Hugh

On Nov. 26, 1983, six men robbed a warehouse serving London’s Heathrow Airport. Hoping to find £1 million worth of foreign currency, they found instead 6,800 gold bars, worth £26 million in 1983 money — a record-setting robbery at the time — under the temporary supervision of Brink’s-Mat. (A union of the American security firm and a British transport outfit.) This event has been transmuted into “The Gold,” an involving British drama premiering here Sunday on PBS.

The robbery itself takes up little screen time; the question on the criminal side becomes how to turn three tons of gold into cash, and for the police, one of recovering the loot and bringing the villains to justice. The cops and the criminals overlap here and there, a point screenwriter Neil Forsyth does not want you to miss, and is a particular bee in the bonnet of upright Detective Chief Superintendent Brian Boyce (Hugh Bonneville), self-contained but always ready to speak his mind. (He is also “infuriated” by what people get wrong about jazz, which he likens to police work.)

Recruited by Boyce to a special task force are detectives Tony Brightwell (Emun Elliott), historical, and Nicki Jennings (a charismatic Charlotte Spencer), invented, who are good company for the viewer and generally for each other, though as people who spend long hours sitting together in cars waiting for something to happen, they have their moments of friction, played for humor. As a created character, Jennings — who, as a woman, has to outline the many steps and hard work it took to achieve her position — offers an opportunity for emotional elaboration, notably in scenes (affectionate, prickly) with her father, Billy (Danny Webb), “by a country mile the worst villain in England,” his criminal career sidelined by ill health.

Though one of the actual robbers, Micky McAvoy (Adam Nagaitis), gets a good deal of attention, the bulk of the series involves three criminals subsequently processing the gold and laundering the money. Kenneth Noye (Jack Lowden) is “a fence with protection,” owing to his friendship with police officers through membership in the Masons. (When Boyce brings Jennings and Brightwell onto his team, he sets the rules as “no overtime, no drinking at lunchtime, no freemasonry.”) John Palmer (Tom Cullen), a dyslexic dealer in gold and jewelry, has a handy portable smelter in his yard. And the invented Edwyn Cooper (Dominic Cooper), an up-from-the-streets solicitor with posh airs and a rich wife whose snooty parents treat him with barely disguised disdain, finds himself working for “a group of businessmen who have a lot of money that needs to be made respectable,” in the words of liaison Gordon Parry (Sean Harris, sinister).

Stretched over six episodes, it’s not a speedy telling, and, in fact, a second series covering a long tail of aftermath has already aired in the U.K. Apart from some surveillance, tailing suspects, one fatal encounter and an occasional chase, there’s little in the way of capital-A Action, mostly just a lot of talk — inquisitive, instructive, threatening, discursive, domestic or speechifying. Though the production is naturalistic — in a way that ties it to an earlier, golden era of British productions — the dialogue can sound highly composed. Characters are given little monologues, often to explain how they became the person they are, that play as the sort of thing that might occur late in the last act of a stage drama: Jennings found the sirens outside her window comforting, which led her to police work, “so that kids like me will be safe”; Boyce had a life-changing moment involving a pair of red leather shoes while fighting in the so-called Cypriot Emergency. Some dialogue might have been lifted whole from a 1930s gangster film. Critiques of British class structure and bad actors within the police department are raised high enough to be impossible to miss.

There are a lot of moving parts in “The Gold,” represented in sometimes brief alternating scenes, and it may take a while, among the crooks, at least, to get a handle on things, to sort out where you are, who’s who, who’s married to whom, and what part each plays in the caper. Though Noye is arrogant enough to root against, Forsyth wants to show, as much as each character allows, the just-folks elements of his bad guys, psychologically relatable sorts who have, from early experience, a lack of opportunity, or a certain kind of genius, decided that the path to freedom is best paved with other people’s money. (“If it wasn’t for people trying trying to break out of the lives they’ve been given,” observes Boyce of his country’s social stratification, the police would be out of a job.) This may be soft-pedaling matters somewhat — to read the historical accounts might give you a different picture — but as drama it pays dividends.

As a period piece, it doesn’t oversell the era. There are old cars, of course, and more mustaches than we are currently accustomed to. But apart from the pop songs that run over the end credits, nothing screams These Are the ’80s. (Compare, for example, the “Life on Mars” sequel, “Ashes to Ashes.”) It’s more a question of what isn’t there. The detectives have a computer, but only Brightwell has an idea of what it’s for or how to use it. No cellphones, but there are walkie-talkies. A tracking device, apparently the only one in all of British law enforcement, has to be imported from Belfast (and sneakily at that). There is a refreshing absence of guns — none of those Kevlar-clad teams going in with pistols raised. (Just truncheons.) And the remodeling of East London into a gentrified glass forest, a minor plot point, has only just begun.

It’s like a vacation from now, and who can’t use one of those?

Vivian Ayers Allen, a Pulitzer-nominated poet who foreshadowed the country’s journeys into space and was mother to Debbie Allen and Phylicia Rashad, has died, the family announced on Allen’s social media. She was 102.

“Mommie you have transformed into that cosmic bird Hawk that lives and breathes Freedom,” said the message, posted Wednesday. “We will follow your trail of golden dust and continue to climb higher. We promise ‘to be true … be beautiful … be Free.’”

It was signed with much love — literally five “loves” and dozens of red hearts — by “Norman, Debbie, Lish, Tex, Hugh, Vivi, Thump, Condola, Billy, Oliver, Gel, Tracey, Carmen, Shiloh, Aviah, Eillie, Gia, and all the Turks in our family.” A carousel’s worth of family photos was shared, set to Stevie Wonder’s song “Golden Lady.”

The family celebrated Ayers’ 102nd birthday just over three weeks ago, at the end of July. The festivities, attended by four generations of family, included a jazz concert put together by Andrew “Tex” Allen Jr., a jazz musician and the eldest of Ayers’ four children with dentist Andrew Allen. Ayers and Allen, who died in 1984, got divorced in 1954 after nine years of marriage that also yielded children Debbie, Hugh and Phylicia. All but Hugh would go into the performing arts.

Debbie Allen, 75, spoke about her mother in 2018 at an event honoring the “Grey’s Anatomy” star and her sister, Rashad, 77.

“We grew up with not a lot of money. We grew up with racial segregation. We grew up not being able to go to ballet class or downtown to a restaurant or to a movie,” Allen said. “And so my mother, Vivian Ayers, always made us believe that we were part of a universe that welcomed us and wanted our creativity and was waiting for us to do something good. And so we’ve been doing that forever.”

Ayers told Rashad that acting made her one of the “magic” people.

“I said, ‘What do you mean, Mama?’” the star of “The Cosby Show” told The Times in 2015. “She said, ‘You create so much out of nothing.’”

Born in 1923 in Chester, S.C., Ayers graduated in 1939 from the Brainerd Institute high school, established in 1866 for the children of freed slaves in her hometown. It was the final year the school was in operation. She then went on to study at Barber-Scotia College in Concord, N.C., and Bennett College in Greensboro, N.C., eventually getting an honorary doctorate from the latter of the two HBCUs.

Ayers flourished at a time ripe with talent. “Spice of Dawns,” her 1952 book of poetry, earned her a Pulitzer Prize nomination in 1953, the year Ernest Hemingway won the fiction prize for “The Old Man and the Sea” and William Inge won the drama prize for “Picnic.” Archibald MacLeish won the poetry award that year, one of his three Pulitzers, while two North Carolina weekly newspapers brought home the public service journalism prize for their campaign against the Ku Klux Klan, which resulted in the arrests of more than 100 Klansmen.

“Hawk,” a book-length poem set in a century in the future, was self-published by Ayers in 1957 and linked the freedom of flight with the possibility of space travel. It foreshadowed what was to come: 11 weeks later, the USSR launched Sputnik, the first man-made satellite to orbit Earth. Clemson University officially published “Hawk” in 2023.

NASA in 2024 celebrated Ayers’ work — she had been an editor and typist at the space agency — as it dedicated the Dorothy Vaughan Center in Honor of the Women of Apollo, some of whom were immortalized in the movie “Hidden Figures.” Rashad read “Hawk” at the July 19 ceremony, which honored all the women who worked, unheralded, to make the Apollo mission to the moon possible.

Ayers worked as a librarian at Rice University and in 1965 became the school’s first full-time Black faculty member. While there, she started the Adept Quarterly literary magazine in 1971. She was a playwright, with works including “Bow Boly” and “The Marriage Ceremony.”

She nurtured the artistic talents of her children — and did it for other children through Workshops in Open Fields, a program teaching literacy through the arts that Ayers founded in Houston and later brought to Brainerd Institute. She also founded a museum, the Adept New American Folk Center, focusing on arts of the American Southwest.

“Don’t wait for them to ask for something, just playfully take them into something they have never thought about and charm them into taking the disciplines,” Ayers told the Rock Hill Herald in 2018 about teaching children. “You have to do that. It takes a little urging when they are young to make them stay with the disciplines. They will bless you forever.”

Ayers moved with her children to Mexico for a time, where they learned Spanish and she studied Greek literature and the Mayan culture.

Rashad recalled her childhood in a conversation with The Times in 2012.

“There were a lot of books, and artists frequented our home. And as children we were privy to great intellectual and artistic debates,” she said. “My mother included us in everything that she did, and I mean everything. I remember as a child collating pages for her second book. It was wonderful.”

Ayers was there for dancer-actor Debbie Allen as well.

“My mother took the handrail off the staircase and put it on the wall in what should have been the dining room to create a ballet studio for Debbie to study with a dance instructor privately when she could not be admitted to the best schools that were on the other side of town in Houston,” Rashad explained. “And eventually Debbie was admitted to the Houston Ballet Foundation, but that was because of the private training she received in our home.

“My mother would do things like that. … She was always teaching us.”

Strumming a black acoustic guitar to match his black tuxedo pants and jacket, Hugh Jackman strolled onto the stage of the Hollywood Bowl and let the audience know precisely what it was in for.

“Little bit of Neil Diamond,” he said as the Hollywood Bowl Orchestra revved up the go-go self-improvement jive of “Crunchy Granola Suite.”

A dedicated student of showbiz history, the Australian singer and actor was starting his concert Saturday night just as Diamond did half a century ago at the Greek Theatre gig famously captured on his classic “Hot August Night” LP.

Yet Diamond was just one of the flamboyant showmen Jackman aspired to emulate as he headlined the opening night of the Bowl’s 2025 season. Later in the concert, the 56-year-old sang a medley of tunes by Peter Allen, the Australian songwriter and Manhattan bon vivant whom Jackman portrayed on Broadway in 2003 in “The Boy From Oz.” And then there was P.T. Barnum, whose career as a maker of spectacle inspired the 2017 blockbuster “The Greatest Showman,” which starred Jackman as Barnum and spawned a surprise-hit soundtrack that went quadruple-platinum.

“There’s 17,000 of you, and if any of you did not see ‘The Greatest Showman,’ you might be thinking right now: This guy is super-confident,” Jackman told the crowd, panting ever so slightly after he sang the movie’s title song, which has more than 625 million streams on Spotify.

The success of “Showman” notwithstanding, Jackman’s brand of stage-and-screen razzle-dazzle feels fairly rare in pop music these days among male performers. (The theater-kid moment that helped make “Wicked” a phenomenon was almost exclusively engineered — and has almost exclusively benefited — women such as Ariana Grande, Cynthia Erivo, Chappell Roan and Laufey.) What makes Jackman’s jazz-handing even more remarkable is that to many he’s best known as the extravagantly mutton-chopped Wolverine character from the Marvel movies.

Before Jackman’s performance on Saturday, the Hollywood Bowl Orchestra, conducted by Thomas Wilkins, played a brief set of orchestral music that included selections from John Ottman’s score for “X2: X-Men United.”

The ascent of Benson Boone, with his mustache and his backflips, suggests that Jackman may yet find inheritors to carry on the tradition he himself was bequeathed by Diamond and the rest. But of course that assumes that Jackman is looking to pass the baton, which was not at all the impression you got from his spirited and athletic 90-minute show at the Bowl.

In addition to stuff from “The Greatest Showman” and a swinging tribute to Frank Sinatra, he did a second Diamond tune — “Sweet Caroline,” naturally, which he said figures into an upcoming movie in which he plays a Diamond impersonator — and a couple of Jean Valjean’s numbers from “Les Misérables,” which Jackman sang in the 2012 movie adaptation that earned him an Academy Award nomination for lead actor. (With an Emmy, a Grammy and two Tonys to his name, he’s an Oscar win away from EGOT status.)

Hugh Jackman with members of the L.A. Phil’s Youth Orchestra Los Angeles on Saturday night.

(Timothy Norris)

For “You Will Be Found,” from “Dear Evan Hansen,” he sat down behind a grand piano and accompanied himself for a bit; for the motor-mouthed “Ya Got Trouble,” from “The Music Man” — the first show he ever did as a high school kid, he pointed out — he came out into the crowd, weaving among the Bowl’s boxes and interacting with audience members as he sang.

“I just saw a lot of friends as I went through,” he said when he returned to the stage. “Hello, Melissa Etheridge and Linda. Hello, Jess Platt. Hi, Steph, hi, David, hi, Sophia, hi, Orlando — so many friends. Very difficult to say hello to friends and still do that dialogue.” He was panting again, this time more showily. “It’s like 53 degrees and I’m sweating.”

The show’s comedic centerpiece was a version of John Denver’s “Thank God I’m a Country Boy” that Jackman remade to celebrate his roots as an “Aussie boy.” There were good-natured jokes about shark attacks and koalas and Margot Robbie, as well as a few pointed political gibes, one about how “our leaders aren’t 100 years old” — “I’m moving on from that joke fast,” he added — and another that rhymed “Life down under is really quite fun” with “I never have to worry: Does that guy have a gun?”

The emotional centerpiece, meanwhile, was “Showman’s” “A Million Dreams,” for which the Hollywood Bowl Orchestra was joined by 18 members of the Los Angeles Philharmonic’s Youth Orchestra Los Angeles. The song itself is pretty cringe, with a lyric bogged down by cliches and a melody you’ve heard a zillion times before. But Jackman sold its corny idealism with a huckster’s sincerity you couldn’t help but buy.

It’s been over three decades since Four Weddings and a Funeral was released on the big screen, and the Richard Curtis rom-com still holds a special place in the hearts of audiences everywhere

For over thirty years, Four Weddings and a Funeral has shown that a film with a lot of heart can go a long way. Despite being one of the most beloved romantic comedies out there, and helping catapult some of its stars to new levels of fame, it was actually a really low-budget project.

It cost only £3 million to make – which might sound like a lot, but in Hollywood terms is as cheap as chips – and was shot over just six weeks.

But despite being a small movie, Four Weddings is still one of the British public’s favourite rom-coms after all these years, and it cemented Hugh Grant as a household name in the UK, along with his girlfriend Liz Hurley.

Her stunning and risque Versace dress – the barely-there piece was held together with safety pins – captured serious attention at the Four Weddings premiere, and has become an iconic moment in fashion history.

The movie’s producer, Duncan Kenworthy, remembered discussing what Liz might wear when going for lunch with her and Hugh the week before the premiere, “Liz said, ‘I have absolutely no idea at this point’,” he said, adding that “With every piece about Liz came a mention of the film, so it was great publicity. The premiere was an extraordinary event.”

After the film’s release on March 11, 1994, even the movie’s theme song – Love is All Around by Wet, Wet, Wet – found major success, and spent 15 weeks at the top of the charts.

Pretty much every character in the film has become totally beloved by audiences, from the floppy-haired Charles as lead, to his quirky flatmate Scarlet, and the laugh-a-minute, over-the-top Gareth.

Duncan, 73, has said that they were totally consumed by their “little film” during the two years production took and that due to issues finding finance for the film, “We were making it for a long time in our heads before we actually made it in reality”.

However, even though they were working on a budget, everyone around them really believed that Four Weddings would go the distance.

“I remember sitting and watching the Oscars on telly with friends the year before we made Four Weddings and they all said, ‘You’ll be there next year’ and laughed,” Duncan explained.

“Literally a year later, there I was, at the Oscars, with a Best Picture nomination. It was unthinkable, really. In those days there were only five nominees for best picture at the Oscars. It shows what a big impact the film made – not just with the public but within the film world, too.”

Despite its popularity, Four Weddings and a Funeral didn’t take home Best Picture, but to be fair, they faced some pretty stiff competition that year, with other nominees in 1995 including Pulp Fiction, The Shawshank Redemption, and Forrest Gump – with the latter taking home the statue.

Four Weddings did manage to score a host of BAFTAs, however, for its depiction of Hugh Grant as the slightly-hopeless Charles attending a series of landmark occasions in his loved one’s lives – and falling in love with American socialite, Carrie – played by Andie MacDowell.

Casting the film presented the production team with a few challenges, particularly when it came to the lead role of Charles. Whilst it might seem impossible to imagine anyone else playing him now, Richard Curtis is said to have had more than few doubts about his ability to carry the role.

Over 70 people were auditioned for the role, but in the end it came down to Hugh Grant and one other choice.

“It sounds odd now but the other actor in the frame was Alan Rickman, who’d really cut through in the Robin Hood movie. Mike, Richard and I simply couldn’t agree which of them to cast, so we voted in secret,” Duncan explained.

“We were an odd number, and it came out 2 to 1 in favour of Hugh Grant. It’s a cause of enormous delight to me that it was Richard who nearly ended Hugh’s romcom career before it even started.”

Hugh Grant has also revealed that Richard Curtis definitely was not a fan of him during the auditioning process, saying “[My audition] was in front of Mike Newell, the director, who seemed to quite like me, and Richard Curtis, who seemed to want me dead. He really hated me. Apparently there was a bit of a fight between them…. and Richard didn’t want me at all.”

The actor also revealed that before the movie’s release, he thought it would be a total flop, and he said as much to his friend Sam Neil over dinner one night. Later, Hugh said about his initial impression of the rom-com “I was clearly wrong and the film changed my life. It was the beginning of a happy friendship with Richard Curtis, and I’ve always had the greatest respect for Mike Newell who taught me things I use to this day.”

Despite the rocky start to Richard’s impression of Hugh, the pair went on to make two other iconic rom-coms together, Notting Hill and Love Actually, so the actor obviously convinced him eventually that he had it in him.

Finding someone to play Carrie also presented some challenges, Duncan explained, and after an extensive auditioning process in the US, they offered the role to two actresses – both of whom turned it down.

Back in the UK, they heard on the grapevine that established actress Andie MacDowell was in town, and quickly arranged a meeting, “We found out Andie MacDowell was staying at The Dorchester, so Mike and I arranged to meet her in the bar. As soon as we met her, Mike knew she was the one,” the producer said.

And it was Andie who would end up delivering probably the film’s most famous – and cheesy – line after Hugh Grant’s character declared his undying love for her as the pair stood in the pouring rain. “Is it still raining? I hadn’t noticed,” Carrie deadpans, a delivery that Duncan thinks in hindsight might have missed the mark.

“Of course Carrie knows it’s raining! She’s drenched, he’s drenched. She means it ironically,” he explained. “If Andie had said it with a smile, no one would have mentioned it!”

Four Weddings and a Funeral is packed with laughs – and at the funeral of Gareth more than a few tears – and it’s popularity is such that it has even born a TV show. Created by Mindy Kaling, the show over ten episodes followed the framework of the film – but it didn’t resonate with the public in the same way the film had.

When it comes to the continued love for Four Weddings, and its longstanding legacy, Duncan said: “To think there’s still interest in the film, all these years later, is surprising but lovely.”

A Hugh Grant classic from the 1990s is now available

A beloved Hugh Grant rom-com has just become available on BBC iPlayer, offering viewers the chance to fall in love with the classic all over again for free, reports Surrey Live.

Released in 1994, amid the golden era of British romantic comedies, the film was penned by renowned screenwriter Richard Curtis.

Hugh Grant, who was a fresh-faced 32 year old teetering on the edge of quitting his acting career, found the script transformative and took on the leading role that would define his future.

His performance turned him into a household name in Hollywood and opened the door to an eclectic mix of roles ranging from the American horror flick Heretic to the family favourite Paddington.

One particularly impressed cinema-goer shared on Rotten Tomatoes: “This is absolutely the best film of Hugh Grant’s career.”

Another fan commented: “A Classic of 1990’s British cinema [sic].”

One viewer reflected: “Simply a charming movie. It gives you a slice of life about love and relationships and makes you realise that it is never too late to go for the person you love amidst all missed opportunities in the past.”

An additional admirer remarked: “This film still holds up. Grant is at his absolute peak of charm before he reinvented smarm, Scott Thomas is divine, as and MacDowell’s performance is surprisingly great on rewatch. And it includes one of the all time great gay moments in film history. No spoilers.

“Richard Curtis is a godsend to modern romantic comedy fans because he is one of the few artists still able to get films produced within this genre and to write pretty funny screenplays too,” praised another cinema-goer.

Four Weddings and a Funeral was an absolute smash when it hit cinemas, starring Hugh Grant as the bashful Charles who falls head over heels for the lively American Carrie, played by Andie MacDowell.

The film traced the tumultuous journey to love for Charles and Carrie, set against the backdrop of his friends’ own romantic escapades.

Boasting a stellar ensemble cast, Four Weddings and a Funeral featured the likes of Kristin Scott Thomas, Simon Callow, James Fleet, Rowan Atkinson, David Haig, and Anna Chancellor.

It’s rumoured that writer Richard Curtis drew inspiration for the screenplay from his personal encounters at weddings, including a proposition he declined, only to regret it later.

The partnership between Grant and Curtis on Four Weddings and a Funeral marked the start of a fruitful collaboration, which continued with hits like Notting Hill in 1999, Bridget Jones’s Diary in 2001, and Love Actually in 2003.

Their collective efforts helped catapult British romantic comedies onto the world stage, setting a high bar that many subsequent films have struggled to reach.

Just last year, Grant had the honour of presenting Curtis with an honorary Oscar at the Governors Awards, a nod to the writer’s impressive body of work.

Before presenting the award, Grant quipped: “[My agent] sent me this very good script and it had a great part and it was called Four Weddings and a Funeral.”

I went to the audition and, frankly, I was rather good because the director Mike Newell liked me and wanted me and the producer liked me and wanted me and the money people wanted me. “”The only person who didn’t want me and, in fact, took such an instant violent dislike to me, that he did everything in his power to stop me getting the part, was the writer, and it is this a***hole who we are going to honour tonight.”

His joke had the audience, including Curtis, in fits of laughter.

Most recently, Grant reprised his iconic role as Daniel Cleaver for Bridget Jones: Mad About the Boy, marking a return to romcoms.

Four Weddings and a Funeral is streaming on the BBC iPlayer now

“The Wolverine” star Hugh Jackman and Deborra-Lee Furness are officially going their separate ways two years after announcing an amicable separation.

Furness filed the paperwork Friday in New York.

All filings have been processed and only a judge’s signature is required to finalize the divorce. A representative for Furness did not immediately respond to an email seeking comment on Tuesday.

“Our journey now is shifting and we have decided to separate to pursue our individual growth,” the former couple previously said in a joint statement. The co-signed release, first released to People in September 2023, added that the two were “blessed” to have shared nearly three decades together in a “wonderful, loving marriage.”

“Our family has been and always will be our highest priority. We undertake this next chapter with gratitude, love, and kindness,” they added. “We greatly appreciate your understanding in respecting our privacy as our family navigates this transition in all of our lives.”

Jackman, star of “Logan” and “Les Misérables,” has since been linked with his “Music Man” co-star Sutton Foster.

Furness, 69, and Jackman, 56, initially wed in 1996 and share two children. They adopted their son, Oscar, in 2000 before announcing the birth of their daughter, Ava, in 2005.

“My kids are constantly reminded about how lucky we are in our family,” Jackman told People in 2018. “We’re ridiculously blessed. We live in a beautiful home in places that other people dream of.”

The pair’s last public appearance together was at the Wimbledon men’s final in July 2023. Prior to that, they were seen on the Met Gala red carpet in May of that same year.

Representatives of Jackman did not respond to The Times’ request for comment.