Coronation Street fans think they know what Lucy Parkinson has planned for poor Sally Metcalfe, who appears to be a target of the troubled teen amid some dark behaviour
Coronation Street fans think they know what Lucy Parkinson has planned for poor Sally Metcalfe(Image: ITV)
Fans of Coronation Street think Lucy Parkinson’s plans for Sally Metcalfe could get very sinister.
While Lucy has been lashing out at Sally, who has been caring for her since her mother Rachel’s murder, and her dad Richie’s imprisonment for the crime, she also appears to be setting her up. Things are set to continue when next week, Sally is alarmed by a picture Lucy has drawn.
Sally is soon confiding in her husband Tim Metcalfe about Lucy lashing out, and the drama with the picture. But with Sally not sure she can keep looking after Lucy, there could be worrying twists ahead.
Some fans now think they know what Lucy’s plan is, and where this might lead. With Lucy also targeting the kids Sally and Tim have fostered, will Lucy have them taken away from them?
One fan predicted: “After watching tonight’s episode, I’m sure Lucy’s plan is that Tim and Sally lose custody of Joanie, Shanice and herself.” Another fan said: “I am really worried for Sally, she’s either going to get hurt or Lucy is going to get her reported to the care worker which will have consequences for the other kids.”
A third viewer said: “Tim and Sally will be lucky to get out of this alive and still together.” A fourth fan commented: “She really seems to have it out for Sally and manipulates Tim.”
Another theory saw fans wonder if Sally would be attacked. One said: “I strongly suspect this is all building up to Lucy losing it and attacking Sally.” Another said: “There’s going to be a potential stabbing for Sally.”
Another fan wondered if Lucy had targeted someone else before Sally. They said: “After seeing Lucy had obviously given herself the mark and blamed sally, do we think this isn’t the first time she’s done this?
“What if she’s hurt herself before, and blamed her mum, so her dad killed her out of anger?” It comes as some fans speculated over who attacks Eva Price next week, after spoilers teased someone hurts her.
It’s not yet clear if Eva falls down the stairs or is pushed. One theory is that Lucy attacks her after drama airing next week. Other names thrown into the mix as possible attackers are Jodie Ramsey and Ross Wilkes.
A Happy Mondays star revealed their elderly mother is in hospital – stepping backCredit: Instagram/rowettaSinger Rowetta has performed with the group across two stintsCredit: Getty – Contributor
Rowetta – ful name Rowetta Idah was part of the group from 1990 to 1993 and again from 2012 to 2024.
Taking to Instagram, she shared a photo of her mother lying in a hospital bed, sipping a drink.
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Rowetta captioned her post: “Apologies to friends & family but my mum has had another fall.
“She has 3 broken ribs and her left lung needs to heal, so I won’t be on here much and studio & Ibiza are on hold.
Rowetta performing with Happy Monday’s lead vocalist Shaun RyderCredit: GettyIn 2004, she competed in the first-ever series of The X FactorCredit: News Group Newspapers Ltd
“She’s in a great place so hopefully back soon.”
One person commented: “Thinking of ye both. I hope she gets better soon.”
Another wrote: “Wishing her a speedy recovery and sending you lots of love, strength and courage.
“Please do get in touch if I can help with anything.”
A third said: “Hope she feels better soon.”
Aside from her work with the Happy Mondays, Rowetta is the vocalist on 1989 track Reach Out.
It has since been sampled by other artists including The Black Eyed Peas and Steve Angello.
Meanwhile, Rowetta competed on The X Factor‘s inaugural 2004 series, placing fourth and being the highest placed female contestant.
VENICE, Italy — When Skyler Gisondo turns up in “Primetime” as “Decoy Dan” Plum, an aspiring 23-year-old actor cast to play teenage bait for an unsuspecting pedophile, the camera can’t take its eyes off him.
The second trap set in director Lance Oppenheim’s lurid sweeps-ploitation drama about “To Catch a Predator” follows Gisondo’s face, most often in extreme close-up, as Dan processes what he’s gotten himself into, attempts to make small talk with the predator and finally flees off set, where he sits down, steadies himself and sheds a shaken tear. The suspect, meanwhile, is an afterthought, or more accurately a punchline: He only truly captures the camera’s attention when he drops trou, rips the top off a canister of whipped cream and sprays.
It’s an arresting formal choice, repeated from the opening sequence — that of the viral “You see how this looks, right?” moment from the trailer — to the climatic suicide of Rockwall County, Texas, Assistant Dist. Atty. Bill Conradt Jr., whose case is explored in the Esquire magazine article on which Ajon Singh’s screenplay is based. With rare exception, “Primetime” doesn’t have the guts to look its predators in the eye.
And perhaps it doesn’t need to. The film directs its most gleeful energies instead to taking “To Catch a Predator” host Chris Hansen (Robert Pattinson) down a peg. The former “Dateline NBC” correspondent, who turned a newsmagazine segment about men soliciting teens for sex online into a hidden-camera sensation in the mid-aughts, comes off here as a self-serious showboat who’s mistaken tabloid trash for accountability journalism. (As one audio technician complains, “Guy thinks he’s f— Mike Wallace.”) It’s not just that stentorian voice, either. Envy of “Dateline” co-anchor Stone Phillips provides as much motivation as ratings pressure from TV executive Jeff Zucker (playing himself), with Hansen micromanaging his crew, insulting his producer, Andie (Merritt Wever), and neglecting his wife and kids in the process.
At least in the film’s early going, this yearning for adulation is played for cringeworthy comedy, and effectively so; my hardest laugh came when Hansen screens the rough cut of a new episode for his young sons and brags to them about “To Catch a Predator” being moved to a better time slot. As the tone moves toward horror, though, the decision to make the host the story quickly stops paying dividends. Indeed, though the real-life broadcaster may not find all the ego-deflation very funny, even Hansen — who told my colleague Stephen Battaglio that he objects to the film using his name and likeness under the label “inspired by true events” — would have to admit that “Primetime” avoids the thorniest questions about the true-crime empire he built.
Robert Pattinson as Chris Hansen in “Primetime.”
(A24)
Compared with David Osit’s superb 2025 documentary “Predators,” a kaleidoscopic examination of the phenomenon from the perspective of Hansen, the decoys, the suspects, law enforcement, journalistic ethics and the filmmaker’s own experience as a survivor of child sexual abuse, “Primetime” seems remarkably incurious about “To Catch a Predator” and its consequences. It would probably be too much to ask a scripted feature to explore the challenge of achieving convictions against defendants ensnared on an episode of “Dateline,” or to delve into the legal niceties of surreptitious recording. But the suspects here are so anonymized — seen in profile or steep angles through a hidden camera lens, spied at a distance on a monitor in video village, heard as a disembodied voice on a phone or read via text in an instant message — that there’s not much to argue over anyway. The predators are reduced from people to “perverts,” of scarcely more interest to “Primetime” than to the bloodthirsty viewer Hansen meets on a plane.
When an entrapped rabbi attacks Hansen during a sting, screaming in his own tight close-up, “You don’t have the right to do this. Who do you think you are?” the film briefly, mercifully breaks this pattern, and generates an electric moment of moral uncertainty. But it doesn’t last. Instead, in its depiction of the Conradt case — ostensibly meant to underscore “To Catch a Predator’s” worst extremes — “Primetime” stumbles into some of the very same gutter sleaze tactics as the original series, transforming what was in reality a grim mid-afternoon standoff into a tense, pitch-dark operation punctuated by lightning strikes, power outages and night-vision cameras.
Such poetic license offers little new insight into a topic that has already been picked over for two decades, but it might be forgiven were Hansen as easily dramatized as he is made fun of. Alas. “Primetime” itself seems to know this — why else hire Gisondo to play Jimmy Olsen to Pattinson’s unlikable Man of Zeal — yet proceeds to construct its second half around Hansen’s unraveling: an extramarital affair, about to be exposed in the National Enquirer; ratings losses to ABC competitor “Lost”; desperation to reel in a “whale” and willingness to cut corners to do it. By the time the film again confronts the specter of something wicked under “To Catch a Predator’s” glossy surface, it comes in the form of Hansen’s own phantoms, introduced in a grueling flashback to India in the 1990s and carried through to the film’s conclusion. Why we’re to care about this apparent flash of horror, if not of conscience, remains unexplained. What about the faintly ludicrous figure of the foregoing 100-plus minutes was supposed to make me care about his moral compass?
In the final estimation, then, “Primetime” isn’t a Chris Hansen hit piece. In fact, it’s so in love with its flawed protagonist that it can’t see he’s the least compelling character in the movie, an ambitious, arrogant, grasping, unscrupulous man we’ve met countless times before. Which may explain the film’s final bit of poetic license. The last we last see of Hansen, muttering lines from his script as the police process the Conradt crime scene, suggests a man disturbed, perhaps even chastened, by what he has witnessed. But of course the real-life Hansen continues his sting operations to this day under the banner of “Takedown,” a series on his streaming service TruBlu, and both there and in “Predators” he appears utterly unshaken, unhaunted, unbowed. So for all the tension between the film and its subject to come through in the press of late, the gulf between them is not so wide as one might suspect.
The ITV reality star was shown falling from a horse while riding in Meet the Owens.
Meet The Owens teased in trailer from Prime Video
Former Love Island star Gemma Owen’s horror horse riding accident has been aired in her new show Meet the Owens on Prime Video. The six-part programme follows former England footballer-turned-horse breeder Michael Owen and his family, including his feisty eldest daughter Gemma.
In a harrowing episode on the show, Gemma, 23 is shown falling from a horse and appearing to hit a railing while she is training to compete in the charity race the Magnolia Cup. Gemma, who represented Team GB in Dressage at youth and junior levels, is an experienced horse rider and the fall came as a shock to her family.
Luckily, Gemma escaped the fall without any broken bones, however she did get whiplash and sustained cuts to her face, as well as being covered in bruises. Gemma was riding her father’s horse He’s A Gentleman when she suffered the accident, after the horse appeared to bolt.
Audiences were shown images of Gemma’s huge bruises and she could be seen sporting a cut on the left side of her face, near her chin. The accident came six days before she was due to compete.
Speaking about the incident, her father Michael, 46, said Gemma was “tough as nails” and got back on a horse the day after. Meet the Owens then showed Gemma competing in the Magnolia Cup, despite being hardly able to move her neck.
Despite the accident, Gemma ended up coming fourth in the race after being initially stuck in 12th position when she was boxed in early on in the race. Michael later commented in a VT: “She came fourth but it’s just the start” as he knew Gemma would be gearing up to race another day in the future.
Reflecting on the fourth-place position, Gemma said she was “beyond gutted” and confirmed she would be doing it again, saying, “because I need to b****y win!” She also conceded that her father Michael had been right when he’d encouraged her to try horse racing.
She’s initially been skeptical about becoming a jockey, but over the course of training Gemma realised that this was what she wanted to do. Gemma was previously a contestant on season eight of Love Island back in 2022 and was a runner-up in the dating series.
Along with focusing on Gemma, Meet the Owens also delves into Michael and his wife Louise’s sweet marriage after the pair grew up together and attended the same primary school. They also touched on a tough point in their marriage during Michael’s move to Real Madrid, which had left new mother Louise isolated and without a support network.
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Michael’s only son, James, and his degenerative eye condition are also spotlighted in another episode. James was born with the genetic condition Stargardt disease, which means he is clinically blind.
Despite this, James showed his ambitions to become part of Michael’s family business, Manor House Stables and help to get potential investors on board. At one point, Michael and James even went to Bahrain together in the hopes of securing some more potential buyers and money for the stables.
After Tim Curry finished playing the flamboyant Dr. Frank-N-Furter — first onstage, then in the 1975 film “The Rocky Horror Picture Show” — the actor never returned to the role that made him famous. Not once, over decades of “Rocky Horror” revivals from the West End to Broadway, did he ever put those fishnets back on.
For Curry, who died Tuesday at 80 in Los Angeles, there were too many characters to play, and too much fun to be had, for him to spend much time looking back.
“I’ve always moved on,” Curry told me last year, sitting in the Roxy Theatre on the Sunset Strip, where he’d played Frank to great acclaim in 1974, after originating the role in London. “That was part of the attraction of being an actor. I really didn’t want to come out of the same box every time.”
Last year, as “The Rocky Horror Picture Show” was being celebrated for its 50th anniversary, he agreed to meet at the Roxy, which he called “another home for me.” The stage show there had been a local sensation, and it was clear he still had pride and great affection for his role in the movie adaptation, which remains the longest continuous theatrical release in film history.
A stroke in 2012 left him partially paralyzed, interrupting a busy acting career. But he was quick to laugh and joke as he remembered playing Frank, including his nightly entrance at the Roxy, marching down a catwalk in heels and Dracula cape. The long life that “Rocky Horror” has enjoyed as a midnight movie, with shadow casts of costumed fans lip-syncing along, was a surprise to everyone.
Frank-N-Furter was a vivid invitation to fans to let their own freak flag fly. Even amid the era’s accelerating glam rock movement, “Rocky Horror” pushed the boundaries of mainstream pop culture as an outré musical about a mad scientist with a theme song called “Sweet Transvestite.”
“It was part of the sexual revolution, really,” Curry said of the film and its audience. “Experiment was in the air and it was palpable. I gave them permission to be who they discovered they wanted to be. I’m proud of that.”
He was also pleased with other roles that showed off his gifts, including a 1982 film version of “Annie,” directed by John Huston. Curry was the playfully crooked Rooster Hannigan, and had a standout scene singing and dancing in a pencil mustache and slicked back hair to “Easy Street,” alongside Carol Burnett and Bernadette Peters.
Tim Curry, left, in the 1985 movie “Clue.”
(American Cinematheque)
In 1996’s “Muppet Treasure Island,” Curry was a duplicitous but layered Long John Silver, a wild-eyed pirate motivated by greed but with a hint of humanity, as he sang songs and grappled with the strange, felt-covered puppet heroes.
“I love the Muppets,” he said last year. “One of the things that used to fascinate me was that the Muppeteers, when they had the Muppet on their hand, would only speak to you as the character. If you said, ‘Hello’ or ‘What’s the weather like outside,’ they would tell you as the character.”
Never humorless, Curry played the ruthlessly villainous Cardinal Richelieu in the 1993 adaptation of “The Three Musketeers.” Conceived as a vehicle for several Brat Pack actors of the time including Charlie Sheen and Kiefer Sutherland, the film nonetheless belonged to Curry, who relished every line of villainy. The actor again stole the show with theatrical flair as the Lord of Darkness in Ridley Scott’s bleak 1985 fantasy “Legend,” playing a demonic horned figure opposite Tom Cruise.
Curry brought the same energy to more relatable comedic roles in the beloved ensemble mystery “Clue” as the highly suspect Wadsworth the Butler, and “Home Alone 2,” as a four-star hotel concierge outmatched by a 10-year-old boy hero.
“Rocky Horror” gave him a film career and even led to a music sideline, with the 1979 radio hit “I Do the Rock.”
“When I did ‘Hair’ in London, my first gig, I was not sure whether I wanted to be a singer or an actor,” Curry told me. “And doing that show kind of postponed the decision long enough and I realized that I really wanted to be an actor more than anything, and I took it very seriously. And worked with the Royal Shakespeare Company. I saw myself having the trajectory of a serious English actor.”
The roles turned out wilder and more varied than he might have expected but his seriousness and sense of fun never faded, pushing boundaries and himself. No one was ever bored watching Tim Curry onscreen.
British actor Tim Curry, who famously commanded attention as the seductive mad scientist Dr. Frank-N-Furter in cult classic oddball musical “The Rocky Horror Picture Show,” has died. He was 80.
The Daytime Emmy-winning actor’s longtime manager and friend Marcia Hurwitz confirmed that Curry died Wednesday at his home in Toluca Lake, in a statement shared with The Times. A cause of death was not revealed. The Cheshire native suffered a stroke in 2013, impairing his ability to walk. Though he remained in a wheelchair until his death, the actor continued working through his final years.
“Though widely known for his inimitable, flamboyant characters and colorful stage performances,” the statement said of Curry, “his greatest legacies to those who knew him were his curious, expansive mind and generous, gentle heart, both of which remained open and filled with anticipation until his final breath.”
Curry is best known for originating the role of Dr. Frank-N-Furter, the self-proclaimed “Sweet Transvestite” and purveyor of pleasure who guides a stranded young couple — and audiences — through an unpredictable evening of sexual exploration and liberation. He debuted the offbeat experimental musical in fishnets and pearls in 1973 on the tiny stage upstairs at the Royal Court Theater in London, where it first became an underground sensation.
“The Rocky Horror Picture Show” hit the big screen in 1975, with Susan Sarandon as Janet and Barry Bostwick as Brad. A rock ‘n’ roll take on sci-fi and horror B-movies, “The Rocky Horror Picture Show” became the original midnight movie that endeared generations of audiences with its flamboyant characters, spawned interactive screenings across the country and secured its spot in the pop culture lexicon.
“It was part of the sexual revolution, really,” Curry told The Times in 2025 upon the film’s 50th anniversary. “Experiment was in the air and it was palpable. I gave them permission to be who they discovered they wanted to be. I’m proud of that.”
Curry flexed his versatile acting through more than Frank-N-Furter’s showy elevator debut and his vulnerable “I’m Going Home” finale. He was also a sinister Pennywise in the miniseries adaptation of Stephen King’s “It,” a secretive butler named Wadsworth in “Clue,” and the evil Lord of Darkness in “Legend.” A screen chameleon capable of morphing from the supernatural to the pedestrian, Curry was also known for his work as fabled pirate Long John Silver in “Muppet Treasure Island” and as a skeptical hotel concierge in “Home Alone 2: Lost in New York.”
He was a prolific voice actor known for the environmental classic “FernGully: The Last Rainforest” and TV series “The Wild Thornberries,” “Star Wars: The Clone Wars,” “Over the Garden Wall” and “Aaahh!!! Real Monsters.”
Timothy James Curry was born April 19, 1946, to father Jim Curry, a Navy chaplain, and mother Maura Curry. After losing his father at age 12, Curry earned a scholarship to the Kingswood School in Bath. Curry’s grandfather took him to music halls, fostering his love for the art.
“I was really taken with the great Technicolor musicals; it’s the form that’s closest to my heart in a way,” Curry told The Times in 1992. “It’s the most comfortable synthesis of all the things I do.”
School productions eventually led Curry to the University of Birmingham, where he studied drama and English from 1965 to 1968, according to his website.
Curry made his professional debut in 1968 in the original London production of “Hair.” He had fibbed about having previous professional experience and an Equity card, but the production team thought Curry’s talents were reason enough to sponsor him. After he starred in several productions including “Titus Andronicus,” “Cinderella” and “Midsummer Night’s Dream,” co-star Richard O’Brien in 1973 invited the actor to audition for a new work — one that would later solidify Curry as a generational screen and stage icon.
With Curry anchoring as Frank-N-Furter, O’Brien’s “Rocky Horror Picture Show” first came to life at the Royal Court’s Theatre Upstairs. Then larger venues overseas included L.A.’s Roxy Theatre. Eventually, with the support of producer Lou Adler, the show made it to the screen. The same year “Rocky Horror Picture Show” hit cinemas in 1975, its Broadway run at the Belasco Theatre shuttered after 45 showings and negative reviews. Over the years, harsh criticism proved no match for “Rocky Horror Picture Show’s” unexpected staying power.
The musical had been revived numerous times in New York and London, including in 2001 with the Broadway revival earning multiple Tony Award nominations including a nomination for revival of a musical.
The “Rocky Horror Picture Show” film and Curry’s melodramatic Frank-N-Furter have remained cultural touchstones, spawning the popular “anticipation” online meme and inspiring spoofs on “Glee,” “The Simpsons” and a beloved character (with hormone-manipulating abilities) in the popular Japanese manga and anime “One Piece.”
To Curry, Frank-N-Furter was more than just that “sweet transvestite” obsessed with manufacturing the perfect man.
“He’s a fairly complex guy,” he told The Times in 1974. “He just takes anything he can get. He’s not fussy, really. Though I think he’s something of a wham-bam-thank-you-ma’am.”
Through the late 70s to early aughts, Curry balanced stage commitments with screen projects and musical endeavors. His stage resumé includes productions of Tom Stoppard’s “Travesties” for the Royal Shakespeare Company, the title role in playwright Peter Shaffer’s “Amadeus” (that would earn him a Tony nomination) and Joseph Papp’s take on “Pirates of Penzance.” All the while, he gained fame for roles in “Annie,” “Clue,” “Home Alone 2” and “Addams Family Reunion.” As a recording artist, Curry released three albums between 1978 and 1981: “Read My Lips,” “Fearless” and “Simplicity.”
In 1988 Curry returned stateside for a U.S. tour of “Me & My Girl,” which he followed with a residency at the Pantages. It was then the actor decided to permanently return to Los Angeles as a resident. His move to Southern California coincided with the beginning of his Emmy-winning voice acting career, which started with a role for Hanna Barbera’s animated adaptation of “The Creation.”
Curry won his Daytime Emmy Award in 1991 for voicing Captain Hook in “Peter Pan and the Pirates” and earned a Grammy nomination in 2002 for the audiobook of “Lemony Snicket’s A Series of Unfortunate Events.” He performed voice roles for video games including television and film tie-ins “Brutal Legend” and “Dragon Age: Origins.”
The British star primarily worked in voice roles after he suffered a major stroke in 2013. Since then, Curry had been in a wheelchair, with on-screen cameos including as the criminologist in the 2016 TV remake of “Rocky Horror.” Still, the image of Curry’s fierce Frank-N-Furter continues to pervade pop culture — even if that wasn’t his original intention.
“None of it was planned, really. I just knew I had to take risks,” he told The Times in 1974. “Life is like acting in that way. You’ve got to take risks. If you take big risks, it’s then up to you whether or not you pull it off.”
More than 50 years after that interview, Curry told The Times that he had no doubt in what he was doing. Revisiting his home away from home, the Roxy Theatre, in the fall of 2025, Curry said it had become “my stomping ground.”
“I had to appear as though I owned it — and I kind of did.”
“It Ends,” a microbudget marvel by 20-something writer-director Alexander Ullom, has a straightforward premise that expands in your imagination.
Four school pals — go-getter James (Phinehas Yoon), drop-out Tyler (Mitchell Cole), anxious Fisher (Noah Toth) and creative Day (Akira Jackson) — pile into a Jeep just after college graduation. The car turns onto a dark road that, to the youngsters’ growing unease, appears to stretch on forever through an infinite forest. There’s no safe place to pull over, no signs pointing toward escape, no assurance that their lives have a destination. Stop moving and a horde of desperate, violent strangers sprint from the woods to try to steal their car. Keep going … forhow long? Is this hell, purgatory or just a cosmic punchline?
“It Ends” premiered at SXSW in the spring of 2025, over a year before audiences stormed Kane Parsons’ “Backrooms,” yet the two breakout filmmakers share a suspicion that our seemingly ordinary existence hides something very, very wrong. The scale of the peril is hard to comprehend and harder to articulate; they’re more curious to explore the crisis than find a fix. What matters is that humanity feels lost.
Everyone in the car already seems to sense it even before this particular ride goes awry. Yoon’s dour James has impressively (and depressingly) mapped out his next few money-making decades down to his eventual diminished sperm count. To him, the future “seems like it sucks ass.” Weary Tyler has resigned himself to blue-collar work. Fisher and Day can’t even secure jobs, stuck literally and metaphorically frittering away their youth in the back seat.
The first act has a visceral, terrifying sequence with panicky close-ups of extras sprinting pell-mell toward the car. (The credits list as many background actors as crew members.) Matthew Robert Cooper’s unnerving ambient score bleeds into the relentless dink-dink-dink of the Jeep’s strobing hazard lights.
For several minutes afterward, the images are so disorienting that we can’t even make out where anyone in the car is sitting. Then cinematographers Evan Draper and Jazleana Jones along with Ullom, who also edits, take a steadier hand with evocative montages that emphasize the passage of time.
With rare exception, the camera stays tethered to the vehicle. The blur outside becomes enveloping and unfathomable; the universe inside the car evolves as the friends invent tension-defusing rituals to keep from screaming at one another. The mood toggles between cozily habituated and heavy. How long have they been driving now?
Early on, I kept a running tally of the hours until that began to feel naive. The days blend together with no time stamps, although Ullom occasionally reveals how many miles the car has gone. I did some back-of-my-notepad math and realized you can drive massive distances faster than I would have guessed. Then I pictured myself in their seats. Excruciating.
Evading plot holes, “It Ends” paves over the obvious biological needs. The foursome discover they no longer need to eat or drink. Likewise, the car no longer needs gas. The characters check off every idea you want them to try in the small space of the car, plus other brilliant brainstorms. Bursting through the confinements of movie logic, “It Ends” untrains audiences out of their certainty that every crisis has a solution. Does it even matter what they do?
Dread runs through “It Ends,” yet I’m hesitant to frame it as a horror movie. Scares fall by the wayside when it shifts into a more philosophical gear, vibrating with questions about how to live a meaningful life: Should these victims accept their fate or keep struggling? At least one will leave the car, never to be seen again as Ullom shrewdly refuses to reveal whether that choice was right. I think the filmmaker has an answer for himself, but he’d rather ask how we feel about it. Keep an open mind. Your opinion may change more than once.
This car setting taps into our cultural belief that speeding ahead is progress, an opinion shared by films as varied as “The Fast and the Furious,”“Mad Max: Fury Road,”“Two-Lane Blacktop,” and “Thelma & Louise.” Like actual religion, to continue on versus stopping becomes a question of faith. Some find comfort deciding on an answer, any answer. Others are driven by the spiritual quest itself.
The cast of unknowns is fantastic. It’s a major feat to shoulder a movie sitting still. Yoon’s prickly, unlikable James is the character many will align with, to their chagrin. Cole’s Tyler acts practically while collapsing into a black hole of cynicism. You’ve met a dozen guys like him who all claim “So what?” is the only sensible reaction. The jokers Toth and Jackson, bless them, keep things endearing and funny.
I’m bored of studios and indie financiers forcing filmmakers to stick to so-called bankable names. From “Heated Rivalry” to “Obsession,” this has been a phenomenal year for discovering fresh faces. Hopefully Hollywood won’t misunderstand the lesson in those projects’ success. It’s not to add Connor Storrie and Inde Navarrette to that stifling shortlist — it’s how much more talent there is waiting for a shot. (And it’s worth mentioning that Yoon and Cole also direct their own movies.)
Some of Ullom’s richest themes need only a casual mention, like Fisher muttering that he has fewer photos of his family on his phone than stupid memes. The friends are passingly concerned that they’ve outsourced too much of their mental stimulation to the internet. Now that they don’t have Wi-Fi, will they run out of topics to discuss? In these murmurs, Ullom wonders how much modern technology has led us astray. Obeying GPS has trapped them on this road in the first place, and may have done the same to those wretches in the woods, each so individually fixated on carjacking the Jeep that it never occurs to them to team up. A material goal devolves people into savages. At least Ullom has a slight optimism that society can turn things around.
Climbing into my car after “It Ends” felt like a sick joke. Was I really steering straight back to work? When was the last time I pulled over for an ice cream? But I kept on driving until I made it to my desk to start this review. That’s how excited I was to share the news of Ullom’s staggering debut. It’s a thrill to see his generation of filmmakers take the wheel.
A summer trip to France ‘got worse and worse’ for one family as they were greeted by a ‘radioactive’ pool, a dead rodent, poison and broken furniture at their holiday home
They discovered one room with mattresses on the floor(Image: Handout)
What was meant to be a charming holiday home in France resembled more of a ‘horror house’, as a family trip went from bad to worse during a ‘hellish’ experience.
Richard Glendenning, who hails from London, travelled to France this summer for a holiday with his wife, her parents and their eight-month-old puppy. Wanting a quieter and more authentic experience, the couple booked a 10-night stay at an ’18th-century barn, with a private pool and sauna’ through Airbnb, nestled in a rural area of Bars in Bergerac.
Before they arrived, they were aware that the holiday rental was a little rustic around the edges, but at the time, it was all part of the appeal. It was only when they turned up at the property on Monday, 27 July 2026, that they realised it was far from what they had been expecting.
“It looked like a very lovely gîte (self-catering holiday home) online, I thought it’d be charming and nice,” Rich exclusively told the Mirror. “But it was in no way indicative of how hellish the experience was.
“It was actually two buildings next to each other that were part of the same space, and when we first arrived, it was filthy. It was the messiest place, and it looked like nobody had bothered to clean it for a year or so – it was awful.”
He continued: “It was like something from a film set, where you try and make a horror house with insects, cobwebs and spiders, everywhere. In the kitchen, the ceilings were fairly low, and I walked into one of those sticky tape things, covered in flies. There were flies everywhere, alive and dead.
“The bathrooms weren’t clean, and I had to use another bedroom in the other building, but when I went in there, I found a dead rodent, a rat.
“The towels were also tiny; you could barely wrap a toddler in one, and I had a white stain on mine. We were looking around, and in one bedroom, the owners had taken the bed from the mezzanine area, so there were just really horrible mattresses on the dirty floor, like in a squat.
“I walked through one of the bedrooms that was facing the pool, and instead of a bed, there were just stacks of wood pushed against the wall.” Rich added that they had arrived a “little bit early”, which had been previously agreed, and the cleaners did later fix the bed.
However, there were more surprises waiting. “The outdoor swimming pool was a comedy green, it was like a radioactive, glowing green colour, rather than a beautiful blue,” Rich revealed. “There was also a noisy filter machine, and there was an auto-motored machine going around, so that wasn’t done either. The owner had also removed loads of furniture from around the pool that were in the photos and advertised.”
Rich and his wife also spotted a “layer of scum around the edge of the pool”.
Rich and his wife had previously confirmed with the owner that their puppy could stay at the property, and the owner had agreed before their arrival. But the accommodation became worryingly unsafe for them and their beloved pooch.
“I saw this kind of gravel or type of salt across loads of the floors, and it was even across the dining table in the house. So I asked the owner, and she said, ‘Oh, that’s poison we put down’. She knew beforehand we were bringing a puppy, so that was unbelievably dangerous,” he said.
“We knew it was going to be rustic, but we thought we’d spend more of our time outside than in the house. But there’s rustic, and then there’s filthy, broken and items missing,” Rich’s wife added.
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They also discovered that what looked like a microwave was actually the kitchen’s main oven, but the couple said, “You couldn’t even fit half a pizza in.” Rich’s wife said that the oven in the other building, which they were offered to use, was “so disgusting” and had “never seen something so dirty”, so they were left without an oven for a few days before it was cleaned again.
While they were caught off guard by the state of the property, the family decided to have some lunch outdoors near the pool on their first day. A platform area had been a “major selling point” for them because of the “beautiful views with a big table under some trees”.
In true French style, they laid out a “huge spread” on the outdoor table by the pool, with wine and cheese. “We put it all on the table, and it instantly collapsed. All the food and wine, everything went everywhere and broken plates”, Rich explained.
During their stay, Rich and his wife said they were in communication with the owner and Airbnb while documenting everything. “We were complaining and telling the owner what we found,” he said.
Airbnb confirmed that it has ground rules for hosts that make clear its expectations and the standards hosts must meet. If they fail to comply, Airbnb will investigate and take action, which may include removing the property from its platform.
“The owner was very responsive and trying to help, but she kept saying that it was her last rental and she’s selling the property,” Rich’s wife said. “She had given up on the property, really.”
To help with their issues, the owner said they could use the second building “freely”. However, this only revealed more, as it was “beyond dirty and dusty” and “uninhabitable”.
The couple explained that cleaners did return to clean the main property again during their stay following the complaints, but “didn’t do what they promised to do”. Although after two to three days, the pool was “back to a blue colour”.
The owner allegedly told the couple that before their arrival, she had around five 20-year-olds staying in the property and said that they had “left the place in a complete state, broken, and that’s why the pool was green.”
When speaking to the owner about the collapsed table, Rich said that the owner nonchalantly told them, ‘Oh, just take the table from the dining room in the house out there.’ He added that the owner had also told them she’d ordered new furniture, although it “never arrived”.
They were offered relocation by Airbnb, as all bookings come with AirCover, which means Airbnb will help guests find a similar place or issue a refund in the rare event that something isn’t as expected on arrival. However, because it was the peak summer period, they had two elderly parents, and one car that didn’t fit them all, they felt it wasn’t a realistic option for them.
Rich said: “The case was closed down without us being satisfied with any outcome”. Airbnb said it is providing feedback to the customer service teams that handled the case, as it did not meet their expectations.
In another turn of events, rain began leaking through the rental’s roof. His wife explained: “It was the final night in my bedroom, and thankfully, we weren’t in that room and didn’t have any lights on, but the rain flooded through the light socket.
“It went all over the bed. I had packed everything; my suitcase was open and directly under the flood. Every single item I owned was soaking wet.
“We were meant to drive back to the UK the next morning, but everything was wet, so I was desperately trying to dry everything before leaving, but didn’t manage to.”
After the ongoing ordeal of their accommodation, Rich said: “We need a holiday after the holiday. It just got worse and worse – it was hellish.”
A spokesperson for Airbnb said in a statement: “We are disappointed to hear about this experience and how it was handled. We have reached out to the guest to provide a monetary refund for the entire cost of their stay and are investigating the host.
“We have standards and ground rules for hosts, which require listings to be clean and free of health hazards, safety hazards and secure. While these reports are rare, we investigate and take the relevant action, which can include removal of listings from Airbnb.”
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