950. In it, he talks about poetic lineage and influence, and he says something to the effect of “We are the sons of the poets who came before us,” and that really spoke to me. I expanded it out to “Sons and Daughters,” with that same sentiment, to be a little more inclusive.

What type of selection can people expect at Sons and Daughters Books?

Our selection is almost all new books with focus on fiction, poetry, social sciences and more. We also have a cart of used books out on the floor every day, and on Sundays I bring out two more carts of used books.

For the new books, I selected each book in the store myself. I may not have read every book on these shelves, but I went line by line in our inventory sheets to select books that I wanted people to be aware of. Even though I am the only staff member, our “Staff Rec” table features reviews and picks from those closest to me. I wanted our selection to be extremely specific to me, my loved ones and the community the store is now in.

In the time you’ve been open, what events have been the most popular? Any particular upcoming events you’re excited about?

Our two most popular events are definitely our weekly stand-up comedy open mic night and our thriller book club.

September is our fullest month yet in regard to events, and I’m very excited for a few. We have two book launch events. The one on Sept. 26 is for “Valley Girl Manifesto” by Noelle Cope, a collection of both poetry and prose. The other, on Sept. 19, is for “Anger Is a Gift,” a new poetry anthology from FlowerSong Press. Both celebrate poetry, locality and connection.

Our full events calendar, which continues to grow, also features community workshops, silent reading clubs and more.

Sons & Daughters is located at 7817 Melrose Ave., Los Angeles.

MAYA Jama cheekily vowed to ‘shake her money maker’ as she stunned in a racy red dress at Notting Hill Carnival on Sunday.

The Love Island presenter, 32, shared what she got up to at the world-famous street party on her social media.

Maya headed out to the streets of Notting Hill in west London in a taxi with her pals before busting some moves on an elevated platform.

She was captured holding a sign that said ‘shake my money maker’ by a fan and she reposted the picture to her Instagram story.

The star was in high spirits showing off her moves in a red and black striped dress and sunglasses.

In another repost, Maya was all smiles as she waved to a fan on the ground and made a love heart sign with her fingers.

MAYA’S MIAMI MR NICE

‘Flirty’ Maya Jama ‘comforted’ by ‘playboy’ financier during World Cup

SNEAK PEEK

First look at Celebrity Traitors as Maya Jama and Ross Kemp attend sad FUNERAL

Before the party, Maya told her 3.3 million followers: “Merry carnival to those who celebrate.”

Notting Hill Carnival takes place every year from the 29th to 31st of August after it first took place in 1966.

It is one of the largest festival celebrations of its kind in Europe, celebrating Caribbean culture.

It comes after Maya stripped down to a bikini and let off steam on a wild holiday with pals.

She took to Instagram on Wednesday evening to share a series of pictures from her fun holiday.

In one snap, the ITV favourite showed off her sexy body in a blue two piece.