Hollywood

Despite the string of storms that have hit the Los Angeles region in recent days, the skies cleared up long enough on Wednesday for thousands of aspiring actors to swarm a beachfront in Marina del Rey and take their shot at landing a role in the upcoming “Baywatch” reboot.

The open casting call brought old Hollywood magic to Los Angeles, as the show intensified its search for raw and local talent, reminiscent of how original “Baywatch” stars were discovered, said Brittainy Roberts, the vice president of casting at Fox.

The soapy drama series, which premiered in 1989 and ran for 11 seasons, followed the lives and relationships of lifeguards who patrolled L.A. County beaches (and later Hawaii). It was not only a hit stateside — internationally it was a success, becoming the most-watched show in the world at the time. A film adaptation starring Dwayne Johnson and Zac Efron was released in 2017, and despite negative reviews, it was considered a commercial success, signaling an appetite for more.

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The casting team has “big bathing suits to fill,” Roberts said. The show famously created a slew of stars, including Pamela Anderson and Carmen Electra, who got their start on the show, and catapulted David Hasselhoff to new heights of fame.

Uncommon in a post-pandemic era of self-tape auditions, the open and in-person auditions attracted actors hungry for their big break and locals hoping to leave with a fun story to tell. Many donned “Baywatch” visors and sweaters while others sported bright red bathing suits, popularized by the original show. It was “an opportunity to really get people in the room in a large-scale way,” and allow “people an opportunity that maybe they aren’t getting in this new landscape of auditioning,” Roberts said.

The casting team saw live auditions from about 2,000 “Baywatch” hopefuls, and about 14,000 applications were submitted, said Joseph McGinty Nichol, known as McG, the reboot’s executive producer who will direct the first episode. His past projects include the “Charlie’s Angels” movie and “The O.C.”

Pat “The Jaguar” Uland, 31, of San Francisco, on the red carpet at the “Baywatch” open casting call.

(Allen J. Schaben / Los Angeles Times)

Beach-ready candidates filed in and out of a Marriott hotel in Marina del Rey for the in-person auditions. The casting call, which ran late into the night, embodied the joy of Hollywood, McG said.

Bri Ana Wagner, a 29-year-old living in Los Angeles, has been pursuing acting for around a decade. The open casting call was a reminder that the Hollywood “dream is alive,” she said.

“It’s like the way it used to be and the way it should be,” McG said. “You can come to a Marriott in Marina del Rey and change your life and blow it wide open.”

Hopefuls try to catch a break

David Chokachi hadn’t acted much before auditioning for “Baywatch” in the 1990s. Douglas Schwartz, one of the show’s original creators, and his wife, Deborah, had seen just about a thousand auditions for the role of Cody Madison. None of the actors matched the couple’s vision for the character, until Chokachi strolled in.

“It’s one of the most surreal things that’s ever happened in my life,” said Chokachi, the only actor from the original series confirmed for the reboot.

David Chokachi, who was on the original “Baywatch,” is reprising his role as Cody Madison.

(Allen J. Schaben / Los Angeles Times)

The aspiring actors who auditioned Wednesday hoped to get their chance at a big break similar to the one Chokachi got decades ago. Casting for the reboot began late last year, Roberts said, and people “have come out of the woodwork” since, with some messaging her directly on social media.

“The fact that we’re shooting in L.A., it’s certainly ignited a flame for a lot of agents and managers in town hoping to get their clients working here,” Roberts said.

The casting executive was hopeful that Wednesday’s auditions would bring together a talented pool of actors that the show can continue to pull from.

Massiel Taveras was among the many in attendance at the casting call: “I belong to this group. I belong to the show. I just feel it.”

(Allen J. Schaben / Los Angeles Times)

Massiel Taveras was crowned Miss Dominican Republic in 2007 and has pursued acting since, finding success in the Latino market. She arrived to the Marriott hotel sporting a bright red sports bra and leggings, paired with a large fur coat to shield her from the beach chill.

“I just love the show so much … It’s iconic. It’s something that everybody loves,” Taveras said. “I belong to this group. I belong to the show. I just feel it.”

Meanwhile, Dominique Lopez, a broadcast student from Monrovia, had never been to an audition before her boyfriend Colin Bolick, an actor, convinced her to attend the casting call together. The experience was “super easygoing” and intimate, she said as she walked out of the audition room.

“It’s making the industry exciting again. It’s putting people in the mind space of … ‘Let me put myself out there,’” said Lopez, 25. “Just for that, I feel like a better person, that I went and did something new.”

Could ‘Baywatch’ could help revive Hollywood?

Marko Dobrasinovic, 24, who made the trek from Chicago to audition, bumped into an old high school classmate, Alyssa Frey, while in line to check in. The pair attended the same high school as Hasselhoff, who played Mitch Buchannon on “Baywatch,” one of the actor’s best-known roles.

The impromptu reunion felt like a full-circle moment, said Frey, who moved to Los Angeles to pursue acting about two years ago. She landed in the city just as the actors’ and writers’ strikes froze Hollywood. Wednesday’s casting call was “one of the few opportunities to get in front of someone,” she said.

It was one that almost slipped away from the city. Showrunners were eyeing Australia as an alternative to filming in L.A., until Gov. Gavin Newsom and state legislators granted the production, along with 16 others, California’s film and TV tax incentive in November. Hollywood has struggled to return to its former status as a production mecca after the COVID-19 pandemic and 2023’s dual strikes. The wildfires early last year, coupled with studio spending cuts, added another blow to L.A.‘s waning film and TV industry.

The open casting call was a rare event in Los Angeles, as the TV and film industry struggles to recover.

(Allen J. Schaben / Los Angeles Times)

Chantal Groves left a stable job in international relations around two years ago, setting her sights set on Los Angeles. The 25-year-old, originally from the Dominican Republic, said acting was always her true passion. The career change has been fulfilling, but navigating such a fraught industry is difficult, she said.

“It’s basic laws of supply and demand,” Groves said. “There’s not a lot out there. There’s not a lot casting, and so just in general, it’s a really hard time to start in the industry.”

The “Baywatch” reboot received a $21-million credit, aimed at revamping the state’s entertainment industry.

“This was about keeping an iconic, world-famous brand right here in L.A.,” said Traci Park, a councilmember for District 11 who helped lead efforts to secure the tax incentive and attended the event. “We have the talent, we have the resources, we have the sets … it is exactly why we are fighting so hard to keep these productions in Los Angeles.”

A love letter to Los Angeles

“Baywatch” showrunner Matt Nix was in the middle of fighting off the wildfire that ravaged his Altadena neighborhood and got dangerously close to his home when he first got the call to lead the reboot. His house survived the fires, and he says a show like “Baywatch” felt like exactly what the city needed after such tragedy.

“This is a show about paradise and the people who keep it that way,” Nix said. “There’s something fundamentally earnest and positive about ‘Baywatch,’ the idea of heroes on the beach taking care of each other and the people that they protect.”

Others can relate to that sentiment. “Baywatch” was “right up my alley,” said Ava Cherlyn, a 19-year-old from Newport Beach. The aspiring actor, who moved to Hollywood six months ago, was a lifeguard growing up and played water polo competitively.

“I’m surprised that I haven’t been nervous,” Cherlyn said as she posed for photos in a red bathing suit.

Aspiring actor Ava Cherlyn, 19, in a red swimsuit made iconic in “Baywatch.”

(Allen J. Schaben / Los Angeles Times)

The original show attracted a worldwide audience because of its focus on “heroic people with complicated and interesting lives” while still feeling like an easygoing “hour-long vacation,” Nix said.

That nostalgic magic won’t be lost in the upcoming season, which Nix said is more of a continuation rather than a reboot. It will follow Hobie Buchannon, Mitch’s son, a character featured in the original series, played by “Arrow” protagonist Stephen Amell.

Hobie’s life will be derailed when he meets Charlie, a 21-year-old daughter he never knew he had who’s eager to continue the family’s legacy by becoming a Baywatch lifeguard. Hobie, now a Baywatch captain, will navigate the familial troubles throughout the season, Nix said.

“I don’t want to imply that ‘Baywatch’ is going to save the world or save America,” Nix said. “But, at the same time, I think it’s a good time for an unapologetically heroic show about people who care about each other and the people that they’re trying to save.”

“That’s my pot dealer!” exclaimed Michelle Phillips in a crowded movie theater in 1977. Months earlier, the Mamas & the Papas singer had only known Harrison Ford as a stoner-carpenter with a few bit parts to his credit. Now he was Han Solo in “Star Wars,” directed by a young upstart, George Lucas. Clearly the world was changing.

How much, though? Conventional wisdom about the Hollywood renaissance of the ‘60s and ‘70s suggests that starting with “Bonnie and Clyde” and “Easy Rider,” a batch of emerging auteurs shook the studios out of a rut and transformed American film. There’s plenty of truth to that: Francis Ford Coppola’s shift in 10 years from a director-for-hire on an old-hat musical, “Finian’s Rainbow,” to the auteur behind “Apocalypse Now” is just one of the era’s most remarkable achievements.

A pair of new books, though, suggest that the overall shift was only so modest, ultimately shoring up not just the old-school studio system but the social norms the interlopers were supposed to be upending.

Paul Fischer’s lively history of the new wave of California directors, “The Last Kings of Hollywood,” concentrates on Lucas, Coppola and Steven Spielberg. (New York contemporaries like Martin Scorsese and Brian De Palma are present but relatively off-screen.) Fischer has a gift for highlighting the ways that moments that we now accept as inevitable were often the product of dumb luck, pyrrhic victories and tough decisions. Coppola made “The Godfather” out of financial desperation, averse to adapting a mob novel; Spielberg’s “Jaws” was beset with mishaps, from a foolhardy attempt to train a real shark to its malfunctioning mechanical one; only when Lucas learned that the rights to Flash Gordon were unavailable did he pursue a space-opera concept all his own.

Their brashness and can-do spirit were worth cheering for: As the trio delivered films that broke box office records — ”The Godfather,” “American Graffiti,” “Jaws” and more — there were reasons to believe that big-budget films could operate outside the studio system. Lucas in particular was driven as much by resentment of the old as passion for the new. He never forgot how Warner Bros. manhandled his debut feature, “THX 1138” and was driven to muscle “Graffiti” into existence to spite the suits who said he couldn’t. In 1969, Coppola and Lucas launched their own studio, American Zoetrope, in San Francisco, with a passel of scripts in progress (including “Apocalypse Now” and “The Conversation”) and a $300,000 investment from Warner Bros. But Coppola wasn’t much of a businessman, and he had an easier time putting the office’s fancy espresso machine to work than the suite of state-of-the-art editing bays: “He ran his business like he ran a film set — on vibes,” Fischer writes.

A decade later, both Coppola and Zoetrope would declare bankruptcy, and he would split with Lucas, who’d used the success of “Star Wars” to cut his own path as a Hollywood kingmaker via his own production company, Lucasfilm. It allowed him to indulge his love of classic cliffhanger serials, and he tapped Spielberg to direct “Raiders of the Lost Ark.” But Fischer frames Lucas’ career arc as a disappointment, despite all those dollar figures — Lucas wanted to return to artsier “THX”-style fare, but needed cash flow. “If George was ever going to be independent from Hollywood, he thought he wouldn’t get there by making abstract mood poems,” Fischer writes. By the ‘80s, with two “Star Wars” sequels done, Lucas was out of the mood-poem business entirely.

While “Last Kings” focuses exclusively on directors’ relationship to movie economics, Kirk Ellis’ “They Kill People” considers “Bonnie and Clyde” and the New Hollywood from a variety of angles — filmmaking, the social turmoil of the ‘60s, America’s complex relationship with outlaws in general and guns in particular. It’s a meaty yet accessible book that captures the lightning-in-a-bottle nature of the generation’s ur-text, capturing the unlikely nature of its creation and the somewhat dodgy nature of its legacy.

“Bonnie” was such a provocation — nakedly, almost giddily violent — that its studio, Warner Bros, all but willed it not to exist. It was given a shoestring budget, was mocked by studio chief Jack Warner (who sarcastically referred to director Arthur Penn and producer-star Warren Beatty as “the geniuses”), and initially released largely in Southern drive-ins. “They figured the redneck kids would like the guns,” Penn said.

Everybody liked the guns. A few scolding critics lamented the film’s violence, especially its then-shocking bloody finale, but Beatty and co-star Faye Dunaway were deeply seductive onscreen. (Ellis notes that the two are always the best-dressed characters in the film.) And its outlaw sensibility resonated with young audiences in the late‘60s. Moreover, writes Ellis (a historical-drama screenwriter best known for “John Adams”), it represented the culmination of decades of American culture that equated American gun culture with freedom — a notion that would’ve baffled the founding fathers, who dwelled little on gun-rights matters in the Federalist Papers and other constitutional drafting documents, but gained traction thanks to gun manufacturers. “In the printed legend of American history, guns and freedom have become synonymous,” Ellis writes, but it was a new legend — stoked in part by “Bonnie and Clyde” — not America’s origin story.

It’d be a mistake to reduce the New Hollywood to the filmmakers highlighted by these two books — though, focused as they are on white men, they echo the way women and people of color were largely shut out of the system, or relegated to more marginal blaxploitation work. Artists looking to operate outside the system have plenty of inspiration to draw from in the ‘70s. Yet the books also expose how commerce does what it always does — take provocations and sand the edges off of them, then look for ways to make them profitable. In the early ‘80s, a decade after Coppola and company stormed the barricades, Paramount chief Michael Eisner shared a fresh and contradictory vision, such as it was: “We have no obligation to make history. We have no obligation to make art. We have no obligation to make a statement. To make money is our only objective.”

It would take another decade — and auteurs on the East Coast — to launch another attack on that sensibility, via films like “Do the Right Thing” and “sex, lies, and videotape.” They would help usher in the Miramax era — but that’s another story, with its own problematic twists.

Athitakis is a writer in Phoenix and author of “The New Midwest.”

Paul Fischer showed “Jaws” to his daughter when she was 10. She wasn’t scared. In fact, she loved it so much that she dressed as Richard Dreyfuss’ Hooper for Halloween. To Fischer, who watched “Raiders of the Lost Ark” at age 4 (“I remember the melting heads but I don’t think I was traumatized”), it shows the staying power of some of the ’70s blockbusters.

“It’s the flip side of how these franchises became so massive and had such a long tail,” he said in a recent video call with The Times, discussing how each generation still finds “Star Wars,” “Raiders,” “E.T.,” “Jaws” and “The Godfather.” “They’ve created films that endured and that overshadow others.”

That is part of the impetus behind his new book, “The Last Kings of Hollywood: Coppola, Lucas, Spielberg—and the Battle for the Soul of American Cinema.” The book, Fischer’s third about film history, starts before the trio were “big mythical names” and instead were just a bunch of guys setting out to fulfill their dreams.

The narrative then follows their journeys from the late ’60s through the early ’80s, filling in the “ecosystem” the trio came up in and how they wanted to change the system to gain creative autonomy. Spielberg worked within the system, Coppola spent lavishly and even ostentatiously to build his own studio and Lucas found his independence through a quieter, more conservative and technology-driven route.

(Martin Scorsese, who was friends with the three and “the most interesting human being of that generation of filmmakers,” gets plenty of ink but was not a titular character, Fischer said, because he remained an outsider who just wanted to make movies, not change the system.)

“I’m not going to pretend I can tell you what was going on in their heads but I tried to make people feel like they were there when it happened,” Fischer said.

While none of the three men would be interviewed, Fischer had decades of quotes and conducted his own interviews with hundreds of people in the filmmakers’ orbits to get a fuller and more honest story. (He added that their representatives were uniformly helpful with fact-checking and providing photos. “There was never a door closed on me,” he said in an accidental reference to the final scene of “The Godfather.”)

Coppola, “who changed quite a bit, was the hardest one for me to pin down,” Fischer said. “There are layers of complexity to him and his willingness to treat the creative life as if it’s an experiment.” Blending that with his self-indulgent philandering and spending of money, he added, “you can change your mind about that guy every five minutes.”

During that era at least, Fischer said Lucas and Coppola seemed ”completely devoid of any self-awareness.” He chronicles how Coppola pressured Lucas to accept changes to his first feature, “THX 1138,” so the studio would release it while Lucas viewed that as Coppola pushing him to sell out. Meanwhile, Lucas was pushing Coppola to do a studio film for hire to keep his fledgling Zoetrope Studio afloat, making Coppola feel pressured to sell out. (That movie was “The Godfather,” so it worked out OK for Coppola.)

“They keep giving each other advice about how to do things and then betray that same advice when it applies themselves,” he said, although he added that he doesn’t “whip them for 300 pages for having giant egos,” and said it’s part of the recipe to be a visionary filmmaker, especially in the Hollywood studio system.

Ultimately, the book depicts Lucas as more of a sellout, acting like the studio suits he once detested as he pressures “The Empire Strikes Back” director Irvin Kershner to make changes, often based on budget and then focusing more on profitability as he conjured up characters like the Ewoks for “Return of the Jedi.” Fischer doesn’t believe Lucas would recognize that version of himself in the book. “He’s someone who lost his BS detector and has drunk his own Kool-Aid.”

In Fischer’s telling, the creative and business sides are interwoven and inseparable from each other and from the personal relationships — their friendships and rivalries with each other but also their relationships with those who worked for them or loved them.

“They were all able to do what they did because of wives or partners or friends or college classmates, who did a lot of the work without being household names,” he said. To fully tell the story, he devotes plenty of narrative space to Coppola’s wife Eleanor, and his most prominent mistress, Melissa Mathison, who later wrote “E.T.,” producer Kathleen Kennedy, who co-founded Amblin Entertainment with Spielberg, and Lucas’ wife, Marcia, who edited the first “Star Wars” trilogy (and Scorsese’s “Taxi Driver”).

“How did these guys break through? Well, they were middle-class white dudes and these women looked after some of this stuff they couldn’t,” Fischer said. “Those aren’t the only reasons these guys became who they did but without that, they probably [wouldn’t have].”

Fischer celebrates the three men’s vision and talents — he calls “The Godfather” “a perfect film” and says Spielberg “speaks the language of a camera better than anybody else”— but the book makes clear how often they got lucky or were saved from themselves.

If Coppola had spent his money more judiciously, he might not have done “The Godfather;” Lucas resisted hiring Harrison Ford to play Han Solo as well as Ford’s creative contributions; and if someone had bankrolled the first feature film Spielberg pitched before latching onto “Jaws” — “a sex comedy San Francisco Chinese laundry riff on Snow White” — it could have sunk his career.

Additionally, Lucas and Coppola’s friendship frayed when the latter snatched back the directing gig for a film he had long ago promised to his buddy. “But imagine George Lucas making some weird low-budget, ‘Battle of Algiers’ version of ‘Apocalypse Now’ in the back streets of Sacramento,” Fischer said. “That sounds pretty crappy. And we would have lost one of the great, novelistic experiential movies that we have.”

Lucas, meanwhile, dangled his idea for “Raiders of the Lost Ark” before Spielberg’s eyes, then told him that Philip Kaufman had dibs. “He’s a fine director but we would have lost something there too,” Fischer said. “There are these crossroads there but still there has got to be something special about these three or they couldn’t have had repeated successes like they did.”

Writing about their failures, foibles and frustrations did not lessen the hold that these three men and their movie magic have on Fischer. He recounts a story of his own connection to one film with undisguised delight and enthusiasm. After graduating film school at USC, he was producing a documentary (“Radioman”) in New York when he learned that “Indiana Jones and the Kingdom of the Crystal Skull” was doing some filming in Connecticut. “Obsessed,” he finagled his way onto the set and into a job. “All I did was turn off the air conditioning,” he said. “‘Roll camera,’ I flip it off. ‘Cut,’ I turn it on. I did that for four days. But when Harrison Ford walked by wearing that jacket, I was 5-years-old again. That was cool.”

Miller is a freelance writer in Brooklyn who frequently writes about movies.

After the fake video of Tom Cruise and Brad Pitt fighting went viral, a surge of AI-generated content from Seedance 2.0 flooded the internet.

Some fans were using the new AI video generator, backed by ByteDance, to refashion the finales for shows like “Game of Thrones” and “Stranger Things.” Others created battle scenes between iconic superheroes like Wolverine and Superman or between a Transformer and Godzilla.

As these Seedance videos amassed millions of views on social media, industry guilds like SAG-AFTRA and the Motion Picture Assn. have criticized the AI platform that was launched last week. Now, many major Hollywood studios are threatening to take legal action against ByteDance, the same Chinese parent that oversees TikTok.

Netflix, Warner Bros. Discovery, Paramount and Disney have all sent individual cease and desist letters, detailing the unauthorized reproduction of each of the studios’ copyrighted intellectual property.

Netflix and Warner Bros. Discovery were the latest studios to send cease and desists letter to ByteDance on Tuesday.

Netflix calls Seedance “a high-speed privacy engine” and says that they “will not stand by and watch ByteDance treat our valued IP as free, public domain clip art,” as stated in the letter. The streamer also cites the illegal use of sets derived from “Squid Game,” costumes from “Bridgerton” and character design from “KPop Demon Hunters.”

Warner Bros. Discovery looks to repurposed content, including characters from the “Harry Potter” and “Lord of the Rings” franchises, as well as superheroes like Batman, as “ blatant infringement” by ByteDance. The studio argues that it’s clear that their AI technology was trained on Warner Bros. copyrighted material “without authorization.”

“But the users are not the ones at the root cause of the infringement; they are merely building on the foundation of infringement already laid by ByteDance as Seedance comes pre-loaded with Warner Bros. Discovery’s copyrighted characters,” wrote the studios’ legal executive vice president Wayne Smith. “That was a deliberate design choice by ByteDance.”

Disney and Paramount were the first of the studios to call out ByteDance, sending their letters last Friday and Saturday. Disney accuses ByteDance of loading its Seedance service “with a pirated library of Disney’s copyrighted characters from Star Wars, Marvel, and other Disney franchises.”

“Over Disney’s well-publicized objections, ByteDance is hijacking Disney’s characters by reproducing, distributing, and creating derivative works featuring those characters. ByteDance’s virtual smash-and-grab of Disney’s IP is willful, pervasive, and totally unacceptable,” Disney’s attorney David Singer wrote, per Axios.

Paramount’s cease and desist letter was reviewed by The Times and makes similar assertions about ByteDance’s unapproved use of copyrighted material.

ByteDance has since pledged to implement more safeguards to protect copyrighted material in response to these letters.

“ByteDance respects intellectual property rights and we have heard the concerns regarding Seedance 2.0,” a company spokesperson said in a statement shared with CNBC. “We are taking steps to strengthen current safeguards as we work to prevent the unauthorized use of intellectual property and likeness by users.”

But with or without the safeguards, Dan Purcell, chief executive of Midnight Labs, an AI-powered company that specializes in IP protection for high-value entertainment, said these letters might be a bit of a delayed reaction from the studios.

“Once synthetic content is generated, it spreads instantly and at a massive scale. By the time lawyers engage, the damage is done,” said Purcell in a statement. “The only path forward is strict licensing, real-time enforcement, and consequences that actually hurt. Reactive letters won’t fix this. The industry needs to move at the speed of AI — not the speed of litigation.”

In 1994, the Rev. Jesse Jackson declared war on Hollywood.

The civil rights leader, who died Tuesday, set his sights on the entertainment industry, accusing it of “institutional racism” and calling out what he called the lack of representation of people of color and women, an issue that reverberates today.

Jackson aimed his trademark fiery dynamism at studio and network executives, forming the Rainbow Coalition on Fairness in the Media — an offshoot of his Rainbow Coalition that focused on social justice and economic equality — and threatening boycotts against projects that excluded minorities.

Comparing his campaign to the historic march in Selma, Ala., and other civil rights demonstrations during a news conference, Jackson said, “They think they have the right to not include us in recruitment, hiring, promotion, projection, decision making. But we have consumer power, we have viewer power, we have the power to change dials. … The networks have time now to get their house in order. They can begin to change now.”

The pronouncement was a dramatic contrast to Jackson’s 1984 hosting gig on “Saturday Night Live” and his memorable reading of “Green Eggs and Ham” during a 1991 appearance on the sketch variety series.

But despite his characteristic command and media savvy, Jackson’s campaign never gained true momentum, scoring mixed results. Black actors and creators within Hollywood for the most part failed to rally around him, and leaders of some advocacy groups accused him of losing focus. Whoopi Goldberg made fun of him while hosting the 1996 Oscars.

By 1997, the battle had fizzled out and Jackson had moved on to more political concerns.

The clash with Hollywood was first sparked after several Black-oriented shows on Fox, including “South Central,” “Roc,” “In Living Color” and “The Sinbad Show” were canceled in the July 1994. Jackson felt there would not be much improvement in the diversity on the shows in the upcoming fall season.

“We know that significant shows were cut off from Fox this season, and that is of great concern to us,” Jackson said at a news conference at the African American Community Unity Center where he was accompanied by Brotherhood Crusade founder Danny Bakewell and comedian Sinbad, who starred in his own eponymous sitcom.

And Jackson said it wasn’t the only TV network with this problem. “We look at the data we have on NBC. It is substantial. It is ugly. We look at the projected format for CBS this fall. In the real sense, all of them are recycling racist practices. It is called institutional racism. It is manifest not only in their hiring, but in their priorities.”

He added that he was also concerned about what he claimed was poor representation of people of color and women among network news anchors and on writing staffs on prime-time network series. He criticized the prominence of Black actors having major roles that often involved criminal activity.

Jameel Hasan as Homey Jr., left, and Damon Wayans as Homey D. Clown on Fox’s “In Living Color,” which was canceled in 1994.

(Nicola Goode / Fox)

“We have written the networks letters, and the response, by and large, has been defensive as they attempt to justify what is unjustifiable,” Jackson said at the news conference. “While we’re willing to talk, we’re also willing to walk. It’s now time for aggressive direct action.”

In a separate interview, he targeted politically oriented Sunday news shows, saying they excluded Black journalists and news figures: “Those all-white hosts determine their guests and set the political agenda for public policy for Monday morning. That’s not America.”

His newly formed commission was researching network hiring practices and minority images. He vowed that boycotts and other actions would take place if there was not significant change.

But those demonstrations never materialized, and no boycotts were called. Roughly a year after his initial declaration, observers inside and outside the industry said networks had mostly ignored Jackson, and that little had changed.

Some leaders at the time questioned his commitment, saying he did not seem truly dedicated to aggressive action.

Sonny Skyhawk, founder and president of American Indians in Film, one of the organizations that had joined forces with Jackson, said the campaign against the networks should have been stronger.

“I would hate to criticize him for not being more diligent, but it is frustrating,” said Skyhawk in a 1995 interview about the initiative. “I don’t know where (the issue) is or why he is not continuing on this. But I think he got sidetracked on a lot of other things.”

Sherrie Mazingo, who was then head of broadcast journalism at USC, said she was not surprised that the Jackson campaign had lost steam: “What happened last season isn’t new, it’s perennial, and may even be cyclical. Protests and accusations and talk like this goes on all the time, and nothing ever happens. Nothing.”

Mazingo cited similar efforts by the National Assn. for the Advancement of Colored People in the early 1980s that had attacked Hollywood’s hiring practices. A boycott of films that failed to use Black artists in front of or behind the camera was proposed but never materialized.

“I believe what happens when these things start is that an individual in the organization who is pushing forward on these issues gets tired of banging their head against a brick wall,” Mazingo said. “They make an all-out assault, exhaust a lot of energy and money, and nothing ever significantly changes, except for a token gesture here and there.”

Sumi Haru, who was president of the Assn. of Asian Pacific Artists, said Jackson had been sidetracked by more topical issues such as a conservative power grab in Washington, D.C., and calls for abolishing affirmative action programs.

“He needed to focus his energy on the civil rights initiative, and affirmative action was a much bigger deal,” said Haru.

But Billie Green, president of the Beverly Hills/Hollywood branch of the NAACP, said Jackson’s campaign would have been more effective if it had joined forces with other organizations that had members within the television industry.

Jackson pushed back against the criticism, insisting that the fight against Hollywood “is still very high on our agenda.” He pointed out that he had worked to continue government funding for the Public Broadcasting Service, protested the cancellation of the Nickelodeon series about two Black brothers, “My Brother and Me,” picketed conservative “hate radio” programs and sent out a fax to 8,000 supporters asking them to rally CBS to bring back the family drama “Under One Roof.”

“It’s going to get more intense,” Jackson said.

In 1996, Jackson turned his attention to the Academy Awards, angered that there was only one Black nominee among the 166 artists nominated. He called for picketing in major cities and and said Black people attending the Oscar ceremony should wear a symbol expressing solidarity against what he called Hollywood’s “race exclusion and cultural violence.”

But during the Oscars, which was produced by Quincy Jones, Goldberg, who was hosting, took a swipe at the civil rights leader who was picketing across town.

“Jesse Jackson asked me to wear a ribbon. I got it,” Goldberg said during her opening. “But I had something I want to say to Jesse right here, but he’s not watching, so why bother?” The remark drew applause and laughter from the black-tie audience.

Some leaders, producers and directors were not amused by Goldberg, saying her remarks were insulting and dismissive of a serious fight to gain diversity within the motion picture industry. But others criticized Jackson, calling his action ill-timed and ill-advised. Several of the most prominent African Americans present, including Oprah Winfrey, Sidney Poitier and Laurence Fishburne, did not wear rainbow-colored ribbons as a sign of solidarity with Jackson and his Rainbow Coalition.

Even though he concentrated on other endeavors, Jackson was not totally done with Hollywood. He and the Rev. Al Sharpton spearheaded a protest in 2002 against the comedy “Barbershop” and its jokes about Jackson and ciivil rights icons Rosa Parks and Martin Luther King Jr. The two leaders also threatened a boycott against the 2004 comedy “Soul Plane.”

A HOLLYWOOD A-lister stunned locals when he was spotted shopping at a cricket supplies store.

This twice Oscar-winning actor, 69, was seen browsing a store in Australia, with staff at the shop admitting that they “didn’t recognise him” at first.

The star in question is movie megastar, Tom Hanks.

The much-loved actor looked worlds away from his famous film roles as he browsed a cricket shop in Sydney.

The Forrest Gump star looked happy and relaxed as he posed for a photo with the delighted shop staff, who couldn’t believe their eyes.

Tom was dressed casually in just a grey T-shirt and black trousers, and was stood with his son Truman, 29.

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The gob-smacked shop workers shared the picture on Instagram of them with Tom, and penned: “Not your usual walk-in customer…

“We’re used to serving cricket royalty, but yesterday at GCCC North Sydney, we welcomed Hollywood royalty, with Tom Hanks and his son Truman stopping by the store.

“From Baggy Greens to big screens, you never know who’ll walk through the doors at GCCC.”

The shop’s followers went wild for the pic, with one person writing: “How exciting – well done for capturing the moment.

Tom is often spotted out and about with the general public, despite his star status.

Last autumn he was spotted taking a subway train in New York.

He even slipped a few dollars to a street musician before heading off into the crowd.

Tom shot to fame in the 80s and was known for comedies like Big, Splash and Turner & Hooch.

In the 90s he became well known for romantic comedies like Sleepless in Seattle and You’ve Got Mail, both of which he starred alongside Meg Ryan.

However, he went on to win two Oscars when he switched to more serious roles.

Tom won his first Academy Award for Philadelphia in 1994, and then for Forrest Gump the year after.

The star’s other big roles include Saving Private Ryan and Cast Away.

Despite being known as one of the kindest actors in Hollywood, fans will be surprised to hear that Mr Hanks previously admitted to being a diva on set.

He even compared himself to the stroppy character in his 2023 movie The Making of Another Major Motion Picture Masterpiece.

Tom said: “I’ve had my tough days trying to be a professional when my life has been falling apart in more ways than one and the requirement for me that day is to be funny, charming and loving – and it’s the last way I feel.”

Away from the cameras, Tom is happily married to wife Rita Wilson, who he shares his son Truman with.

A new artificial intelligence video generator from Beijing-based ByteDance, the creator of TikTok, is drawing the ire of Hollywood organizations that say Seedance 2.0 “blatantly” violates copyright and uses the likeness of actors and others without permission.

Seedance 2.0, which is available only in China for now, lets users generate high-quality AI videos using simple text prompts. The tool quickly gained condemnation from the movie and TV industry.

The Motion Picture Assn. said Seedance 2.0 “has engaged in unauthorized use of U.S. copyrighted works on a massive scale.”

“By launching a service that operates without meaningful safeguards against infringement, ByteDance is disregarding well-established copyright law that protects the rights of creators and underpins millions of American jobs. ByteDance should immediately cease its infringing activity,” Charles Rivkin, chairman and chief executive of the MPA, said in a statement Tuesday.

Screenwriter Rhett Rheese, who wrote the “Deadpool” movies, said on social media last week that “I hate to say it. It’s likely over for us.” His post was in response to Irish director Ruairí Robinson’s post of a Seedance 2.0 video that shows AI versions of Tom Cruise and Brad Pitt fighting in a post-apocalyptic wasteland.

Actors union SAG-AFTRA said Friday it “stands with the studios in condemning the blatant infringement” enabled by Seedance 2.0.

“The infringement includes the unauthorized use of our members’ voices and likenesses. This is unacceptable and undercuts the ability of human talent to earn a livelihood,” SAG-AFTRA said in a statement. “Seedance 2.0 disregards law, ethics, industry standards and basic principles of consent. Responsible AI development demands responsibility, and that is nonexistent here.”

ByteDance said in a statement Sunday that it respects intellectual property rights.

“[We] have heard the concerns regarding Seedance 2.0. We are taking steps to strengthen current safeguards as we work to prevent the unauthorized use of intellectual property and likeness by users,” the company said.

The dispute comes a month after ByteDance finalized a deal to secure TikTok’s future in America. ByteDance agreed to divest majority ownership of U.S. operations to an American-led investor group, averting a shutdown of the hugely popular social media app.

President Trump during his first term sought to ban the platform, citing national security concerns, but he shifted his views after ByteDance agreed to the new joint venture.

The venture now has three managing investors: Silver Lake, Oracle and Emirati investment firm MGX, each holding 15%, with ByteDance retaining 19.9% of investments.

Ortutay writes for the Associated Press. Times Staff writer Cerys Davies contributed to this report.

Hollywood groups say the AI video tool uses the likeness of actors and others without permission.

China’s ByteDance has pledged to address concerns over its new artificial intelligence video generator, after Hollywood groups claimed Seedance 2.0 “blatantly” violates copyright and uses the likenesses of actors and others without permission.

The company, which owns TikTok, told The Associated Press news agency on Sunday that it respects intellectual property rights and pledged action to strengthen safeguards.

The tool, called Seedance 2.0, is available only in China for now and lets users generate high-quality AI videos using simple text prompts.

The Motion Picture Association (MPA) said last week that Seedance 2.0 “has engaged in unauthorized use of US copyrighted works on a massive scale”.

“By launching a service that operates without meaningful safeguards against infringement, ByteDance is disregarding well-established copyright law that protects the rights of creators and underpins millions of American jobs. ByteDance should immediately cease its infringing activity,” Charles Rivkin, chairman and CEO of the MPA, said in a statement on February 10.

Screenwriter Rhett Reese, who wrote the Deadpool movies, said on X last week, “I hate to say it. It’s likely over for us.”

His post was in response to Irish director Ruairi Robinson’s post of a Seedance 2.0 video that went viral and shows AI versions of Tom Cruise and Brad Pitt fighting in a post-apocalyptic wasteland.

Actors union SAG-AFTRA said on Friday it “stands with the studios in condemning the blatant infringement” enabled by Seedance 2.0.

“The infringement includes the unauthorized use of our members’ voices and likenesses. This is unacceptable and undercuts the ability of human talent to earn a livelihood,” SAG-AFTRA said in a statement.

“Seedance 2.0 disregards law, ethics, industry standards and basic principles of consent. Responsible AI development demands responsibility, and that is nonexistent here.”

ByteDance said in response that it has heard the concerns regarding Seedance 2.0.

“We are taking steps to strengthen current safeguards as we work to prevent the unauthorised use of intellectual property and likeness by users,” it told the AP.

Jonathan Handel, an entertainment journalist and lawyer, told Al Jazeera the developments mark “the beginning of a difficult road” for the film industry.

Until courts make a significant ruling, AI-generated videos will have major implications on the film industry,” he said.

“Digital technology moves a lot quicker, and we are going to see in several years full-length movies that are AI-generated,” he said.

These tools are trained primarily on unlicensed data, Handel said, and the output could resemble faces and scenes from famous movies, “and so you’ve got copyrights, trademarks, all of those rights are implicated here”.

A viral AI-generated video of actors Brad Pitt and Tom Cruise fighting atop a building is causing a stir online.

The 15-second video comes from the latest AI video-generation platform, Seedance 2.0. The platform was launched this week by its owner, ByteDance, the same Chinese parent that oversees TikTok. As the video circulates online, the Motion Picture Assn. and other industry stakeholders have called out the video for its unauthorized use of copyrighted works.

Charles Rivkin, chief executive of the Motion Picture Assn., wrote in a statement that the company “should immediately cease its infringing activity.”

“In a single day, the Chinese AI service Seedance 2.0 has engaged in unauthorized use of U.S. copyrighted works on a massive scale,” wrote Rivkin. “By launching a service that operates without meaningful safeguards against infringement, ByteDance is disregarding well-established copyright law that protects the rights of creators and underpins millions of American jobs.”

The video was posted on X by Irish filmmaker Ruairi Robinson. His post said the 15-second video came from a two-line prompt he put into Seedance 2.0.

Rhett Reese, writer-producer of movies such as the “Deadpool” trilogy and “Zombieland,” responded to Robinson’s post, writing, “I hate to say it. It’s likely over for us.”

He goes on to say that soon people will be able to sit at a computer and create a movie “indistinguishable from what Hollywood now releases.” Reese says he’s fearful of losing his job as increasingly powerful AI tools advance into creative fields.

“I was blown away by the Pitt v Cruise video because it is so professional. That’s exactly why I’m scared,” wrote Reese on X. “My glass half empty view is that Hollywood is about to be revolutionized/decimated.”

Reese isn’t alone in thinking AI could potentially “decimate” Hollywood and take away jobs. Creating protections against AI was one of the main reasons both SAG-AFTRA and the Writers Guild went on strike in 2023. But some members argue that those measures — now nearly three years old — did not go far enough.

As SAG-AFTRA reentered contract negotiations with the studios earlier this week, AI is still one of the union’s highest priorities. It’s expected that the actors union could propose what has been called the Tilly tax, a fee that studios would have to pay to the union in exchange for using an AI-generated actor — a response to the introduction of Hollywood’s first AI actor, Tilly Norwood.

In a statement to The Times, SAG-AFTRA confirmed that the union stands with the studios in “condemning the blatant infringement” from Seedance 2.0, as video includes “unauthorized use of our members’ voices and likenesses.”

“This is unacceptable and undercuts the ability of human talent to earn a livelihood. Seedance 2.0 disregards law, ethics, industry standards and basic principles of consent,” wrote a spokesperson from SAG-AFTRA. “Responsible A.I. development demands responsibility, and that is nonexistent here.”

Last year, LAPD leaders quietly brought on a temporary consultant to advise on how to give the department’s battered public image a spit shine.

In a proposal reviewed by The Times, the consultant wrote that the LAPD’s standing as “one of the most prominent and visible law enforcement agencies in the world” was on the line.

The name of the person offering to help chart the path forward was not mentioned when the contract went before the Police Commission for approval. Nor did it come up Feb 3. when, after a heated debate, the City Council approved the creation of a new LAPD communications strategist role with an annual salary of $191,000.

LAPD Deputy Chief Jonathan Pinto, head of the Human Resources Bureau, acknowledged under questioning from council members that the department already had someone in mind for the role — but declined to say who.

Numerous department sources, who were not authorized to speak publicly about the confidential personnel matter, identified the candidate as the consultant: Robert Port, a filmmaker, writer and director who has worked for decades in Hollywood.

Port declined to comment, as did an LAPD spokesperson.

Winner of a 2003 Academy Award for his documentary short “Twin Towers,” about a pair of brothers — a policeman and a fireman — who responded to the World Trade Center on 9/11, Port has served as an executive producer or written for shows ranging from Amazon Prime’s “Jack Ryan” to “Numb3rs” on CBS.

A biography attached to his consulting proposal says he has been a reserve Los Angeles County sheriff’s deputy for the last decade. His ties to LAPD Chief Jim McDonnell and the city’s former top cop, William Bratton, date back years through shared East Coast roots.

In his consulting proposal, Port said he would “outline a forward-looking plan that strengthens messaging, builds trust, supports officer morale, and protects the LAPD’s image as the most professional and polished agency in the country.”

“In other words, let’s bring some luster back to the badge!” he wrote.

But the secrecy around Port’s hiring has already triggered fresh criticism, along with questions about whether the LAPD — which already has multiple officers working in its press shop — really needs more help communicating.

During the City Council hearing last week, Pinto said the department’s press shop would continue focusing on dealing with outside media inquiries, but that the new civil service-exempt role would draft “comprehensive integrated communication plans.”

Reporting directly to McDonnell, the position would allow the department to present a clear, unified message to the agency’s 8,700-some officers, said Pinto, while building “brand awareness” and boosting recruitment.

Several council members questioned how the new position might influence the LAPD’s messaging, noting that McDonnell has been out of lockstep with city leaders on issues such as the response to federal immigration enforcement and the use of force against protesters.

Others on the council pressed Pinto about what they saw as a lack of clarity on the job description.

“If we’ve got nothing to hide, then we shouldn’t be acting like we have something to hide,” said Councilmember Monica Rodriguez, adding that she was uncomfortable approving such a high salary given the city’s financial straits and the possibility of other civilian employees being furloughed.

The council eventually voted 10 to 5 to approve the position.

Port has kept a relatively low public profile since he started his consulting work last fall, mostly operating behind the scenes. Images posted on social media showed him walking around the crime scene at the Brentwood home of Rob Reiner, where authorities say the filmmaker and his wife were murdered by their son in December.

In his consulting proposal, Port cited conversations with McDonnell, Assistant Chief Dominic Choi and other department leaders in which they “emphasized the need for outside expertise in shaping the department’s image, both within the organization and to the public in all aspects of communication, video, and media.”

Among his proposals was to create a more “centralized” social media strategy rather than continuing to let the LAPD’s 21 stations spread across the city each handle their own online accounts.

“The goal is to maintain strong community engagement while also giving the LAPD a single, recognizable voice across all platforms and portraying its positive messaging to fellow Angelians.”

For decades, Hollywood helped sell the LAPD’s nationwide image as the epitome of professional law enforcement with shows such as “Dragnet,” “Adam-12” and “T.J. Hooker.” Today, Port said, that relationship was “less structured.” Using his industry background, he said, he could help the department better vet proposals, including a recent pitch from a major production company for a “ride-along”-style reality series.

He also suggested that he could advise a public relations firm previously hired by the LAPD to overhaul its marketing strategy. “Port’s experience in storytelling and award-winning creative expertise in advertising enable him to review these materials with a critical eye,” the proposal said.

Port’s four-month media consulting contract was paid for by a $20,000 donation from the Police Foundation, a nonprofit group that raises funds for LAPD equipment and offers other forms of support. The paperwork around the donation did not include Port’s name but said that the money would go to pay for a consultant “to develop forward-looking, integrated communications plan that strengthens messaging, builds trust, and supports officer morale.”

Then-Commissioner Erroll Southers voted against the contract, saying at the time he was uncomfortable with the department’s unwillingness to share details about the position — even with its civilian bosses.

The decision to try to bring on Port marks the latest shakeup of the department’s press office. The unit has had four different police captains in as many years, and the chief civilian spokesperson job has been vacant since the abrupt resignation of Jennifer Forkish last October.

The late afternoon sun was setting over Coldwater Canyon when the bus arrived. Students from Boyle Heights’ Bravo High spilled out into TreePeople, a nature reserve and nonprofit in Coldwater Canyon Park, and took off hiking.

As they looked around the sage and monkeyflower-lined path, their chatter quieted, and soon, they were writing poetry.

Alina Sadibekova, a junior at the magnet medical school, sat under native oak trees, breathing in the soil-rich air with a pen in hand.

“Our city is very busy, especially living in L.A. where everything just goes on and on and it feels like there’s never a point where we can take a breath,” Alina said. “Going to the parks helped me ground myself.”

During a field trip to Gabrielino Springs and the L.A. River Gardens, Bravo High School students from Feng Shui Poetry in the Parks work on poems inspired by the landscape.

(Genesis Sierra)

TreePeople, is one of many green spaces she has visited with Feng Shui Poetry in the Parks, a program dreamed up by the West Hollywood poet laureate, Jen Cheng, in partnership with Bravo High English teacher Steve “Mr. V” Valenzuela. Cheng’s aim is for poetry, nature and Chinese principles to inspire a love for nature in students otherwise surrounded by concrete.

“I think as humans, we’re part of nature, so being better connected to nature actually brings you more home to yourself,” Cheng said. She explains that feng shui, the ancient Chinese practice of arranging a space to encourage harmony, is based on five natural elements: water, wood, fire, earth and metal.

“Feng shui, in poetry, is a lens that you can use to process big ideas using your surroundings,” Cheng said. “You can say, ‘Let’s write about water running down a river,’ not literally, but maybe as a metaphor for migration.”

Feng Shui Poetry in the Parks has grant funding through 2026’s spring semester, but next school year is still up in the air. Cheng says she’s looking for other grants, but as the Trump administration cuts humanities funding, including National Endowment for the Arts grants, the options are scarce.

As the oldest of five growing up in Oakland, Cheng felt seen for the first time when she discovered poetry in elementary school. It was inspired by her most cherished memories: field trips. At the time, her immigrant family worked to the point where they were often “too busy for nature.” During field trips, it was exciting, she said, to be out of Oakland’s urban landscape and in parks that felt rare in her working-class experience.

Decades after her elementary school field trips, as a newly appointed poet laureate for West Hollywood, she envisioned a way to mirror this childhood experience.

Poets laureate, whose role is to champion and encourage poetry in their community, are eligible for a $50,000 nationwide grant through the Academy of American Poets to support “meaningful, impactful and innovative projects,” according to the AAP.

As a recipient of this grant, Cheng brought Feng Shui Poetry in the Parks to life with one final addition — a teacher with a passion for poetry, who could connect her to a classroom of students.

Everyone she spoke to, she said, pointed her to the same person — “Mr. V.”

Jen Cheng, left, and Steve Valenzuela, right, close the Feng Shui Poetry in the Parks reading with words of encouragement for the students who shared their poetry at Bravo High School on Dec. 4, 2025. Both instructors have said that they were surprised by the emotion and creativity the students demonstrated in their poems.

(Kayte Deioma)

A sanctuary for ‘lifesaving’ creativity

When you enter Valenzuela’s classroom, the walls are covered with dozens of CD sleeves, from Deftones to Rage Against the Machine. In the gaps, student artwork, notes and photos with current and former students hang.

Valenzuela leads Bravo High’s poetry club, KEEPERS, and for the last few years, he’s guided the students to win awards at international poetry slam Get Lit.

“Poetry is expression, poetry is life-changing, lifesaving, which sounds very dramatic, but it’s not. Some of the things the students have written about are very traumatic,” Valenzuela said. “I’ve seen them work through difficult experiences and come out of it using poetry.”

One such student is 17-year-old Paige Thibodeaux. “I used to think it was better to be closed off, but throughout this, I was able to show my friends and peers who I am,” Paige said. “I didn’t think that’s something I could do and I’m here now.”

Paige, who lives with her family in Compton, recalled having her guard up as she walked through her neighborhood, where she said expression through poetry felt inaccessible.

“I don’t see a lot of kids doing things like this,” she said.

Student poets, friends and family members gather before the start of the Feng Shui Poetry in the Parks poetry reading and zine release at Bravo High School on Dec. 4, 2025.

(Kayte Deioma)

Working on a book, she said, opened up a whole new side of her. She started to confide in friends about stress, or things that bothered her, which otherwise would have stayed inside.

‘I still don’t believe it’

Since August 2025, Paige and her classmates have developed their poems, received feedback from Cheng and submitted their final pieces to be published as a poetry collection.

The cover, designed by Bravo student Adrian Lopez, depicts a tree wrapping around the spine. The poems are rooted in their observations of current affairs and native plants; the publication was completed in December, when Valenzuela and Cheng planned for a reading and celebration of their work at Bravo High.

“Did you guys know your work is going to be read across the country?” Cheng said to students in class one day. “I’m sending it all the way to New York!”

“Feng Shui Poetry in the Parks Vol. 1” is being printed as a zine and will be sent to bookstores and libraries from San Francisco to Chicago as well as the Library of Congress.

Students giggled and gasped in disbelief. “No pressure, I guess,” one student joked.

“It’s really crazy, I still don’t believe it. It’s been a dream of mine,” Alina said. “I never realized I could be a published author as a junior in high school.”

The night of the poetry reading, students, parents and friends gathered in excitement in Bravo High School’s library, settling in rows before a single microphone. Out in the hallway, the raucous chatter of teenagers echoed in the halls, and cars honked on the busy street outside to pick them up. But inside the haven of the library, there was a quiet settling among the crowd for the long-awaited show.

Alina Sadibekova reads her poems “I Want to Fly” and “Messy” for the Feng Shui Poetry in the Parks reading at Bravo High School on Dec. 4, 2025. She says writing poetry over the course of the program “grounded” her and alleviated the stress of school.

(Kayte Deioma)

Aolani “Lani” Alarcon approached the mic to hushed voices. As the lights lowered, she thanked the crowd, the white flower tucked in her hair catching the light as she recited her first poem, “White Sage.”

She says poetry didn’t always come easily to her. “One of the biggest things I struggle with is judgment, so opening up or writing about touchy subjects or things that mean something to me was hard,” Lani said. “Knowing that I wouldn’t be judged, or that people would actually like what I write, means a lot.”

The 16-year-old smiled as she read, describing sage as an ancestor’s prayer. Her next poem, “Hummingbird,” delved into grief.

“You teach me that healing isn’t forgetting,” she read, tears welling. “It’s learning to carry love without breaking under it.”

Manuel Alarcon, her father, was seated in the crowd, clasping his hands in rapt attention. When the readings had finished, he pulled Lani into a long embrace.

“These field trips, it exposed them outside of city life,” Alarcon said. “There’s more than opening a book, listening to a teacher. You need that outside exposure to really understand life. And inner city kids don’t have that. I want [my daughter] to be part of breaking a cycle.”

Valenzuela clapped loudly and cheered as each student stepped off the podium.

“When young voices, and voices from marginalized communities tend to be silenced, sometimes we internalize that and silence ourselves,” Valenzuela said. “I want them to feel like they can speak up.”

As Feng Shui Poetry in the Parks carries on for another semester— maybe its last — students continue to explore writing poetry in the greens of L.A. parks. Some, like 17-year-old Saneli Soto, express themselves along the way.

Saneli’s poem reads:

I’m used to concrete floors
And concrete walls.
I’m used to five story buildings.
I needed a quiet place.
Where I could just lie in the grass.

Bad Bunny’s Superbowl halftime show may have been dubbed the sexiest in sporting history, but many fans were busy watching another A-list star during the performance.

Hollywood actor Jon Hamm sent fans wild with his hilarious “dad dancing” as he watched the performance pitchside.

Seemingly in his element, Jon swung his legs and arms back and forth before jumping up and down with a massive smile on his face as Bad Bunny performed Daddy Yankee’s hit song Gasolina.

While Jon’s wife, Anna Osceola, was clearly just as excited, as she had an NFL jersey with “Bad Bunny” written on the back.

Snapping a video of the Mad Men actor, the official NFL TikTok account wrote: “Jon Hamm vibing to Bad Bunny on the field”.

Amassing 3.5 million views and almost 300,000 likes, fans thought his moves were hilarious – with some jesting it gave them the “ick”.

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Others weren’t surprised to see Jon so happy with the performance, as they noted that he’s actually a huge fan.

“Jon Hamm goes to damn near every concert that Bad Bunny performs at. He’s a huge fan,” wrote one user.

Another said: “Jon Hamm is living his best life on that field”.

“THATS WHAT THE FANS WANNA SEE,” wrote a third.

Bad Bunny, whose real name is Benito Antonio Martínez Ocasio, rose to fame a decade ago and has been dubbed the “King of Latin Trap” since.

It’s not the first time Jon has been seen enjoying Bad Bunny’s music, with the actor admitting in August last year that he’s a “huge fan”.

He admitted at the time: “You can’t listen to his music and not smile. He’s a really nice guy. He’s funny, and he’s fun and his music is awesome.”

Bad Bunny rocked the iconic halftime show slot during last night’s superbowl, which saw the Seattle Seahawks reign victorious.

The Puerto Rican’s spicy performance included raunchy dancing and close-up making out which the thousands in attendance and the millions watching at home lapped up.

The performance also featured special guest appearances from Lady Gaga and Ricky Martin.

Meanwhile global stars like Pedro Pascal, Jessica Alba and Cardi B – girlfriend of New England Patriots star Stefon Diggs – danced on stage as part of the spectacle.

California lawmakers are expressing concern about how the future of Warner Bros. Discovery could affect Hollywood’s workforce.

In an open letter addressed to Netflix Chief Executives Ted Sarandos and Greg Peters and Paramount Skydance Corporation CEO David Ellison, U.S. Sen. Adam Schiff (D-Calif.) and Rep. Laura Friedman (D-Glendale) call for the industry giants to make “concrete commitments to Californian and American workers.”

Late last year, Netflix won the highly anticipated bidding war for Warner Bros, which would give the streamer control over Warner Bros.’ storied Burbank film and TV studios, HBO and HBO Max. The pending $72-billion deal would greatly reshape the Hollywood landscape. Separately, Paramount has continually thrown in counter-bids and has been consistently rejected.

With all of these moving pieces, there’s a bipartisan fear among the nation’s lawmakers about how the acquisition could affect jobs in the U.S. entertainment industry . As stated in the letter, the industry “supports more than 680,000 jobs and contributes over $115 billion annually to the regional economy.”

Given the slowdown the industry has seen post-COVID and the growing number of international productions, Los Angeles film activity was down 13.2% from July through September 2025 when compared with the same period last year. This downward trend continues to build on the loss of 42,000 jobs in L.A. between 2022 and 2024.

Ellison and Sarandos have made arguments for why they believe their respective companies are best positioned to take over Warner Bros.

But each deal comes with major cuts. Paramount is projected to slash $6 billion in expenses over three years, and Netflix is projecting to cut $2 billion to $3 billion. Some analysts believe these cuts will have a significant effect on the workforce.

Previously, Ellison said, “We believe that what we are offering is better for Hollywood. It’s better for the customers and it’s pro-competitive.”

Sarandos is also quoted in the letter saying: “We think it’s great for consumers. We think it’s a great way to create and protect jobs in the entertainment industry.”

Earlier this week during a Senate subcommittee hearing, Sarandos said Netflix plans to increase its film and television production spending to $26 billion this year, with a majority of that happening in the U.S.

The lawmakers’ letter raises a series of questions surrounding the livelihood of creators, the use of AI and “concrete steps” about preserving jobs in L.A. Schiff and Friedman also offer the CEOs an opportunity to meet with them to discuss their answers.

In an effort to ensure “America continues to lead the world in the creative economy,” the letter said that Congress is currently working on bipartisan legislation that would establish a federal film tax incentive. It will be modeled after state programs in California, Louisiana and Georgia.

“We view this as a tool to not just protect but encourage more domestic filming and sustainable job creation on American soil,” wrote the lawmakers.

As film and television post-production work has increasingly left California, workers are pushing for a new standalone tax credit focused on their industry.

That effort got a major boost Wednesday night when a representative for Assemblymember Nick Schultz (D-Burbank) said the lawmaker would take up the bill.

The news was greeted by cheers and applause from an assembled crowd of more than 100 people who attended a town hall meeting at Burbank’s Evergreen Studios.

“As big of a victory as this is, because it means we’re in the game, this is just the beginning,” Marielle Abaunza, president of the California Post Alliance trade group, a newly formed trade group representing post-production workers, said during the meeting.

The state’s post-production industry — which includes workers in fields like sound and picture editing, music, composition and visual effects — has been hit hard by the overall flight of film and TV work out of California and to other states and countries. Though post-production workers aren’t as visible, they play a crucial role in delivering a polished final product to TV, film and music audiences.

Last year, lawmakers boosted the annual amount allocated to the state’s film and TV tax credit program and expanded the criteria for eligible projects in an attempt to lure production back to California. So far, more than 100 film and TV projects have been awarded tax credits under the revamped program.

But post-production workers say the incentive program doesn’t do enough to retain jobs in California because it only covers their work if 75% of filming or overall budget is spent in the state. The new California Post Alliance is advocating for an incentive that would cover post-production jobs in-state, even if principal photography films elsewhere or the project did not otherwise qualify for the state’s production incentive.

Schultz said he is backing the proposed legislation because of the effect on workers in his district over the last decade.

“We are competing with other states and foreign countries for post production jobs, which is causing unprecedented threats to our workforce and to future generations of entertainment industry workers,” he said in a statement Thursday.

During the 1 1/2 hour meeting, industry speakers pointed to other states and countries, including many in Europe, with specific post-production incentives that have lured work away from the Golden State. By 2024, post-production employment in California dropped 11.2%, compared with 2010, according to a presentation from Tim Belcher, managing director at post-production company Light Iron.

“We’re all an integrated ecosystem, and losses in one affect losses in the other,” he said during the meeting. “And when post[-production] leaves California, we are all affected.”

True crime fans can binge watch a harrowing series for free

A gripping true crime documentary series hosted by a late Hollywood A-lister is available to stream for free, the perfect binge watch for true crime fans.

Valentine’s Day is fast approaching, and so are plenty of romantic watches. But for fans of true crime and criminal investigations, there is one show to put on your radar in the coming weeks.

Pluto TV has brought its single series channel dedicated to the Meet, Marry, Murder true crime documentary series. Hosted by Buffy the Vampire Slayer’s Michelle Trachtenberg, it explores some of the most chilling cases where spouses are killed by their partners.

Focusing on how love turns deadly and investigates the darker side of marriage, the documentary hones in on one of the most common forms of murder – involving a married couple.

Pluto TV teases: “The single series channel dedicated to the ‘Meet, Marry, Murder’ true crime documentary series, hosted by Michelle Trachtenberg, explores chilling cases where spouses are killed by their partners, focusing on how love turns deadly and investigates the darker side of marriage.”

Meet, Marry, Murder will be available to stream completely for free on Pluto TV, with it being dubbed the perfect watch for fans of true crime. The series features emotional interviews as well as investigating how a life time commitment of love ends in disaster and heartbreak.

Taking to IMDB, many fans said the series was “one of the most interestingly detailed” documentary shows. One person praised: “This show is one of the most interestingly detailed true crime documentary shows. The stories are ones I had not seen or heard before as I watch quite a bit of true crime so that kept me watching.

“You hear from people very close to the story so you are very emotionally pulled in and get a large amount of detail to what led up to the sad event.” They added: “The show as a whole is a great true crime documentary series.”

Another person penned: “Did enjoy binge watching this though and the stories they made episodes on. Still love Michelle, just think maybe something else is for her in terms of hosting.

“Otherwise I enjoyed the performances and the way they build up certain twists in some of the stories. This kind of show is different because it’s not strangers, it’s people in marriages that spiral downwards.”

A third added: “Interesting new show and somewhat different then most true life crime shows. Michelle Trachtenberg who host this show in many ways is like Elvira Mistress of the Dark, Michelle, commentary on the case being viewed is very much same as Elvira’s remarks during the movie she is doing.

“Both women are very goth in the manner of dress and make up! While all the cases that Michelle does in Season 1 are ones I have already seen on other true life crime shows. That said, Michelle color commentary is unique to this show [sic].”

Adam Lewinson, Chief Content Officer, Tubi said at the time of release: “At Tubi, we are excited to expand our offerings within the true crime genre with the premiere of Meet, Marry, Murder.”

He added: “Viewers’ fascination with true crime content is ever-growing and we know Meet, Marry, Murder will captivate audiences and keep them at the edge of their seats.”

Meet, Marry, Murder is available to stream for free on Pluto TV.

It is not the end of the owners’ involvement, they remain interested and invested throughout the process.

But one of the success stories of the takeover has been the celebrity pair knowing their own limits – and placing trust in the expertise of others.

That very much includes Parkinson who draws up his list of targets, working closely with assistant Steve Parkin and scout Chris Johnson.

The budget from the board meeting gives Parkinson an idea of what he is working with as they move towards the window.

But while the final say on who ends up coming through the doors at Stok Cae Ras is always with the manager, support and scrutiny comes in the form of a transfer committee.

Parkinson is joined by Williamson, as well as directors Humphrey Ker and Shaun Harvey.

Then there is former FA technical director Les Reed. The one-time Charlton Athletic manager was a key decision-maker at Southampton as they went from League One to the Premier League, a period where the club won praise for the recruitment of players such as Virgil van Dijk and Sadio Mane.

He has been an advisor and consultant from the early days of Reynolds and Mac’s time, even helping identify Parkinson as their choice for manager.

The five together make sure there is a collective responsibility on the approach and, crucially, if the moves are right for the club.

Williamson has described it as a “stress test” of the process, with meetings both virtually and in person as the window demands.

Eva Longoria, John Leguizamo and Xochitl Gomez are among the 100-plus Latino actors, artists and creatives who have signed an open letter calling for accountability in Hollywood — citing longtime discrimination in casting and storytelling.

The public statement follows the controversy surrounding Odessa A’zion, who dropped her role as a Latina character in Sean Durkin’s “Deep Cuts,” following online backlash over the actor herself not being Latina.

“Recent casting decisions around the character Zoe Gutierrez in A24’s ‘Deep Cuts’ have exposed a troubling pattern,” the letter states. “We acknowledge and commend Odessa A’zion for listening, reflecting and deciding to exit the project and become an ally. Yet how did this happen?”

Earlier this week, the Wrap revealed that the “I Love L.A.” and “Marty Supreme” breakout star was cast as Zoe Gutierrez in the A24 film adaptation of Holly Brickley’s music-filled coming-of-age novel. The character’s identity plays an important role in the book, as she is written as a half-Mexican and half-Jewish lesbian.

Though the 25-year-old announced Wednesday night that she had dropped the role — admitting through her Instagram stories that she had not yet read the book, nor learned of all the character’s traits — the incident has unearthed questions about Latino representation in Hollywood.

“This isn’t about Odessa,” said Xochitl Gomez to The Times on Friday. “It’s about the executives, the producers and the whole system at the top. They thought it was OK to not even audition Latinas for the role in the first place. Latinas were pitched, including me, but we were told that there was an actress with an exclusive offer. This role never showed up on the casting grid because it was already gone.”

Xochitl Gomez attends “REBBECA” LA Premiere on November 30, 2025 in Los Angeles, California. (Photo by JC Olivera/Getty Images for State of the Art)

(JC Olivera / Getty Images for State of the Art)

According to UCLA’s 2025 Hollywood Diversity Report, Latinos were cast in only 1% of the leading roles in the top 104 English-language films released theatrically in 2024, despite constituting roughly 20% of the total U.S. population.

In TV, representation is just as stark. Latinos are cast in only 6% of all roles across the top U.S. broadcast series, as per a recent study by ¡Pa’lante! — a Latino representation initiative from the USC Norman Lear Center — which also found that 1 in 4 Latino characters are depicted as career criminals.

“The absence of Latina audition opportunities, and the choice to replace a clearly Latina character with a non-Latina actress, signals a broader, ongoing erasure of our community from the stories that define our culture,” the letter continues. “This is not about any one actor or project. It is about a system that repeatedly overlooks qualified Latino talent even as our identities, histories, and experiences fuel the most enduring stories.”

The signatories request that Latino actors be hired for a diverse range of roles, including non-stereotypical leads. There is also a demand for more Latino executives to be involved in green-lighting projects and the inclusion of Latino consultants, writers and producers from the earliest stages of development. Finally, there is a call on Hollywood to create mentorship, scholarships and opportunities that expand access on all levels of the ecosystem.

This plea by marginalized creatives is not the first pushback — nor likely the last — against a stagnant Hollywood machine.

As early as the 1920s, the portrayal of Latinos was so negative that the Mexican government, and even Woodrow Wilson reportedly told Hollywood producers to “please be a little kinder to the Mexicans.”

In 1999, the National Hispanic Media Coalition (NHMC) and the National Assn. for the Advancement of Colored People (NAACP) called for the boycott of broadcast networks’ 26 new fall series because they did not feature a non-white lead, sparking dialogue over the diversity of Hollywood at the time.

Comedian Chris Rock blasted the industry in a 2014 essay for its omission of Mexicans in Los Angeles, where nearly half of the population is Latino: “You’re in L.A., you’ve got to try not to hire Mexicans.”

Rep. Joaquin Castro (D-Texas) — who in recent years has nominated several Latino-focused films to the Library of Congress National Film Registry — also penned a 2020 column in Variety, underscoring the dearth representation of Latinos in entertainment and the consequences of omission. “Prejudice has existed in the United States for generations, but the image of our community created by film and television has done little to counter bigoted views, and too often has amplified them.”

Another letter published in October 2020 with over 270 showrunners, creators, television and film writers signatures — including Lin-Manuel Miranda and “One Day at a Time” co-creator Gloria Calderón Kellett — called for systemic change in the industry. “We are tired,” they wrote.

The pushback continued in 2022, when actor Leguizamo penned an open letter in The Times about the history of Latino representation and the co-option of Latino stories — including that of Mexican revolutionary Emiliano Zapata, who was portrayed by a brownface Marlon Brando in the 1952 film “Viva Zapata!,” and Al Pacino, who played the fictional Cuban character Tony Montana in the 1983 film “Scarface.”

Wrote Leguizamo, “There’s a fix for this: Cast more Latinos!”

Read the full open letter below.

Dear Casting Directors, Creative Executives, Writers, Producers, and Hollywood Leaders,

We write to you with urgency, because storytelling is humanity’s compass and Hollywood wields all the power. The stories you choose to tell, and how you tell them, shape public perception, cultural understanding, and who gets to see themselves reflected on screen. In these challenging moments that power comes with real responsibility.

Recent casting decisions around the character Zoe Gutierrez in A 24’s Deep Cuts have exposed a troubling pattern. We acknowledge and commend Odessa A’zion for listening, reflecting and deciding to exit the project and become an ally. Yet how did this happen? The absence of Latina audition opportunities, and the choice to replace a clearly Latina character with a non-Latina actress, signals a broader, ongoing erasure of our community from the stories that define our culture. This is not about any one actor or project. It is about a system that repeatedly overlooks qualified Latino talent even as our identities, histories, and experiences fuel the most enduring stories.

Latino communities are already underrepresented and misrepresented in ways that distort reality and harm real people. Casting decisions carry real weight: they influence who is seen as worthy of authentic storytelling and who gets to tell those stories with care, nuance, and authority.

We are calling for accountability, intentionality, and equity in casting and storytelling. Authentic representation means more than casting a performer who looks like the character; it means involving the communities being portrayed not just in front of the camera, but in the decisions that shape these stories from their inception. Our stories deserve to be shaped with the input, guidance, and leadership of Latino creators, consultants, writers, and performers at every stage.

We implore you to join us in concrete action:

• Audition and hire more Latino actors for a diverse range of roles, including non-stereotypical leads
• Hire Latino executives in your greenlighting rooms
• Include Latino voices as consultants, writers, and producers from the earliest stages of development
• Create and support pipelines: mentoring, scholarships, and opportunities that expand access all levels of the ecosystem

The world is watching.

Aaron Dominguez

Aitch Alberto

Alex Lora

Alma Martinez

Amanda Diaz

Ana Navarro Cardenas

Andrea Chignoli

Angel Manuel Soto

Angelique Cabral

Anna Terrazas

Annie Gonzalez

Antonio Negret

Becky G

Benjamin Odell

Brandon Guzman

Brandon Perea

Bricia Lopez

Camila Baquero

Carla Gutierrez

Carla Hool

Carlo Siliotto

Carlos Eric Lopez

Carlos Gutierrez

Carlos Lopez Estrada

Chrissie Fit

Christian Serratos

Cierra Ramirez

Cristina Rodlo

Cyria Fiallo

Daniella Pineda

Danny Ramirez

David Castenada

Desi Perkins

Diego Boneta

Edgar Ramirez

Edher Campos

Eiza Gonzalez

Elisa Capai

Elsa Collins

Emilie Lesclaux

Ennio Torresan

Enrique Melendez

Eva Longoria

Fabrizio Guido

Felipe Vargas

Fernando Garcia

Flavia Amon

Flavia De Sousa

Francia Raisa

Gabriela Maire

Gina Rodriguez

Gloria Calderon Kellett

Gregory Diaz IV

Ilda Santiago

Isabella Gomez

Isabela Merced

Isabella Ferria

Isis Mussenden

Ismael Cruz Cordova

Ivette Rodriguez

Jacob Scipio

Javier Munoz

Jazmin Aguilar

Jesse Garcia

Jessica Alba

Jesus Pimental-Melo

Jillian Mercado

John Leguizamo

Jose Velazquez

Juan Pa Zurita

Julio Macias

Justina Machado

Karrie Martin Lachney

Kate Del Castillo

Klaudia Reynicke

Kylie Cantrall

Leo Gonzalez

Lisette Olivera

Lorenza Munoz

Luca Castellani

Lucila Moctezuma

Lucy Barreto

Lynette Coll

Maia Reficco

Marcel Ruiz

Maria Legarda

Mariana Oliva

Mariem Perez Riera

Marvin Lemus

Mauro Mueller

Mayan Lopez

Melissa Barrera

Melissa Fumero

Melissa Martinez

Michael Cimino

Michael Pena

Miguel Mora

Mishel Prada

Monica Villarreal

Natalia Boneta

Natalie Chaidez

Natalie Morales

Nava Mau

Naz Perez

Nezza (Vanessa Hernandez)

Neysa Bove

Nicolas Celis

Nicole Betancur

Orlando Pineda

Patricia Cardosa

Patricia Riggen

Patty Rodriguez

Paulina Garcia

Petra Costa

Rafael Agustin

Rafael Cebrian

Ramon Rodriguez

Rene G. Boscio

Robin De Jesus

Rodrigo Teixeira

Rudy Mancuso

Ruy Garcia

Sierra Ornellas

Stephanie Beatriz

Tonatiuh Elizarrarz

Tony Revolori

Victoria Alonso

Xochitl Gomez

Xolo Mariduena

Yareli Arizmendri

Ray J is under doctor’s orders to stay on bed rest, take all his prescribed medications and avoid drinking alcohol or smoking because of his damaged heart.

The R&B singer, who revealed this week that his heart is pumping at far below capacity because of damage from his heavy use of alcohol and other substances, shared those directives with TMZ in an interview published Thursday. Doctors told him he likely has only months to live, with the former “Love & Hip-Hop: Hollywood” star predicting that he would die by 2027.

Doctors told Ray J — real name William Ray Norwood Jr. — that he should prepare for the chance that he might need a pacemaker or defibrillator soon, the singer told the celebrity site. He expects to get an update when he goes back in two weeks for a check-up.

The brother of actor-singer Brandy said that if he manages to survive his current health crisis, he expects to emerge a “stronger and a better person.”

Ray J told followers in a video posted Sunday that he wanted to “thank everyone for praying for me.”

“I was in the hospital,” he said. “My heart is only beating like 25%, but as long as I stay focused and stay on the right path, then everything will be all right.”

He said elsewhere that his heart was beating at 60%. The number likely refers to Ray J’s heart’s ejection fraction, which measures the volume of blood coming out of the heart’s left ventricle or being drawn into the right ventricle when the heart beats. Right-sided heart failure is far less common, according to WebMD.

The man who was with Kim Kardashian in her career-launching sex tape said in other video livestreams that the right side of his heart was “black. It’s like done.”

“I thought I could handle all the alcohol, I could handle all the Adderall,” he said. Now, he told TMZ, he’s been taking eight different drugs, including Lipitor, Jardiance and Entresto, and physicians’ warnings for him to avoid smoking and drinking are a challenge.

Doctors have told him he has only months to live, Ray J said in his recent livestreams, and he believes he won’t last past this calendar year.

He is 45.

Nigella Lawson has admitted that she’s “frightened” but “excited” ahead of joining The Great British Bake Off as a new judge, but warned that she’s very different to Paul Hollywood

The Great British Bake Off‘s new judge Nigella Lawson has admitted that she’s “a teeny bit frightened” to take on the show – and will have a different approach to co-star Paul Hollywood. The 66-year-old was confirmed earlier this week as the new star who’ll be replacing Prue Leith.

Appearing on This Morning today, Nigella said that she plans to take the show “very seriously” – and warns that she’ll be applying a different judging “philosophy” to co-judge Paul. She told hosts Ben Shephard and Cat Deeley: “I’m a teeny bit frightened. I’d be lying if I didn’t say that. I am excited but I take it very seriously.

“The thing about Bake Off is it’s about the programme. – an institution of national treasure status and it’s about the bakers. I want to be there and be part of it,” she added. “One of the reasons it’s been enduringly popular is that feels like it’s about community and I guess we just all need that.”

As for how she’ll fare in the iconic Bake Off tent, Nigella admitted that she’s “the clumsiest person in the world“, which could lead to disaster. “As long as I don’t knock any of their cakes off the table or the stand,” she said.

“I feel like I’m not someone who looks for fault, I look for pleasure. My basic attitude in life. I feel Paul Hollywood is Mr. Technical, I’m all about the eating.”

Nigella added: “If I see my job as eating, it’s not too daunting. I can eat.”

Nigella will be the third judge to take on that Bake Off slot alongside Paul Hollywood, with Prue Leith and Dame Mary Berry coming before her.

Mary was one of the show’s original judges when it started on the BBC in 2010, however she left the show alongside hosts Mel Giedroyc and Sue Perkins when it moved to Channel 4 in 2016. Prue took over the following year for Channel 4’s first series and has been with the show ever since.

Earlier this month, Prue announced that she was leaving Bake Off for good, saying in a statement: “Bake Off has been a fabulous part of my life for the last nine years, I have genuinely loved it and I’m sure I’ll miss working with my fellow judge Paul, Alison and Noel and the teams at Love Productions and Channel 4.

“But now feels like the right time to step back (I’m 86 for goodness sake!), there’s so much I’d like to do, not least spend summers enjoying my garden.”

“Whoever joins the team, I’m sure they’ll love it as much as I have. I feel very lucky to have been part of it.”

This Morning airs weekdays from 10am on ITV1 and ITVX. The Great British Bake Off returns to Channel 4 later this year.

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