horror

To know Japanese filmmaker Kiyoshi Kurosawa’s work is to feel his love for danger.

Inexplicable malevolence, dread-filled moods and worrisome behavior haunt his genre-speckled oeuvre, from 1997’s unnerving serial-killer freak-out “Cure” through his vengeance-fueled internet cautionary tale “Cloud” from two years ago.

“What makes for good movies is a plot driven forward progressively through things that actively happen,” the 71-year-old director says recently over Zoom from his home in Tokyo, using a translator. “Audiences need to be drawn to this idea of: What will happen next?”

His fans don’t necessarily get an explanation for the unease Kurosawa sometimes generates, but it’s part of the draw. That mindset has made him a horror maestro for over three decades. Outside that genre, he enjoys a reputation for being an acutely psychological chronicler of contemporary anxieties, as in his award-winning 2008 drama of job loss and family secrets, “Tokyo Sonata.”

Now, though, Kurosawa has not only made his first film set prior to Japan’s modernizing Meiji era — a category of feudal period dramas known as jidaigeki — but an old-fashioned murder mystery to boot, complete with solutions to satisfy the most die-hard Agatha Christie reader.

Masahiro Motoki in the movie “The Samurai and the Prisoner.”

(Janus Films)

“The Samurai and the Prisoner,” which Kurosawa adapted from Honobu Yonezawa’s acclaimed 2021 novel (it recently premiered at Cannes), unfolds during the fractured Sengoku period in the 16th century, the same era as one of his favorite jidaigekis, “Throne of Blood,” directed by his unrelated namesake, Akira Kurosawa. In a besieged mountainside castle, rebellious Lord Murashige (Masahiro Motoki), trying to consolidate disparate clans of warriors, engages in a battle of wills with his nemesis’ emissary, Kanbei (Masaki Suda), whom he’s imprisoned. But when a succession of murders threatens to undermine his leadership, Murashige turns to his crafty hostage for help.

The result, broken up into seasons and marked by an impending sense of doom, is a multipart puzzle box as intricately folded and tucked as the traditional clothing on display. But it’s also a savvy, deliberative portrait of leadership in a fractured time, with a unique takeaway: Knowing oneself is as essential to the job as knowing who one’s friends and enemies are.

Kurosawa had always wanted to make a jidaigeki — the furthest he’d ever gone into the past was his World War II film “Wife of a Spy” — and yet creating one from scratch sounded too difficult and expensive. But the book’s scenario of a put-upon samurai leader compelled to unravel a series of puzzles to keep his castle’s unity appealed to his taste in a particular crime-solver: someone representing a wider system of responsibility and codes, rather than the classic American private eye.

“I’m drawn to police detectives, not private detectives,” he says, pointing to the duty-bound, badge-wearing protagonist in “Cure,” a Criterion-anointed classic now held in the same pantheon of serial killer tales as “Seven” and “Manhunter.”

“Police are part of an organization, with orders from above that make them responsible for figuring out the crime. If they could, they’d love to live their life peacefully without conflict, but they can’t because of their profession.” He considers his disinterest in gumshoes working on their own a quintessentially Japanese perspective. “Why try to solve a mystery and in the process end up in all these horrible situations, when you can just quit?” he asks with a wry smile.

Masaki Suda in the movie “The Samurai and the Prisoner.”

(Janus Films)

In “Samurai,” Murashige hews closer to someone overwhelmed by responsibility. Says Kurosawa, “Murashige is neither a police or private detective. It’s that he is in a minor position of power, but to maintain order, he must let go of that power to solve the mystery. It’s not curiosity leading him. The chain of mysteries is a trial he must go through.”

It’s a gauntlet made thornier whenever Murashige, who believes in mercy over violence, engages with Kanbei, chained in a dungeon but with a dangerous mind nonetheless. “In that era, hierarchy was incredibly important, very visible,” says Kurosawa. “If one person is standing, the rest must be kneeling. With Kanbei and Murashige, there is always a shifting of the power, and when they begin to see eye to eye, suddenly we don’t know who holds the power.”

To play the wily Kanbei, Kurosawa enlisted his young “Cloud” star Suda, whom he calls a genius. Directing Suda was its own destabilizing experience, he says.

“He had an almost demonic, devil-like quality and it was hard to tell if the lines he was saying as Kanbei were truths for the character or complete lies — or if he didn’t know,” recalls Kurosawa. “It was mesmerizing to me, his words becoming something that we increasingly can’t trust.”

His interest in Murashige, meanwhile, a real-life tactician fictionalized here as an under-the-gun leader presented with myriad problems, poses the question: Did Kurosawa make a film about directing films? “I never thought about that, but that might be,” he considers. “I’m constantly having to ask things of people, ordering people around, sometimes negotiating. But filmmaking is something I love. There are times when I wish I could escape those scenarios, but I can’t. I’m always held back by that sense of responsibility. That’s how I’ve been working for decades. It’s the first time I’m probably saying that out loud, but the various contradictions I hold within myself as director are reflected in Akira Murashige.”

Yuriko Yoshitaka, left, and Masahiro Motoki in the movie “The Samural and the Prisoner.”

(Janus Films)

Kurosawa is a late bloomer as an auteur. His breakthrough, “Cure,” hit Japanese theaters when he was 42. But he’d been directing features since 1983, first, Japan’s homeground adult movies called “pink films,” then, in the 1990s, direct-to-video yakuza gangster films known as “V-cinema.” (That’s “V” as in video.)

“It was a good training ground,” he remembers. “They had to be under 90 minutes, had limited shoot days, had to use certain actors, had to have scenes with yakuza. I learned that when you keep to the constraints you’re given, there’s also a kind of freedom. I had no personal interest in yakuza but I had to think: What’s the most unique yakuza I could come up with?”

With V-cinema behind him, Kurosawa came to exemplify the J-horror phenomenon with 2001’s “Pulse,” an ultra-disturbing, early tech apocalypse about online ghosts that was infamously bought by Harvey Weinstein and held from American release for years so it could be remade. Moving on from the trauma of his Hollywood flirtation, he’d distinguish himself with festival awards and a varied career.

But Kurosawa isn’t exactly precious about his filmography. “If possible, I’d love to forget all of my past works and go forward with new films with a completely fresh perspective,” he says. “However, I realize that often I’m repeating past themes. I think of this as something that’s very unfortunate.”

That doesn’t mean he won’t ever return to the horror genre, which he still likes and tries to keep up with. “I have a feeling viewers wouldn’t find scary what I find scary,” he worries, with a smile. “But it excites me that young directors are exploring the genre’s possibilities.”

Kurosawa can sound philosophical about the challenge each new film represents. Making one means coming from “a place of zero, from nothing.” As he puts it, “What one wants to do is a pretty unstable concept. You could want something today and not tomorrow. So instead of chasing that, I should be considering: What is correct?”

There is a professorial tone to Kurosawa. He taught for 18 years at Tokyo University of the Arts, including to future Oscar winner Ryusuke Hamaguchi (“Drive My Car”).

“I’ve probably said something similar to my students,” he acknowledges, adding that he and Hamaguchi were closer to likeminded friends than to student-teacher. “But in filmmaking, he never listened to a single thing I said. I would tell him to make adjustments and he was always concrete in what he wanted to do. And I thought that was very admirable.”

Now, they’re festival peers — both had films at Cannes this year — and Kurosawa’s cinematographer on “Samurai” was Sasaki Yasuyuki, who had previously worked with Hamaguchi. Kurosawa takes the opportunity for a friendly jab. “I thought, ‘I’m going to steal him away from Hamaguchi.’ And I was successful!”

Now, when he meets younger fans and budding filmmakers, their enthusiasm excites him, though it seems to cause him some consternation. Apparently, a lot of people pirate his films so they can be completists. “They tell me this happily,” he says. “I have mixed feelings about this, because they shouldn’t be doing that, but there’s a sparkle in their eye, and I have to accept they really wanted to see my films. So while carrying these complex feelings, I tell them, ‘Thank you.’”

Kurosawa is also of two minds regarding what he frequently hears from Japanese film students, that their goal is getting into top festivals, winning awards and securing global recognition.

“Maybe they need to interrogate what’s in front of them more closely,” he says. “I question it a bit.” He pauses. “I want to say, ‘Have you thought about making a 90-minute yakuza film first?’”

“A little bit sore and a little bit stiff but that is to be expected,” Langton said of his condition.

“I can’t really complain too much.”

The teenager did not receive his medal until he returned to the team hotel on Saturday evening, with the other members of the team gathering to applaud him.

Whitehouse said the team wanted to do that in order to replace videos of his fall, which were circulating widely on social media over the weekend, with something more positive.

“That was incredible,” Langton said of the moment.

“Seeing all of the team-mates, coaches and getting my medal. I saw my personal coach from Birmingham. It was so nice.”

These things are, of course, relative, but Whitehouse’s Sunday was a disappointing one. He came seventh in an all-round final won by Scotland’s Reuben Ward.

His response on Monday was almost immaculate.

Malaysia’s Muhammad Sharul Aimy, Australia’s James Hardy and Ward all made mistakes in the early rounds of the competition, giving Whitehouse – the fifth gymnast to enter – an opportunity.

He barely faltered, scoring 14.566 to take gold – a score that was not bettered by the remaining three competitors.

“The last few days have been about regrouping after everything that’s happened and then coming out and delivering a good performance,” he said.

There was a similar story later in the women’s vault when England’s Abigail Martin, who finished 11th in the women’s all-round final, took silver behind Canada’s Lia-Monica Fontaine.

“Yesterday didn’t really go to plan the way I wanted it to, but I’m really pleased that I managed to pick myself back up today,” Martin said.

“For me, I just had a little cry about it, but then I thought about all the things that had gone well.”

Whitehouse and Martin will be back on Tuesday in the vault and floor respectively. Langton will again be in the stands.

He plans to “take it easy for a couple of days and do the rehab” before returning to training in the near future.

“I trust in my gymnastics capability,” Langton said.

“It was really just a freak accident.”

AS WILDFIRES continue to spread across France and Spain major travel advice has been issued for tourists heading abroad for the summer.

Thousands of excited Brits are gearing up to go on holiday in the coming days but “monster” flames tearing across Europe are beginning to cast doubt over travel plans.

The Foreign, Commonwealth and Development Office (FCDO) has urged Brit holidaymakers to take care when travelling to the south-west of France where the two main wildfires are spreading.

The Gironde wildfire has been scorching huge swathes of land as it continues to grow as the Biscarrosse fires also rage on.

The FCDO has told travellers to follow instructions and updates from local authorities and emergency services at all times and to call 112 for the emergency services if people are in danger.

They make it clear that “no travel can be guaranteed safe” and that precautions must be taken ahead of time.

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Having appropriate travel insurance is also a necessity if you want a refund.

Experts say if you’ve booked a package holiday and the company you’ve booked with cancels because of wildfires, you should be offered a refund or have alternative arrangements offered to you.

If you’ve booked your flights and accommodation separately, you will need to speak to your airline and the company you booked your hotel, apartment or villa with separately to see if they will refund you.

Make sure to keep a record of any official warnings, cancellation notices, emails from your airline and screenshots of travel advice.

Similar guidance has been issued for people heading to Spain with the UK government advising people to avoid travelling through the two main affected areas of Madrid and Avila.

Both Spanish regions are already under a national emergency as thousands of hectares of land are being ravaged by multiple fires.

French officials have also urged holidaymakers to stay away from wildfire zones and told tourists already in active areas to pack their bags and make plans to leave.

Sophie Brocas, the prefect for Nouvelle-Aquitaine, said: “We urge tourists not to come to this region, at least until the situation is under control.

“I encourage tourists who are already here to consider another destination.”

Authorities have already evacuated campsites, tourist accommodation and some residential areas across the south-west.

French President Emmanuel Macron is due to convene a crisis meeting later today to discuss the wildfires as they near the tourist city of Bordeaux.

Flames are now just seven miles away from the ancient French city centre with hundreds of thousands of people in Gironde already being evacuated from their homes.

Your rights if your holiday is cancelled due to wildfires

EXPERTS are warning any Brit families who have holidays booked to Spain or France to check the official advice, and make sure you are covered by your travel insurance.

Rhys Jones, travel insurance expert at Go.Compare, said the FCDO should always be the main place to check.

He said: “Wildfires can move quickly and cause serious disruption, so if you’re due to travel to an affected destination, the first thing to do is check the latest FCDO advice for that country and your specific resort or region.

“If they advise against travel, your holiday provider or travel insurer may be able to support you, depending on how you booked and what your policy includes.”

You should also check your travel insurance policy before you go to see what it covers.

“Some include cover for natural disasters under ‘catastrophe cover’, but this is not always included as standard and not every insurer will define wildfires in the same way,” Rhys added.

“Look at whether your policy covers cancellation, travel disruption, alternative accommodation, emergency medical treatment and repatriation, and contact the insurer directly if anything is unclear.”

He adds: “Don’t wait until you are in the middle of an emergency to understand your cover.

“Check your policy wording before you go, know your insurer’s emergency contact details, and make sure your documents are easy to access online and offline.”

Your travel insurance could help you get back any costs your accommodation provider or airline won’t refund you for, if it covers cancellation or “catastrophe”.

Sitting even closer to the fires is Bordeaux Airport with the hotel nearby being evacuated overnight.

Flights are yet to be impacted despite a cloud of smoke beginning to choke the city.

The latest update from Bordeaux Airport came on Sunday as they said: “The airport is currently operational and is doing everything it can to provide the region with all the necessary support in the ongoing fight against the fires. 

“Commercial flights are operating as normal.”

Anyone travelling should contact their holiday provider and airline before jetting off.

For information on the wildfires, the French Prefecture has opened a public information line from 9am to 5pm which can be accessed by calling +33 (0)9 70 80 90 40 (select option 1 for Gironde).

Across in Spain, temperatures are on track to reach above 40C – sparking concerns that the heat will only help fuel the wildfires.

Officials have said due to the volatile nature of fires, the situation is being reassessed day-by-day so tourists should continue to check the latest guidance.

The raging inferno around Madrid was described as being “at its peak” over the weekend and  “beyond the capacity” of firefighters to control.

Some 270,000 people have been forced to evacuate parts of Western France and central Spain – while a major incident has been declared in the Cairngorms National Park

British holidaymakers have described running for their lives just yards from a raging wildfire.

The terrifying scenes come as 270,000 people have been forced to flee as blazes continue to rip through parts of Southern Europe. Fire crews on Saturday were braced to drop fire-busting chemicals from a cargo plane in the Gironde region in Western France, where an inferno has been roaring since Wednesday.

And with the wind direction shifting, officials fear the flames are moving dangerously close to the nearby city of Bordeaux. Authorities have ordered people between the fire and the city to evacuate, including from parts of western suburbs and other towns and villages.

The French military have been drafted in to help and the Spanish government has declared a national emergency. Among those caught up was Brit David Morton and his family, who came within 500 yards of the main fire in Cap Ferret peninsula.

He said: “The flames were higher than full-size forest pine trees, so five or six storeys high, and it was clear this was a fire that was out of control at that point. Our phones were all flashing and bleeping; there was a message saying we had to evacuate immediately and drive on the one road out of the [Cap Ferret] peninsula. We literally threw everything into our suitcases and within 15 minutes were in the hire car.”

Zac Morrison, 21, described similarly dramatic scenes. We had the gendarmerie [French military] going door to door – it was something like out of a movie – we had to take everything,” said Zac, from London. “Other people have been sleeping in schools and warehouses and the beaches have had people just waiting for the go ahead – there’s people on the beach here with their suitcases. I’ve heard about houses burning in just an hour, it’s scary but sadly people here are getting used to it.”

Other Brits have moved to different areas in France to continue their hols. Mark Dorey, from Leeds, decided to drive to the Dordogne with his wife and three children after being evacuated from a campsite near Parentis-en-Born. He said: “You wouldn’t believe it, but me and my two boys were watching a Queen tribute act at the campsite bar – straight after a rendition of Bohemian Rhapsody someone stopped them to say we were being evacuated at about 10pm.

While the wildfires show no sign of slowing, the Foreign Office last night chose not to impose warings against travel to France or Spain. France’s minister for international partnerships Éléonore Caroit told tourists: “You have entire areas that are fine, you’re seeing similar phenomena in Spain and other countries.

“I’m in Paris and nothing is happening, and most other regions are OK, so do please come to France and do not cancel your travel plans. But wherever you are, please do be advised as to what might be happening.”

In Madrid the fires are in the wider region far outside the city centre – and authorities are battling to stop different fires merging. But the flames have already shut down a facility for US space agency Nasa 37 miles west of the Spanish capital. The city’s regional president Isabel Díaz Ayuso said it was the “worst fire in the history of the region.”

Successive heat waves with record-shattering temperatures have turned forests and scrublands into tinderboxes. Fires have burned 130,000 hectares of forest already this year in Spain, an area the size of Rome.

Other European nations are stepping into help, with Italy, Greece, the Netherlands, Portugal, Croatia, the Czech Republic and Slovakia already providing water-dumping planes and helicopters to the Spanish and French fire fronts.

Things are burning closer to home too, as emergency services continue to battle a blaze in the Cairngorms National Park. The fire has now been declared a major incident, and smoke could be seen 59 miles away in Aberdeen.

Scotland’s First Minister John Swinney said it is “essential people avoid the affected areas,” adding: “The wind has changed direction overnight, which means the track of the fire has altered once again and the threat to Nethy Bridge has reduced, for the moment at least. Ground and helicopter resources are being focused on the current path of the fire and new fire breaks constructed.”

A SLEW of Howard Stern Show stars have confirmed they’re still employed just days after a dozen staffers were sacked in a series of layoffs last week.

In a video posted before the World Cup final on Sunday, several employees are seen inside the Stern wing of SiriusXM studios playing a very uncoordinated soccer game.

The Instagram post tagged several staffers, many of whom have played an on-air role on the show.

JD Harmeyer, Jon Hein, Steve Nowicki, Jason Kaplan, Will Murray, Sal Governale, Richard Christy and Mike Pearlman were tagged in the video.

On July 13, at least a dozen Stern Show staffers, including on-air personalities, were shown the door, after it was announced in a Zoom call that Stern would only be doing just one live show a week after his long summer break.

The layoffs included several on-air fan favorites such as Benjy Bronk, Jon Blitt, Memet Walker and Mike Trainor.

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Insiders are calling the severance packages handed to these longtime staffers downright insulting, especially since some had been with Stern for his entire two-decade run at SiriusXM.

One source revealed that workers received barely more than a single week of pay for each year they put in.

“You would think Stern would have taken care of these guys after decades of loyalty,” the source said.

Every ten years on the job only earned them two months of pay, plus a strict NDA threatening to strip away even that tiny payout.

In the media world, standard severance usually runs closer to two weeks of pay per year worked.

The shocker comes right after the radio host locked in his latest SiriusXM extension in late 2025, after even admitting on air that he was not entirely sure he would sign on again.

During the announcement, he assured listeners the new agreement would give him more free time while keeping him on the airwaves.

Under the 2026 schedule, he was supposed to broadcast live Monday through Wednesday from 7 a.m. to 10 a.m. Eastern.

Back in August 2025, sources indicated that Stern and Sirius management were unlikely to come to terms on his massive $100 million yearly deal, leaving many to believe the legendary show was finally coming to a close.

Although he did end up renewing with the network, this severely reduced broadcast schedule signals that Sirius is no longer throwing around that kind of massive payday.

Experts have warned parts of Southern Europe could exceed 50C this summer or next, with holidaymakers urged to rethink holiday destinations or could be forced to spend their vacation indoors

A sweltering 50C heatwave could hit parts of Europe as experts warned British holidaymakers to prepare for dangerous conditions this summer.

Holidaymakers heading to the Mediterranean have been warned temperatures could soar to 50C, with experts saying the record-breaking heat seen across southern Europe may only be the beginning. Large parts of Spain have already endured temperatures of 44C in recent days, while the heat has fuelled wildfires across Spain and France, forcing thousands of people to flee their homes.

Professor Bill McGuire, Emeritus Professor of Geophysical & Climate Hazards at UCL said even hotter weather could be yet to come. He said: “It would be no surprise if 50C was exceeded, either later this summer or next year, when the heating impact of the unprecedented El Niño building in the Pacific will be at its greatest.”

He urged anyone travelling to the Mediterranean to be prepared to spend far more time indoors than they might have planned. He told the Daily Mail: “I wouldn’t say that they would be a total write-off, but I think holidaymakers will need to be prepared to spend a lot of time in air-conditioned hotel rooms, due to it simply being too hot to do anything outside.”

The highest air temperature ever officially recorded in Europe is 48.8C, set in Sicily in 2021. Before that, the record stood at 48C, recorded in Elefsina and Athens in 1977.

Professor Hanna Cloke, Regius Professor of Meteorology and Climate Science at the University of Reading, said parts of Spain and Portugal could see temperatures climb into the high 40s. She said: “Temperatures in the high 40s are possible in the hottest parts of Spain and Portugal. And where humidity is high it can feel even hotter than that, well above what the thermometer says. That’s the kind of heat that kills.”

She urged holidaymakers to take extra care if temperatures continued to climb. She said: “The old and vulnerable need to be very careful; keeping out of the sun and drinking plenty of water, as they can easily suffer and become ill in 40C+ temperatures.”

Professor McGuire said there was “no doubt whatsoever” climate change was driving the extreme heat. He said: “Europe is heating faster than any other continent as we continue to add more than 40 billion tonnes of CO2 to the atmosphere every year – equivalent to the weight of 800,000 Titanics.

“The average temperature of Europe is now more than 2°C hotter than it was 100 years ago, and high temperature extremes are going up even faster. Heatwaves are getting hotter and longer, and taking many thousands of lives every year.

“But this isn’t the new normal, this is just the beginning. Summers across the Mediterranean region are just going to keep on getting hotter as long as we continue to do next to nothing in terms of reining in carbon emissions.”

CAROL Vorderman has revealed that she was recently rushed to hospital after a horror fall.

The I’m A Celebrity… Get Me Out Of Here! and Countdown legend was left unconscious after she tripped over a tree root.

Carol, 65, was then rushed to hospital in an ambulance before being discharged and then rushed straight back to A&E.

She also revealed the condition she was left battling for weeks after the fall.

Taking to Instagram to share a video about her ordeal, Carol said: “I’ve got a bit of a story to tell you about my concussion, which might also explain why I was a bit offline in June.”

She then explained: “So right at the very end of May, I was walking just outside my house on a public footpath, and I tripped over a tree root, which I didn’t see.

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“And I went smash here on the tarmac path, and I was unconscious.

“I can’t remember what happened then, but I do know that an ambulance came, and I was taken to the BRI, Bristol Royal Infirmary.

“By the way, I also know that they were playing the final countdown in the ambulance on the way. It’s another story, but it did make me laugh.”

Carol then went into detail further, noting how she was: “Discharged next day, massive vomiting, all the bad signs.

“Straight back into hospital, they were wonderful. The A&E did all the CT scans and everything.

“Out again. I had the biggest black eye or bruises all down my face for three or four weeks.

“But what it did leave me with after about two or three weeks was dizziness. So I felt as though I was kind of walking on a moving ship, like sort of knocking into the wall a little bit.”

She explained how when she was in bed, it felt like the room was spinning.

But Carol swiftly revealed how this was soon remedied thanks to the “Epley technique” and a lady called Sophie who introduced her to it.

Carol urged: “I am not a doctor. I am not advising people about this, but I’m just telling you what’s happened to me.”

She then explained how it is BBPV adding how “it’s all about the inner ear and this little sort of sack of crystals that gets dislodged, and she puts it back together again”.

After three sessions with physio Sophie doing the Epley technique, Carol says she has been discharged from the service and “couldn’t be happier”.

Fans rushed to the comments to support Carol, with many sending their love.

One person said: “Hope you’re doing well now.”

While another said: “Oh blimey! Glad you’re ok.”

Ariana Grande was announced for American Horror Story’s next all-star cast on Halloween 2025.

American Horror Story is coming very soon with fans desperate to know of Ariana Grande ’s involvement.

FX announced yesterday, Thursday, July 9, that American Horror Story would be returning for season 13, on Thursday, September 24, in the US with no fixed date yet on its UK debut.

But going by the last series, American Horror Story could very well land on Disney Plus also in September or early October.

Excitement has been building for the anthology drama’s return since Halloween last year when it was revealed that singer and Wicked star Ariana Grande was set to star.

At the time, she was confirmed alongside American Horror Story regulars such as Sarah Paulson, Angela Bassett, Jessica Lange, Emma Roberts and Billie Lourd.

Will Ariana Grande star in American Horror Story season 13?

Unfortunately, Ariana Grande will no longer star in season 13 of American Horror Story, despite the initial casting announcement.

It has been reported that Ariana won’t make her debut because of conflicts with timing changes to the production dates of the horror series which are happening simultaneously with her Eternal Sunshine tour.

The 33-year-old hadn’t filmed any scenes for the new series with fans noticing her absence when the cast was previously spotted shooting exterior scenes.

Ariana rescheduled her Eternal Sunshine tour July concert dates at the end of June, shifting shows in Brooklyn and Boston to a couple of days later.

The star will continue her tour with upcoming stops including Canada, New York and London.

Unlike Ariana, previously announced stars Six Feet Under’s Frances Conroy and model Alex Consani were spotted shooting.

So far though, there has been no word on what American Horror Story season 13 will be about with details still under wraps.

American Horror Story is available to watch on Disney Plus.

Heard about that fresh new wave of horror dominating the box office and charming even the snootiest of critics?

“Evil Dead Burn” — less an inferno than a partly scorched reheating — isn’t that. Director Sam Raimi’s original 1981 “The Evil Dead,” filmed in the Tennessee woods by a bunch of hyperactive dreamers, has since morphed into a monolithic franchise that mainly serves to keep the lights on. Some foundational elements remain: wobbly camera sprints through the forest, demons with a smiling love of bodily destruction. But the house feels dormant.

Sébastien Vaniček, a French filmmaker of vigor if not vibrancy, is the fourth director to pick up the series, now on its sixth installment. It’s hard to know from his palette what thrills him, or if he sees colors at all, given the film’s muddy, deadening grayscape. (A softly falling snow, almost mocking of the action to come, is a nice touch.) Vaniček knows where his movie needs to end up — a sloppy showdown in a home with a lot of power tools lying around — but sometimes he lingers, adding transient curiosity to a serviceable story.

A tense family coalesces around the memorial of its eldest son, cut down in the prime of what seems like an argument-leaden life. Mainly, we focus on Alice (Souheila Yacoub), his bruised foreign-born widow, a black sheep among them who doesn’t have any words to offer at the service. Already, they all hate each other, but what they don’t know is that younger failson Joseph (Hunter Doohan), a wannabe writer, has been busy going through his grandfather’s notes concerning the Book of the Dead, unwittingly summoning vicious spirits to a fractious dynamic.

These people shouldn’t be around each other, but whereas a mightier movie like “Hereditary” would simmer that grief into a boiling pot of bad behavior, “Evil Dead Burn” has something more obvious and darkly funny in mind. The spirits (we call them Deadites in this universe) slip into a human host, we see a telltale contraction of the irises, and it’s off to the races.

The gore comes like a tide, shockingly for a mainstream studio wide release. Vaniček is clearly inspired by the extremity that has marked so much horror from France over the last two decades, in notorious exports such as “High Tension” and “Martyrs.” But it’s also show-offy and ill-considered: When a family dog receives a furious fork-stabbing, it’s hard to know who the film is for. Elsewhere, heads are exploded by guns, cleaved and gashed, though not so irretrievably that a possessed couple can’t enjoy a long lip-lock (“You haven’t kissed me like that in years,” a partner says, her mouth bloodied).

As it goes on, “Evil Dead Burn” itself feels possessed by a kind of narrative impatience: Can’t we just get to the good stuff? Raimi was capable of shapelier storytelling than this. These reboots in his name — on which, it should be said, he is a producer — somewhat demean his legacy by reducing “Evil Dead” to a viscera delivery device. I can’t say the audience I saw it with was particularly juiced.

But a loopy grandma (Maude Davey), stricken with dementia, gets her licks in via a brutally deployed fountain pen that is notably not used for writing. There’s a hint in that. This movie is not for those who want anything beyond a steak served blue.

AN influencer has died after her BMW flipped and slammed into a tree in a horror crash.

Ayzia J, 22, was killed in the deadly collision in New Jersey alongside her friend.

Her friend Henrietta Carter, 22, was riding in the front passenger seat at the time of the crash and was killed.

A third person, who had been in the back of the car, survived the deadly collision with minor injuries.

The car left the road, then overturned and smashed into a tree, according to New Jersey State Police.

Police have launched an investigation into the deadly crash.

Ayzia’s family have launched a fundraising appeal to help them cover funeral costs.

The influencer has more than 300,000 followers across Instagram and TikTok.

One of the Celebrity Gogglebox stars had to take a minute after watching a terrifying scene

A Celebrity Gogglebox star walked off camera after viewing a creepy horror film that left everyone squealing.

The instalment of the Channel 4 show that aired on Friday (July 3) saw the celebrity armchair critics watching a range of programmes, from Countdown to Clarkson’s Farm. But many looked horrified as they tuned into horror film, Weapons.

The film is about 17 children from the same classroom who mysteriously disappear on the same night at the same time, and Jordan Banjo had to leave the sofa for a breather after watching scenes from the movie with fellow Diversity star Perri Kiely.

Many of the stars on the celebrity edition of the programme were seen looked terrified as they watched a scene where a creepy character called Aunt Gladys (played by Amy Madigan) visited a house and asked for a bowl instead of a glass of water.

Things took a nasty turn when she took a wooden stick she had been fiddling with and dragged it across her hand, cutting it open, which left Jordan gasping.

He held a cushion up to block the screen as a man in the film was then seen opening his mouth and vomiting streams of back liquid.

“I need a break, I need a break,” Jordan said, as Perri exclaimed: “No!”

But the dancer then stood up and moved away from the chair, explaining: “I need a drink. Do you want anything?”

However, he soon rushed back, explaining to Perri that he when he had got to the kitchen he had spotted a bowel of water on the side and it had given him a fright. “No!” he said, sitting back down without having poured the drinks.

Fans were tickled by the scenes, with one posting on X: “So funny.”

Someone else posted on the platform, which was formerly Twitter: “Who doesn’t just love a bit of Celebrity Gogglebox. Always such an entertaining way to spend the time.” “The perfect switch your brain off TV this time of night needs,” they added.

Someone else said that it was “brilliant stuff”.

Another viewer said the series was “top notch”.

Celebrity Gogglebox airs on Channel 4.

EASTENDERS legend Natalie Cassidy has revealed her young daughter had to be rushed to hospital after smashing her arm in a terrifying accident.

The actress, 43, said she felt like she had a “nervous breakdown” when she was told Joanie, nine, had slipped over at school — just weeks after having metal plates surgically removed from the same arm following a previous injury.

“Joanie’s broken her arm again. Same arm — smashed to pieces. General anaesthetic, same operation,” she said today.

Natalie shares Joanie with her fiancé Marc Humphreys, a cameraman she met on the set of EastEnders in 2014. She is also mum to Eliza, 15, from her previous relationship with Adam Cottrell.

The actress, who left the BBC One soap last year after playing Sonia Fowler on and off since 1993, said the accident happened just as the family were settling in for what they had hoped would be a relaxing few days at home in Hertfordshire.

“I’d done a little bit of work in the morning at home,” she explained. “[Marc] went outside, put the paddling pool up, cut all the grass — thinking we’re going to have a few days, like a mini holiday, at home.

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“And then the phone rang. She slipped over in the hall, before doing PE. I’m speechless. It’s so traumatic.”

Speaking on her podcast, Life With Nat, which she hosts with Marc, Natalie said this was not the first time Joanie had been through surgery on her left arm.

“A few years ago she broke her arm, and it was a clean break,” she said.

“She then broke it again, they put all the metal work in. And then eight weeks ago, she went under general anaesthetic, had it all out – and has done it again.”

She added: “I felt I was going to have a nervous breakdown, actually. I’m being really honest here. I really fell to pieces. I was not in a good place. Just her little body – and the medication and the trauma of it all.”

The repeated injuries have led the family to ask whether something more might be behind them. 

Natalie said they believed “some sort of deficiency” was causing Joanie’s frequent fractures.

She said: “But she’s had full blood tests, and everything is in range. It’s absolutely perfect. The consultant actually said, ‘I do think it’s just really bad luck.’”

Their latest NHS hospital stay took place during last week’s record-breaking heatwave, when the Met Office issued a rare red extreme heat warning and temperatures climbed close to 40C across parts of England.

“The hospital was quite warm for the few days we were in there,” Natalie admitted. “The staff… they’re not moaning, they’re laughing, they’re joking. Just wonderful, wonderful people. We were so well looked after again. It’s like a little trip, now. It’s like being in a hotel!”

The injury also means the family now face a string of complications around their upcoming holiday. Natalie said Joanie will need a waterproof cover to swim, and that she will have to arrange medical clearance for her to fly with a cast on.

Their trips to hospital have become so frequent that staff now recognise Joanie.

Marc said: “The anaesthetist actually knew her.” Natalie added: “I went down to the theatre. I said, ‘hello, Barbara.’ I mean, who, in their right mind, knows the people in the hospital?”

In Australian writer-director Adrian Chiarella’s knotty roller coaster of a feature debut “Leviticus,” about a demon tormenting a pair of queer teenage boys, the fear is more insidious than the external threat of a violent bigot or shunning parent.

In an abandoned mill in their blighted industrial town, quiet new kid Naim (Joe Bird) and brash hunk Ryan (Stacy Clausen) allow a friendly, mischievous connection to turn into something more. But when Naim later secretly observes his new crush fiercely locking lips with another classmate, Hunter (Jeremy Blewitt), son of a leader in the tight-knit church that Naim’s single mom (Mia Wasikowska) just joined, hurt gets the better of Naim’s instincts and he secretly informs on the pair.

The church’s punishment, however, delivered in front of the congregants, is an eerie ritual performed by a gaunt, severe visitor (Nicholas Hope). Called a “deliverance healer,” his fire-and-brimstone method — making incarnate the title’s Biblical book, regularly used to justify anti-LGBTQ viewpoints — leave Ryan and Hunter writhing in agony. Afterward, Naim, sensing he might have unwittingly set into motion something awful, notices bizarre behavior in the stricken-looking Ryan. When they try to furtively rekindle their passion, it becomes violently clear they are not alone. Or even, it seems, themselves.

The feeling that nowhere is safe is a durable horror concept, the backbone behind such classics as “Nightmare on Elm Street” and “It Follows.” In “Leviticus,” which is expertly paced by editor Nick Fenton, it comes with a flair for open-space unease and unexpected claustrophobia that puts director Chiarella in a long line of savvy Australian mood-setters like Peter Weir and Fred Schepisi. These filmmakers knew how to fold tactile dread into a worthy narrative, rather than treat genre as if it were a kit with instructions.

But most urgently and bleakly, Chiarella is giving religious-based conversion therapy its devilish due as a warping of the soul designed to sow distrust in one’s own desires. He’s careful, however, not to tell a tale that would speak to homophobes. As distressing as their circumstance is, Naim and Ryan are unmistakably positioned as heroic lovers, not victims-to-be. Chiarella takes time between bouts of danger to show affection and intimacy that, in defiance of teen-slasher formula, isn’t immediately penalized with sadism. But their fraught relationship will decidedly keep you nervous, so score one for multilayered storytelling.

Points, too, for the solid casting, from the leads’ tricky pivoting from openness to caginess, to the criminally underseen Wasikowska, who navigates maternal complexities of worry and compassion that confound easy pigeonholing. If anything, the movie could have used more of her, although it’s better overall that “Leviticus” prioritizes Naim and Ryan as queer protagonists caught in a chilling loop of escape and reunion. We already know what’s out there, ready to do harm. This movie’s nail-biting, sorrowful power comes from what internalized destruction looks like.

The 28-year-old was on a six-week trip when she was involved in an accident in the motorhome she had hired

A Brit’s dream holiday turned into a nightmare after a horror motorhome crash left her unable to walk. Emma Blood, 28, was travelling in Western Australia when the collision left her trapped, seriously injured and facing a year-long recovery.

The hospitality worker from Milton Keynes had travelled to Australia on March 19, 2026, with plans to spend six weeks exploring. Inspired by stories from other travellers, she teamed up with three women she had met through a travel group and hired a motorhome to travel around and live in while exploring the region.

Just nine days into the trip, on March 29, Emma and the three women were travelling towards Margaret River when she lost control of the motorhome, due to slipping on the Western Australia mud roads, and crashed into a tree. Two passengers suffered minor injuries, but Emma was trapped from the waist down in the wreckage and had to be cut free by firefighters.

She was then airlifted to Perth Trauma Hospital, where she spent 10 days before flying back to the UK to continue her recovery. She said: “There are still a lot of blank spaces in my memory, I’m not sure whether I lost consciousness or whether it’s just a trauma response.

“I recall the moment of impact, when the vehicle struck a tree on the driver’s side where I was sitting. The force of the crash pushed everything forward, and I ended up trapped from the waist down.”

While the other passengers escaped with relatively minor injuries, Emma suffered devastating damage to her leg. One passenger required stitches to her face, and another was left with a bruised finger, but Emma faced a far more serious outcome.

Emergency services were alerted after her phone automatically contacted them following the collision. Upon arrival, a fire crew had to cut Emma free before she was airlifted to Perth Trauma Hospital.

Doctors discovered she had broken her femur in three places. She underwent emergency surgery lasting around six hours, during which surgeons inserted an intramedullary nail – a metal rod fixed inside the bone with six screws to stabilise the fractures.

Emma said: “I remember being in and out of consciousness, having scans and being moved around the hospital. It felt like something out of 24 Hours in A&E or Casualty, being rushed about.

“One of the most difficult moments was definitely standing for the first time after surgery. It was terrifying because I had no control over my leg, at first they thought there could be spinal injuries but it turned out to be okay.”

Complications continued when doctors discovered her haemoglobin levels had dropped dangerously low, resulting in a blood transfusion several days later. Emma spent 10 days in the hospital in Australia before her father flew out to help bring her home.

She said: “I couldn’t have travelled back on my own, I needed someone with me the whole way. If my dad hadn’t come to pick me up, I would have had someone to take me who I didn’t know.”

After arriving back in the UK on April 8, she was admitted to Milton Keynes Hospital for around another week before continuing her recovery at home.

In the early stages of recovery, Emma could not move her injured leg without using a strap around her foot and required assistance with everyday tasks, including showering.

She said: “It felt like I had lost all independence. I have been told a full recovery could take up to a year, but I am making great progress.

“My older brother is helping me, he’s a sports physiotherapist and thanks to him I progressed from a walking frame to two crutches, and now I only rely on one.”

She spends time in the gym every day, rebuilding strength and mobility and recently celebrated a major milestone by getting back behind the wheel of a car.

She said: “Driving again was huge for me, both physically and mentally. Although the accident cut short my dream trip, I will go back to finish it.

“There is still a lot of trauma attached to what happened, but for now, I am going to focus on getting back to my full health and independence.”

The Scream movie series is one of horror’s most successful franchises and has seven films under its belt

A star from the horror film franchise Scream has revealed the surprising amount he still earns from one of the movies.

Back in 1996, the Scream series kicked off with its first instalment. Directed by Wes Craven, the film followed Sidney Prescott and her friends being targeted by a sadistic killer who donned a black cloak and white mask: Ghostface.

Due to the first film’s success, several more movies followed including a sequel in 1997, and a third instalment in 2000. Then, after 11 years Scream 4 was released in 2011.

And more recently, the slasher franchise was brought back in 2022 for a fifth movie and 2023 for a sixth. This year, a seventh film was released which became the highest-grossing film of the series so far.

The satirical whodunnit was a huge hit thanks to a clever script penned by Kevin Williamson and Wes Craven’s direction, while the characters’ awareness and acknowledgement of horror film clichés was uncommon at the time. Scream helped to revive interest in the teen slasher genre.

And this week, a star from Scream 2 revealed his residual pay from the film 29 years after its release. Actor and comedian Craig Shoemaker appeared in the sequel, Scream 2 – which made $172 million at the box office.

Craig played the role of ‘Artsy Teacher’ in the instalment. Taking to his Instagram, he shared a photo of his residuals cheque which revealed he made a total of $34.09.

He captioned the post: “In 1999 | was cast in the role of the film professor in the sequel of the original Scream movie, Scream 2, where I lead a conversation in class about film sequels. The residuals keep rolling in, baby! What should I buy with my 34 bucks?”

The latest Scream movie, Scream 7, was released earlier this year. The film shifted the focus back to the original final girl, Sidney Prescott – played by Neve Campbell and her teenage daughter Tatum, played by Isabel May.

Neve didn’t appear in the sixth Scream film in 2024, which starred Jenna Ortega and Melissa Barrera as sisters who discover a serious connection to one of the original Ghostface killers, Billy Loomis.

Neve announced she would be stepping away from the 2024 Scream film after a dispute over pay. She said in a statement: “Sadly, I won’t be making the next Scream film. As a woman I have had to work extremely hard in my career to establish my value, especially when it comes to Scream.

“I felt the offer that was presented to me did not equate to the value I have brought to the franchise. It’s been a very difficult decision to move on,” Neve added.

She continued: “To all my Scream fans, I love you. You’ve always been so incredibly supportive to me. I’m forever grateful to you and to what this franchise has given me over the past 25 years.”

Memorizing your lines seems like such a foundational part of an actor’s job that there wouldn’t be much to say about it. Yet when a group of performers recently got onto the topic during The Envelope’s Emmy Limited Series / TV Movie Roundtable, it turned out everyone had their own way of doing it. And all were eager for tips and tricks, whether it be an app, a line-drilling coach (“Can I have that number?”), writing down the first letter of each word or even writing a monologue backward.

“We have to share tools, guys,” said Camila Morrone, who plays a bride-to-be who learns her fiancé’s family dark secrets in the horror thriller “Something Very Bad Is Going to Happen.” “It’s funny that we all have such different methods.”

Joining Morrone were Jamie Bell, who stars in “Half Man,” about the extremely dysfunctional, toxic relationship between two stepbrothers; Linda Cardellini, who appears in “DTF St. Louis” as a dissatisfied woman caught in a dangerous love triangle; Michael Peña, who plays a detective assigned to the case of a missing child while his own boundaries are tested in “All Her Fault”; Andrew Rannells, who is a man coming to terms with his own life while helping to plan a funeral in “Miss You, Love You”; and Constance Zimmer, who channels the mother of Carolyn Bessette Kennedy in “Love Story: John F. Kennedy Jr. and Carolyn Bessette.” Read on for more excerpts from our conversation.

The Envelope’s 2026 Emmy Limited Series / TV Movie Roundtable: Constance Zimmer, left, Michael Peña, Linda Cardellini, Andrew Rannells, Camila Morrone and Jamie Bell.

How do you watch TV? A home theater screening room or a tablet on the go?

Morrone: When I see people on a plane watching on their phone, I’m like, “Do you know how many people worked on that?”

Zimmer: I can barely watch one on an iPad because I still feel guilty about not getting the full effect.

Cardellini: I can’t watch on my phone or an iPad. It starts to hurt my eyes. And I like to binge. I don’t like one at a time. I like to save it up, and I like a binge. I don’t have the patience.

Morrone: Oh, I love one at a time. I want to wait till Sunday night, order my favorite food, maybe have a friend come over … Guess our theories of what’s going to happen. I did that with “White Lotus” this year, and I was looking forward to every Sunday at 7 p.m.

Bell: I catch usually about 10 minutes of whatever my wife has fallen asleep to. And then I’ll get into that, and then I’ll watch a lot more episodes while she’s asleep. And then she’ll wake up, and we’ll be completely out of sync in terms of what we’re watching.

Jamie, “Half-Man” is such an emotionally intense show, and it seems like that would be a really hard head space to exist in. Are there things that you do for yourself to maintain your own sanity?

Bell: Me and Richard [Gadd], who wrote the show, are big soccer fans. So I brought a soccer ball to set a lot, and just whatever space we’re in, we just kick a ball to each other every now and then. So, a lot of that wasn’t even us really speaking to each other, but just passing a ball backwards and forwards, which was quite a nice way of just taking our minds off of whatever scene we were doing and still enjoy the space with each other and do something that was physical that didn’t really require us jumping [around] too much.

Camila, “Something Very Bad Is Going to Happen” is also a very intense show. It’s not so much a scream queen kind of horror; it’s this foreboding horror. Was that a difficult space for you to exist in?

Morrone: I think there’s an underappreciation for horror performances. I think some of the most incredible performances, especially by women, have been done in the horror genre. And I think it’s a really specific thing to do because if you’re playing only one level of horror throughout an eight-episode series, I think it’s incredibly boring. And I think I had this notion of like, “God, I don’t want to do these jump scares,” and kind of the cliches of what we imagine horror is like. But horror can be really deep and really internal, and I think there’s a lot of ways in which horror and fear manifest. And I think it was interesting to try and find levels to it and to have the audience come with you, but not dramatize or exaggerate an emotion.

Michael, in “All Her Fault” you are playing someone who could be a much more conventional detective character, but reveals more layers. Was there a moment in your career when you realized, whether it was going for certain roles or not going for certain roles, where you wanted to break out of feeling like a sidekick character or more stereotyped characters? Was there a moment where you made an effort to start going for a different kind of role?

Peña: Back when I started acting, the breakdowns for actors, it was like “Caucasian only,” “Caucasian only,” “Caucasian only,” and we weren’t allowed to audition for those. And it was only until the 14th part that it said, “Open to other ethnicities.” So there’s like a thousand of us going for the 14th place. Ten years of that, you kind of think, “I guess I’m meant to be a supporting character.” But then my mom, right before she died, what she said is, “If you’re going to do that, just make it real. What’s the best you can do with that part?” I said, “Make it a three-dimensional character.” She’s like, “Just do that.” And she’s like, “Nobody remembers your bank account.” And I was like, “Oh, these are two good pieces of advice, Moms,” and so that’s what I did. And with “Crash,” he was a gangster and I was like, “Screw it. I’m just going to do the work and try it out, and all the stuff that I was learning in acting class, I’m going to apply it to this particular role.” And I was happy with the work, so then I kept doing that.

For the rest of you, was there a moment where you had to make a decision about the kind of career that you wanted for yourself and the kind of roles you were going to go up for?

Zimmer: Sorry. It just makes me laugh because we have no control, as actors, over where they believe that we belong. I wish that we could say, “I’d like to try this now,” but it’s basically where they believe they would like us. And then you get put into an area, or a path, or a box, and you can’t get out until somebody else decides, “Hold on. We’re going to give you that shot to try this, even though it’s not necessarily what you normally do or are known for.” Then it takes that for everybody to go, “Oh, you can do this, too?” And it’s like, “Yeah, that’s my job.” My job is to do a lot of things, not just one role, or one type of role.

Rannells: You’d like to think that you’re more in control of those decisions, but sometimes things just happen.

Constance, as Ann Messina, Carolyn Bessette’s mother in “Love Story,” you have this speech that you give at their wedding dinner. It’s such an incredible scene, and I’m wondering, what was it like for you when you first read that in the script?

Zimmer: That monologue was actually my audition.

Peña: Oh, I love when that happens like that.

Zimmer: So I knew it very well, getting on the set with it. I think that I only saw two scripts out of nine episodes, and they were just the ones I was in. And I remember my team saying, “This might be it. We don’t know if there’s anything else that you’re going to do on the show.” And I said, “If this is the only thing I do, it’ll be worth it,” because it was so layered and it was so well-written by Connor Hines and Juli Weiner, I was kind of like, “This is all that matters anyway.” So, to be able to feel like I could pour the entire character into one moment in time, it allowed me to try and give her as much as possible because I was like, “This might be it.” So when I read it, I was like, “Oh, OK. That’s like those five-page monologues that you don’t get very often to do for one character in one episode.”

Linda, your character on “DTF St. Louis” has this habit of saying, “No way, José,” and it’s oddly catchy. And she also is always asking people to speak up. Is it difficult to take what seems, on the page, maybe like tics or weird habits and make them feel natural?

Cardellini: That was the great challenge of it, and it’s the beauty of [Steven Conrad’s] writing. Like we repeat “Jamba Juice,” or “Quality Inn,” or “Garden Suites,” all these little phrases, or “Snag it.” It’s so fun to find a way to make that seem like it is natural to you. I remember I had a long monologue audition, and in there I talk about, “No way, José.” I wasn’t sure what the tone was — it’s such a specific tone when you watch the show, and it’s very Steve Conrad. And I didn’t know what it was before I met him and before you could see the show in action. So getting through that and chewing through that in my audition, doing these versions of “No way, José” that I thought felt really, really natural to me, I was like, “This is how I would say it. This is how I’m going to do it. If my sense of humor matches his sense of humor, if our tones match, then I’ll get this role. And if they don’t, then somebody else will do it beautifully in that other way, whatever that is.” Luckily that was like a marriage of tone and thought, and then those things start to come naturally. And then you want to say them more often than they’re written. There’s not a lot of improv in the show, but we would all just joke around and say it to each other.

Andrew, so much of “Miss You, Love You” is just you and Allison Janney together —

Rannells: Just sitting in a house. Just talking.

What was the rehearsal process like? How did the two of you prepare for these very long dialogue scenes?

Rannells: We rehearsed it like a play, which was really fun, and I’ve never really … I mean, we did that, I guess, with “Boys in the Band” a little bit. We had done it on Broadway and then we all kind of still knew it from when we actually filmed it. But Allison and I rehearsed it like a play, and we would just run lines like little theater nerds. It was exciting because I’ve never — to get on set and to be able to say, like, “We can do the first 25 pages just because we’ve already memorized it.” And we did for Danny Moder, the [director of photography]; we did our little play for the crew one day. Which was really fun because you don’t normally get to work like that. It’s like in little segments. And [writer-director] Jim Rash just let us run it in a way that felt really satisfying to get to do. Because sometimes when you just do little pieces of things you’re like, “I can’t quite get the arc of this, and I don’t really know.” You’re doing inserts, and you’re like, “This doesn’t feel like acting.”

Zimmer: And you’re doing it out of order, so you’re like, “Wait, I’m playing the end before I’ve even played the beginning, but I don’t even know what my beginning is.”

Cardellini: It becomes detective work.

Rannells: Shout-out to Allison Janney. It turns out she’s good at acting.

Linda, what was it like working with an intimacy coordinator in shooting what certainly look like they could have been very awkward scenes in “DTF”?

Cardellini: I like an intimacy coordinator. I think it’s wonderful. I think they’re there if you would like to use them. Everybody I’ve ever worked with in that capacity has been so helpful and considerate, and I think it’s just a nice resource to have. And we had a great one on “DTF.” … One of the first scenes I ever shot was me where I have to, we call it “weight placement,” on Jason’s face. And we were scheduled to shoot that much later, but it came up the —

Rannells: That was your first day?

Cardellini: That was our first scene together, really placing your weight on somebody in a way where you just don’t want to hurt somebody’s face. I mean, you don’t want to suffocate somebody. There’s a lot of things that could happen. But it was handled so beautifully. And Jason, of course, is so wonderful, and we had such a great time doing the scenes because we just would laugh — they’re funny. The scenes, more than even being sexual, are so awkward and bizarre and filled with these strange little kinks that it becomes funny, in a way, although you treat it with dead seriousness. But Steve Conrad had a beautiful economy about what he was shooting, and he would storyboard. It was never just like, “Oh, be intimate and go for it, and we’ll see what we use.” It was, “This is the part of your body we’re going to use right here. This will be the shot. It’s this frame. We’re not going to do any more than that.” So you never felt like you were in the Wild West doing this passionate thing that felt uncomfortable. … Because, of course, going into something like that, reading the script, you’re thinking, “It’s a little nerve-racking. How am I going to do these things?” It was much easier than I could have ever imagined.

Constance, your character in “Love Story,” she embodies the other side of the glamour and the fame and the story that we all think we know. And in a lot of ways I can’t help but connect it to your character from “UnReal” in that it creates this really interesting perspective on fame. These roles, do they make you think about that, as well? Do you start to consider your own relationship to fame and your character’s relationship to fame?

Zimmer: Ann, [and] working on “Love Story” in general, really brought the price of fame to the forefront and how it can tear people apart and down and away from who they were before they became famous. And I think, in this particular story, Carolyn never set out to be famous. That was like the last thing she wanted. The scenes with me and Sarah Pidgeon, who plays Carolyn Bessette, were very much about, “How do I remind you that everything is going to change, and you are going to change?” So it made the mama bear really show up. And sadly, it’s hard to do the research about all of that and see how much media was to blame. I hate to say it, and it’s tough, especially for a woman: They really tore her apart. It definitely makes you look at things and go, “Wow, it’s so interesting what we all give up.” This is our craft. We do this as actors, yet when we step outside of our craft and our roles, we are judged on such a harsh level. We’re here for the work and to make and show these characters so that maybe you can see a little bit of yourself, or maybe it can help you with grief, or laughter, or whatever. But then, outside of our work, we are judged almost worse about how we’re aging, how we’re not aging, what we look like, what we don’t look like. It’s the hardest part, I think, of what we do.

Would the rest of you agree with that, that in some ways, it’s not the work that you’re doing, but it’s this other job that exists outside of your work, the fame aspect of it? Does that become a bigger challenge than you expect?

Rannells: So much of the promotion of things that you work on now hinges on your participation in like, “Post this picture” or “Do this video” or “Do this thing.” And that’s stuff that you just don’t think about when you say, “I want to be an actor.” You don’t think about, “Do I have to do a collab with the network?” I don’t want to do that. That’s not part of my job, but it is part of your job. That is part of it now. So that’s a tricky aspect of it that I didn’t expect.

Morrone: The other side of that coin is that there’s independent films that I’ve done, that nobody would have ever seen had I not been the poster child on social media, being like, “I love this film. Please, watch this film. This is how to watch this film.” So, then again, it can also be a really beneficial platform. And it’s such a complicated relationship because, I mean, I grew up with social media. I don’t ever remember not having a form of social media. And I wish I could be like the cool actors who aren’t on it. They’re much more mysterious.

Peña: Jamie’s not on it.

Bell: I mean, it’s not a conscious choice. I’m just not on it.

Jamie, both you and Linda have been acting since you were quite young and, in some ways, have grown up on camera. How do you know what of yourself to hold onto, what you allow the public to see? Is that something you , at some point in your career, had to make a decision about how much of yourself you were going to give away?

Bell: I’m quite a boring person. I’m a dad. When I’m not working, I’m just dad and school running and that kind of thing. And also, I enjoy working. So most of my time is spent either trying to get the next job, or thinking about the next job, or just really working hard on that because I enjoy that. So I really don’t think about any of that other stuff. And I’ve been quite fortunate in that no one is particularly interested in banging down that door anyway …which I’m quite relieved about, honestly, because I feel like I get to work in a space where I’m just coming and playing the part, and I’m going home. That’s all I’ve ever done is since I was like 12 or 13 years old, and I still enjoy that. I still enjoy that thrill of going to work and playing the character. And I have incredibly high expectations of myself and all those things. I self-flagellate a lot on the way home, like, “Why didn’t you do it like that?” I stress myself out about that kind of stuff, but I still go back the next day going like, “God, maybe I’ll get it today.” And that excitement still exists. And I think mostly that’s because I don’t have this other side of stuff that is distracting me from anything.

Cardellini: When I first started, I wondered if I would ever make a living at it. And to be able to have had it as my job and to have a job that I love and, like you said, show up and just be excited to do the work and be excited to be around other people who do the similar work or behind the camera… It’s such a beautiful community that I feel very grateful that I’ve been able to grow up doing what I love. I mean, I wouldn’t have guessed that it could have lasted this long. And people always said, like, “Oh, when you get to a certain age, it gets terrible for women.” And I still feel like I’m still learning and growing and doing new things, stuff I’ve never done before. So I just try to turn down my worry and just be so grateful in the moment, which is not always easy for me because I can live with a lot of anxiety. But thinking about it and listening to everybody here right now, I just am very grateful to have a seat at the table, literally and figuratively.

I’d imagine for all of you that you’re probably never quite sure what roles you do that are going to be the ones that hit in a certain way. Do you ever know what movies are going to land with audiences?

Peña: I think I’ve done OK in that department where if I read something and it really moves me, I just want to be a part of it. I mean, they had their own success, in a way. “Eastbound & Down” was so funny. When I read the character, I was like, “Oh, this is a really cool character.” And now the meme… There’s a fart meme. Man, I swear to God, we shot that 15 years ago, and literally I do a fart noise, and I say, “How long have you been with her?” It sucks now because I’m like, “That’s all they know me for. Not ‘Crash,’ not ‘World Trade Center,’ not all the movies that were nominated, this and that.” It’s the fart noise.

Rannells: Is that going to be your In Memoriam thing?

Peña: Can you imagine? Let’s watch a clip here of Michael —

As we talk about these past projects you’ve been a part of, it just leads to the question of how the business of being an actor, the nature of this as a job, has changed for you over the years.

Rannells: When I started, and I started in the ensemble of “Hairspray” on Broadway, I never expected that I would ever get a job on television. That just seemed very far away. So the fact that I get to do it and that I have a tiny bit of control over what I get to do is a real gift because it was very unexpected. My first TV job, I was a headless stripper on “Sex and the City.”

Morrone: What episode?

Rannells: It wasn’t a Halloween episode. They just didn’t shoot my face. But I remember filming it and being like, “I can’t imagine this will ever happen again, that I’ll be on a set, or doing a TV show,” So it’s still sort of a surprise anytime I get a job that I’m like, “Someone’s going to pay me to do that, to make faces.”

It seems like everyone in Hollywood right now is talking about artificial intelligence. For all of you, is that something that you are thinking about for yourself? Have you experimented with it at all?

Morrone: I really want to believe that people will always choose us and real emotion, and that the audience is really smart and they want to see real humans and real life experiences and raw emotion. And I pray that that’s the case. I have a lot of hope in humanity, in that case.

I don’t know what it means for us in the near future. I know that we have to protect ourselves. I actually was working with Patricia Arquette, she directed me in a film called “Gonzo Girl.” And she is so hyper-aware of all of this and looking into all her contracts. So was Jamie Lee Curtis. I got the opportunity to talk to her about AI. And they were so knowledgeable and like, “Go back and look at everything that you’ve done the last 10 years, and review everything, and make sure that they can’t use your likeness in the future.” I mean, it’s something that we really do have to be aware of.

Peña: I don’t think that it’s going to be a threat because it’s working off of a database and whatever has been uploaded onto that particular AI. So, just for s— and giggles, I was like, let me see if it can write some jokes. So, I’m like, “What would Peña say in this one?” I was like, “Lame.” All the jokes sucked, and they were recycled jokes. And I was like, “OK, cool. That gives me hope.”

Zimmer: Was there a fart joke in there, though?

LUKE Evans caused the Tony Awards audience to blush and sent social media spiraling after performing in a scandalously skimpy Frank-N-Furter costume live on CBS.

The Beauty and the Beast actor left little to the imagination, wearing just a tiny black jockstrap, a leather corset and sky-high heels for Sunday night’s Rocky Horror Show performance. 

During the 79th Tony Awards held at Radio City Music Hall in New York City, the ceremony paid tribute to the hit Broadway revival of The Rocky Horror Show. 

Luke, 47, emerged through a cloud of smoke to perform his starring role as the iconic Dr. Frank-N-Furter with glam-rock chaos in full force.

He completed the sexy look with fishnet stockings, elbow-length gloves, dramatic stage makeup and the crystal-covered corset before launching into a raunchy rendition of the track Sweet Transvestite alongside the cast.

At one point during the performance, the Welsh actor spun around to flash the crowd in the barely-there costume while grinding across the stage and dramatically whipping off a velvet cape to reveal the jockstrap underneath.

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The raunchy performance instantly sent social media into a meltdown as viewers praised Luke for fully committing to the campy cult-classic character.

“Luke Evans shaking his d**k and a** on stage at the Tony Awards while wearing his slutty Rocky Horror Frank-N-Furter costume…this is what Pride Month is all about!” one fan wrote on X.

Another viewer joked: “I did NOT expect Luke Evans in six-inch heels and a corset at the Tonys but now I never want him to take it off.”

A third person posted: “Broadway Luke Evans might be his most powerful form yet.”

Luke has been starring as Frank-N-Furter in the Broadway revival of The Rocky Horror Show since previews began earlier this spring, with the production officially having its opening back in April at the Hudson Theatre.

The actor previously admitted he spent months preparing physically for the demanding role, which includes elaborate choreography, live vocals and multiple quick-change costume moments throughout the show.

Frank-N-Furter, the provocative alien scientist at the center of Rocky Horror, was originally made famous by Tim Curry in the 1975 cult-classic film adaptation.

Now, Luke has made it his own, putting a darker and more seductive spin on the iconic role.

While Luke may be stirring up conversation on Broadway these days, the actor has spent years building an impressive resume across film, television and theater.

Many fans recognize the star as the villainous Gaston in Disney’s 2017 live-action Beauty and the Beast opposite Emma Watson, where his booming musical vocals and cocky swagger made him a standout.

He also starred as Bard the Bowman in The Hobbit trilogy and played the sinister Owen Shaw in Fast & Furious 6 before later reprising the role in the franchise’s spinoff projects.

On television, Luke has taken on darker dramatic roles in projects including The Alienist, Nine Perfect Strangers and Hulu’s true-crime miniseries Nine Bodies in a Mexican Morgue.

Broadway audiences, meanwhile, have long known Luke for his powerhouse stage vocals. 

Before his Hollywood breakthrough, he starred in major London West End productions including Rent, Miss Saigon, Avenue Q and Piaf.

His turn as Frank-N-Furter in The Rocky Horror Show marks Luke’s splashiest return to the stage in years – and judging by the positive Tony Awards reaction, audiences are fully embracing his comeback.

The actor’s Tony Awards appearance quickly became one of the night’s most viral moments alongside Megan Thee Stallion’s Moulin Rouge-inspired twerking performance and host Pink’s over-the-top opening number.

The 79th Annual Tony Awards aired live Sunday night from Radio City Music Hall in New York City.

Internet culture is showing up in a big way in theaters, as low-budget horror films “Backrooms” and “Obsession” led this weekend’s box office and beat out big franchise films like “Star Wars: The Mandalorian and Grogu.”

A24’s “Backrooms” topped the charts with $81.5 million in the U.S. and Canada in its opening weekend, according to studio estimates. The film is directed by 20-year-old YouTuber Kane Parsons, who based it on his internet series of the same name.

“Backrooms,” which reportedly had a production budget of about $10 million, stars Chiwetel Ejiofor as a furniture store owner who finds a mysterious portal in his basement. The film made a total of $118 million worldwide.

In second place was Focus Features’ “Obsession,” which hauled in $26.4 million in its third weekend in theaters, up 10% from the previous weekend’s total. The film, which had a production budget of less than $1 million, has now grossed $104.7 million domestically for a global total of $148 million.

“Obsession” director Curry Barker is also known for his YouTube sketch comedy channel.

The success of two YouTube-native filmmakers at the box office indicates the growing power of the platform — and online culture as a whole — in attracting audiences to cinemas.

Walt Disney Co. and Lucasfilm’s “The Mandalorian and Grogu” fell to third place this weekend with a domestic gross of $25 million. Lionsgate’s musical biopic “Michael” ($11.7 million) and Sony Pictures’ family comedy “The Breadwinner” ($7.5 million) rounded out the top five at the box office, according to Comscore data.

OFF the coast of Northumberland is a remote, tidal island that you’ll have to time right to visit – as it is cut off from the mainland twice a day.

Called Lindisfarne, or by its other name, Holy Island, it might be familiar to fans of horror movies.

Follow The Sun’s award-winning travel team on Instagram and Tiktok for top holiday tips and inspiration @thesuntravel.

The island off the coast of Northumberland was used to film post-apocalyptic film, 28 Years Later, which came out just last year.

The 2025 movie was about a group of survivors of the rage virus living on a small island starring actors like Jodie Comer, Aaron Taylor-Johnson and Ralph Fiennes.

Filming spots included the tidal causeway and Lindisfarne Castle which attracts thousands of visitors every year.

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The National Trust took over the property in 1944 and it has been open to the public ever since.

Inside the castle, visitors can explore the different rooms, including a dining room, a kitchen, and bedrooms, as well as the upper battery, which has panoramic sea views.

In addition to exploring the interior of the castle, there are plenty of other things to see.

Entry to the castle is £14.30 for adults and £7.20 for children (between 5-17).

The island is also referred to as Holy Island, and it got its nickname after becoming the centre of Anglo-Saxon Christianity in the 7th century.

It was home to saints and it’s considered a very religious place.

But for those who want to move away from its history, there’s plenty to do on the island, like visit its coffee roastery, Pilgrims Coffee.

The business first set up in a yurt, but now even has a cosy cafe on the island too serving up caffeine hits and homemade cakes.

The family that runs Pilgrims Coffee moved from the mainland to Holy Island in 2022.

Another spot to visit is St Aidan’s Winery, where Lindisfarne Mead is made, and visitors to the island can pop in for tastings and browse the shop that sells its wine and beer.

The island has around 160 permanent residents, but it does have places for visitors to stay from hotels to holiday lets.

One of the top spots on Tripadvisor for Holy Island is Belvue Guesthouse which sleeps two guests.

One guest on Tripadvisor wrote: “We had such a lovely stay in Belvue, I think it was one of the best guesthouses we have ever been to!”

There are also cosy B&Bs as well as rooms in the local Ship Inn Pub.

The pub dates back to the 18th century with a dedicated dining room and a beer garden to the back.

It has also made an appearance on TV and was featured as the fictional ‘Seahorse Pub’ in ITV’s Vera.

Visitors can walk the historic Pilgrim’s Way or visit the Gertrude Jekyll Garden.

For seal spotting, head to the harbour or the sand flats around Lindisfarne National Nature Reserve where there are thousands of grey seals especially between February and October.

To get to Lindisfarne, you have to cross the causeway from the mainland which is only accessible at low tide from the town of Beal.

While the tides can be predicted, holidaymakers will need to check the crossings on the day on the Northumberland County Council website.

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

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

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

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

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

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

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

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

Hosts over the years

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

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

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

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