interview

WASHINGTON — After a generation of comfortable Democratic majorities in the House, Republican congressmen seemed resigned to life in the minority–until Newt Gingrich (R-Ga.) and the Congressional Opportunity Society began using House rules to wage guerrilla war against the entrenched leadership.

Dismissed at first as gadflies and ideologues, the young Republicans gradually developed political muscles. Two landmark events marked their coming of age: the resignation of Speaker Jim Wright following Gingrich-backed charges of ethics violations, and the election of Gingrich as whip, the second-ranking post in the House minority leadership.

Gingrich’s rise to prominence coincided with a major change in Washington’s political climate. In the 1980s, Washington was a town with clearly marked ideological divides. Issues such as Nicaragua and abortion dominated the agenda; battle lines were clear. The 1990s look quite different. With communism in retreat, the old foreign-policy battles no longer seem so important. After 10 years of a GOP White House, conservatives seem less opposed to strong government, and liberals less committed to it.

In retrospect, Gingrich’s call for sanctions against South Africa’s minority-white government seems a turning point in the emergence of the still unsettled Washington picture. Here was a leading conservative taking a position closer to that of Jesse Jackson than Margaret Thatcher.

If Washington has changed as the result of Gingrich’s challenges, Gingrich is changing as he becomes part of the Washington Establishment he once scorned. Like many political challengers before him, Gingrich seems to be finding that Establishments aren’t so bad–once the club lets you in.

This shift may cause him trouble down the road–Hell hath no fury like a right-wing scorned–but for now Gingrich has the best of both worlds: the support of conservatives and, increasingly, the respect and even friendship of moderates and some liberals.

During a relaxed and casual meeting, Gingrich seemed eager to talk about history and ideas. At times he seemed more like a popular college history teacher–a job he once held–than a powerful member of the congressional leadership. He seems comfortable with himself and his ambitions; confident of making his mark and willing to run risks.

He also has a quality that is rarer in Washington than it should be. For all the huge egos in Washington, there are relatively few people who see themselves against the backdrop of history. Gingrich is one. Men like Theodore Roosevelt and Winston Churchill are often in his speech–perhaps this says something about the scale of his ambition. That both these men were mavericks who changed parties and allies during their careers says something else about Gingrich. He will be hard to pin down in the political battles of the future–his loyalty seems given more to a vision than to people or parties.

Question: What is your foreign-policy vision for the United States?

Answer: Well, I think first of all you have to start with the presumption that there are three huge changes under way. There’s the rise of the true world market, where competitiveness and the speed of information flow and ease of transportation means that you are beginning to be connected internationally in the sense that in the 19th Century you had a national economy.

Second, there is the spread of the technology of destruction in such ways that you’re going to have, by the end of the century, places like Iraq, Iran, Libya and Syria that are capable, at a minimum, of threatening European cities with ballistic missiles and chemical and nuclear warheads. By the year 2000 to 2010, they may be able to attack the United States directly. That is a whole level of combat and conflict that we are not used to.

Third, you are living through a fundamental change in the Soviet empire. This clearly destabilizes the whole planet in the sense that for 45 years we had a bipolar world, with a Western coalition containing the Soviets . . . .

You have to start with a fundamental reassessment of America’s role, as decisive in some ways as the late ‘30s decision to commit us to stopping Japan and Germany or as decisive as the late ‘40s decision to contain the Soviet empire.

But we’ve got to reformulate a new image of where the planet is going. What does America want in the world–and then what is America’s role in trying to get it?

Q: It’s interesting that you mentioned those two periods, the ‘30s and the ‘40s, as times of great change because in both those times the conservative movement tended to take a more isolationist stance.

A: If you go back before 1937 and 1938, conservatism, from say 1860 to 1928, was the internationalist movement. And it was the Democrats, the (William Jennings) Bryan wing of the Democratic Party that was isolationist . . . .

Then, beginning in the ‘20s, you had a role reversal. And as the conservatives became less the government and more oppositional, they also became less internationalist and more isolationist. What you had, beginning with Eisenhower, and Nixon in all fairness–Nixon was one of the people who voted for the Marshall Plan–you had the emergence of first, an internationalist anti-communist Republicanism and then under Reagan and Bush that has broadened . . . .

I think that today there is much more isolationism in the Democratic Party than in the Republican Party . . . (where) there’s much more internationalism and much more of a commitment to the world market . . . .

Q: How would you define the differences between your view and that of the Democratic Party?

A: Well, there’s a difference about the question of safety, a difference about the question of international competition and a difference about the speed of transition–if I can break them down like that.

First of all, safety. The liberal Democrats basically are myopically focused on Central Europe and on Gorbachev, and their basic theme is, since Gorbachev seems to be succeeding and Soviet power seems to receding from East Germany, the world is safer. Therefore, we can demilitarize.

I would argue that we’re caught in the tragic irony that the curve, if you will, of threat from Iraq, Iran and Syria is rising at a rate about as fast as–or faster than–the curve of Soviet threat is declining . . . .

Now the question I would pose is: Is the world still going to be dangerous–even if Gorbachev succeeds? My answer would be yes. In fact, the world’s going to be more dangerous than people think. Dictators are going to have higher-power weapons that are more sophisticated than people think. And some of these dictatorships are very big. The Syrian Army has more artillery than the American Army. So when you say, “Gee, we can shrink dramatically,” my answer is fine–if you’re willing to allow the Iraqis to threaten American cities without SDI. If you’re willing to allow the Iraqis and the Iranians to seize the oil fields, and if you’re willing to give up Israel . . . . And I think most of my Democratic friends on that are just sophomoric. I don’t think they’d even look at the data base, because it conflicts with their ideology.

And the second big question is the world market . . . . The bureaucratic welfare state and permissive attitudes are incapable of competing in the world market. The correct answer is to reform and revitalize America, not to retreat . . . .

And I think a lot of my Democratic friends, because they have to bear the burden of the public-school bureaucracy in the inner city, and they have to bear the burden of the big-city machines, and they have to bear the burden of union work rules–their reaction is to say, “Gee, we have to find ways to withdraw from the world market, and to somehow build a self-sustaining America.” I think that’s crazy and I think in the long run it means a lower standard of living and fewer jobs for Americans.

Lastly, there is the question of speed. I thought it was almost funny that George Mitchell and Dick Gephardt decided that George Bush wasn’t moving fast enough. If you look historically over the Bush Presidency and you look at the change in Panama, Nicaragua, East Germany, Hungary, Poland . . . this has been unbelievable . . . .

I say this: I’m a conservative and I’m willing to criticize George Bush, and I voted to override on the Chinese student veto, but I have to say overall that they get A-plus marks on managing a transition of unbelievable complexity. And getting freedom further in 18 months than anyone would have thought possible.

Q: Among the Soviet Republics, Lithuania is an easy call in that we never recognized the annexation, but then you start looking at other separatist movements–including Russia. Isn’t there a fear of a nuclear Lebanon in the Soviet Union?

A: You have a fear of the unknown there. You’ve also got to recognize objective realities. There’s an Indian reservation in northern Vermont that claims it’s not in the United States. Now what if Gorbachev decided next Thursday to recognize it? I mean, you’ve got to decide, all right, what are the ground rules here. The Soviet Union does exist . . . . I think it’s now an empire in transition, but it exists. And it is going to have to decide inside itself how it allows itself to dismember. If they adopt a rule that says if the Georgians vote 70% to secede, that is frankly a more open rule for withdrawal than we have in the United States . . . .

Of course, if Russia does declare itself independent or sovereign it will be the first time that the mother country declared herself free from the empire. So it would be a dramatic change. And I think our position is that all of these republics have the right of self-determination and we would certainly encourage the Soviet government to tolerate and negotiate with all of these republics.

Q: As an American Georgian, you would know that.

A: Yeah, that’s right. I mean, we Georgians, we’ve already had this argument. Now, you can make the argument in their case that it wasn’t a voluntary collection (of republics); it’s the late 19th Century empire. That’s a good argument. But you are seeing Gorbachev take what is, after all, a pretty radical position and saying, look, we’re going to figure out a legal formula for you to get out of here. Well, that’s pretty amazing . . . .

And I think it’s a little unfair to say yeah, he did all that, but boy now I have this new excuse to get mad at him. And as long as he doesn’t use military force, it seems to me that we owe him the opportunity to try to lead his own country to sort itself out . . . .

Q: How is the Administration responding?

A: Well I think that the decision by the Soviet government to open up some economic activity in Lithuania is a victory for Bush. And I think if he can continue to encourage and nudge Gorbachev in the direction of re-establishing economic patterns with Lithuania, I think it will be a very big plus for him.

Q: Earlier you remarked that, in talking to the President about Lithuania, you said we need Winston Churchill, not Stanley Baldwin. Does that still apply?

A: Well, I think the President convinced me that it wasn’t the same kind of situation; that who we may need is George Bush, and that, in fact, he is negotiating and maneuvering his way through a very complicated situation with considerable skill.

Q: OK, let’s talk now about some of the global economic issues, because I think it’s clear to all of us that they are going to be dominant. Some people think that the economic competition among the former Western allies may become very, very fierce. Do you?

A: Not necessarily fierce, but it will become intense. But . . . it’s not that we’re competing for the same pie. We’re competing to build bigger bakeries . . . . The world market is extraordinarily underdeveloped and there is an enormous amount of money to be made over the next century helping the entire planet achieve a high standard of living. So there ought to be intense competition for how we build the bigger bakery. But we don’t have to have any kind of competition over who gets bread, because everybody ought to be getting bread . . . .

Q: Do you think that the world economy is breaking up into blocs or that there is a danger of this?

A: There’s a permanent danger of breaking up into blocs, but I wouldn’t exaggerate that. I think there is much, much more to be gained in the long run by actively building global countries and global companies. We are much better off to have more IBMs and more General Motors and Fords and AT&Ts; that are able to be everywhere. And we’re much better off to have thousands of new, small businesses that compete everywhere a jet airplane goes, and anywhere a fax machine can receive their latest advertisement. And I think we want to encourage this, more than anybody else, because we are perfectly suited for the world economy.

Q: More than any other country?

A: More than any other country. I mean geographically, we can reach both Europe and Asia simultaneously and Latin America. And in terms of our own cultural background. We are the only universal country of the planet, the only country that has people from everywhere. And therefore, we ought to be the advocates of the widest global market.

Q: Does that suggest the possibility that other countries may not be as enthusiastic for this as we are–for example, Europe?

A: They may not be. I mean, the Europeans don’t even have a real concern about that. On the other hand, the Europeans need us to balance off the Germans . . . . The price of having a market of nations that really do compete with each other, is that you have got to be able to sit down for long negotiations, and you just have to go in and tough it out.

Q. This sounds a lot like what used to be called liberal internationalism in the 1940s. So is it true that the liberalism of today is the conservatism of tomorrow?

A. Could be. I think that it’s that and an ongoing sense of thesis, antithesis, synthesis to some of that . . . . But if you would have interviewed a Democrat back in 1948, he would have said, “Gee, this sounds like Theodore Roosevelt.” Theodore Roosevelt’s wing of the Republican Party has consistently been the dominant dynamic in American life for most of the last century.

Q: So would you say Theodore Roosevelt, Franklin Roosevelt, Newt Gingrich is the line of succession?

A: No . . . . To be honest, I’d say Roosevelt, Roosevelt, Reagan. It’s important to remember that Reagan was an FDR Democrat, and that when the Democratic Party moved to the left, Reagan left.

Love Island winner Julia Majchrzak fumed ‘it’s not funny’ after she was left ’embarrassed’ by fellow winner and partner Lorenzo Alessi when he was seen to be liking models’ photos on Instagram

Love Island star Julia Majchrzak has accused Lorenzo Alessi of leaving her “embarrassed” with his post-villa antics during another car-crash interview for the winners.

Appearing on Capital FM in what should have been an upbeat catch-up with the lovebirds, Julia said “it wasn’t funny” as she was reminded of her partner liking the photos of models on social media after leaving the villa.

The pair had a disastrous first interview on This Morning, where it was revealed that they had last seen each other at the airport after flying back from Majorca. Lorenzo claimed he had been too “busy” to arrange a date with Julia.

After the tense scenes, the duo appeared on Capital XTRA on Wednesday, where the Polish bombshell continued to hit out Lorenzo’s ‘disrespectful’ behaviour.

When they were asked about Lorenzo’s social media ‘like-spree’, Julia said: “Guys, this is not funny. He’s already embarrassed me online… He had no time to arrange a date in five days, but was sat in bed liking other girls’ Instagram pictures.”

Lorenzo admitted that he had messed up and was still “learning what is acceptable”. But, the winner, who has been called the ‘King of Situationships’ by some fans, also reminded people that he and Julia were still early on in their relationship. He said: “This is the thing. I feel like why I didn’t want to rush things in the villa… We’re not running around getting married tomorrow. I’m learning how to be in a committed relationship, and I’m learning what is acceptable and what is not.

“To be 100% honest, it was pure naivety. I did not think it would be picked up by the press… These are now real-world things that we can experience together.”

Julia then looked at her phone to see if he had liked her pictures as well as those of models, and he had not. “Did you even have time to like my photos?” she asked. “Guess what guys, he’s not under my Instagram!”

Lorenzo argued that Julia’s posts simply hadn’t turned up on his feed yet. This came only a day after Julia confronted Lorenzo live on TV. When This Morning host Josie Gibson asked the couple if they had said they loved each other yet, they both answered “no”. Lorenzo added: “It’s going that way. The feelings are developing, everything is in the right position, everything is moving in the right direction…so I feel like give it some time.”

When asked if she felt the same way, Julia turned to her partner and asked him why they hadn’t been on a date: “Well, where’s the date? Where’s the date Lorenzo?”

He immediately answered: “The date is coming. I’ve been busy.” But this wasn’t good enough for Julia who said it had “been five days” and she was “still waiting”.

Amid their awkward interviews, fans on TikTok have also claimed that Lorenzo was saving their videos about him – particularly edits of him and Jasmine Muller. The pair were together at the start of the show and remained friends, but many fans wanted them to end up back together and made videos about the two of them being in love.

One fan who had made a video saying Lorenzo should “go get your Princess Jasmine” shared a screenshot of her notifications, where it said that Lorenzo had saved her video. She said over the top: “Lorenzo, I’m taking your phone away cause this is so funny but actually insane.”

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It’s been seven years since Mahershala Ali was announced as Marvel’s Blade, but the acclaimed actor says that his involvement in the project is officially dead and buried.

According to the two-time Oscar winner, if the project does get off the ground, it won’t be with him. Ali told GQ during an interview published on Friday that he has “moved on” from the plan to play the iconic vampire hunter that Wesley Snipes made famous in the ‘90s and early aughts.

“If they wanted to do it, we would’ve done it,” Ali told GQ.

Last month, Marvel Studios President Kevin Feige told the “Happy Sad Confused” podcast that he wasn’t proud to have let the project slip through his fingers, saying, “I am feeling like a gigantic loser and failure that we didn’t get off the ground with Mahershala.”

In the same interview, Feige said he was very excited to have gotten Snipes back “for a time” as Blade in “Deadpool & Wolverine.”

In Snipes’ scene in the 2024 Marvel hit, he may have answered any lingering questions on the matter just before blowing up a building with a missile launcher: “There’s only been one Blade,” he said, “there’s only ever gonna be one Blade.”

The project had notably gone through a slew of writers and directors; writer-director Bassam Tariq stepped away in 2022, work was stalled due to the writers’ strike in 2023, and the project just couldn’t seem to get its bearings amid all the brouhaha. During Ali’s interview with GQ, the outlet asked if “Blade” was any closer to becoming a reality.

“Not with me. The best way I can answer this question is, when I look at what is for me, is it was either this or that — and I’ll take this,” he said, referring to “Your Mother Your Mother Your Mother,” his forthcoming action-adventure film penned and directed by Tariq that hits theaters Sept. 25.

“No offense to them. I’ve been doing this professionally for pushing 30 years now, and one thing I’ve learned is that what is for you is for you and what is not is not,” he continued. “For whatever reason, that project is not for me. If they wanted to do it, we would’ve done it. So I have to move on, and I have moved on. ‘Your Mother Your Mother Your Mother’ feels very much in alignment with the type of work I want to be known for. I don’t really want to be known for remakes. I’d love to do original work that resonates with people and impacts them in unique ways.”

Though Ali seemed to be at peace with what happened with “Blade,” he still threw some shade Marvel’s way.

“Again, you had me under contract, they have billions of dollars, if they wanted to do the movie, we would’ve done the movie,” he said. “So we’re not doing the movie.

“When I look at this and ‘Blade,’ I couldn’t have done both, and the reason this even exists is because that project fell apart and Bassam had the time, space, energy and focus to go and write this and then re-approach me,” he continued. “And I was able to use those skills that I had been working on for over a year training for ‘Blade.’ In that way, I feel creatively redeemed on some level, just in my own journey between me, myself and I. But I feel ready to move on from the ‘Blade’ questions. Those questions are for them. They didn’t want to do it, so they should answer that question.”

Justin Halpern had a best-selling nonfiction book, co-created “Harley Quinn,” is co-showrunner for “Abbott Elementary” and has recently published his first novel, “Get Lost.”

But today he wants to mostly talk baseball. He recalls rooting for the Mets as a child in San Diego because he was so enamored with Dwight Gooden’s “electric” fastball and his disappearing curve. He spills about the big game he blew as a tween when a simple throw to first went horribly awry, about the two no-hitters he threw at Point Loma High School, how his dreams of stardom went south while at San Diego State, about feeling bitter toward the game and then rediscovering his love for it.

This wasn’t just idle chatter. Baseball is integral to Halpern’s own character arc and to “Get Lost” both on the page and behind the scenes. Take that terrible error when Halpern was 12. Afterward, his father didn’t console him with platitudes. He told the boy to dismiss the “it’s just a game” pity from his coach and accept that for Justin it was a big deal and it made sense to feel awful, but that also meant he had something he felt passionate about.

That paternal talk helped less in the moment than down the road: Halpern’s struggling writing career exploded when he started tweeting his dad’s life advice and then, with his writing partner, Patrick Schumacker, turned those “S—My Dad Says” tweets into a best-selling book. (He’s acutely aware of how lucky he got but also says he and Schumacker were well prepared to capitalize on that opportunity.)

And that particular story, Halpern says, was “foundational” for “Get Lost.” The novel follows Lila Dixon, an acerbic, cynical baseball scout living a dreary and closed-off life in her 30s. When her mentally ill mother goes missing, yet again, Lila must return to the hometown she loathed to search for her, but this time she must also deal with her estranged father, John “Dix” Dixon. Dix was a baseball prodigy too cocky and flashy for his own good who now coasts through life on his long-ago heroics coupled with charm and an undeserved diet of luck.

Halpern’s father’s message resonated for this novel because Lila, who was neglected, abandoned and ultimately shuttled off to foster care as a kid, “has been wandering the planet without finding anything she gives a damn about. Now she needs to find something.”

Halpern quit baseball in college after an injury and the realization that he’d never make the majors. “Aside from talent, you have to be willing to do all these tiny little boring things every single day,” he says. “You have to be obsessive. I worked hard but I wasn’t willing to do that.”

The team’s assistant coach told Halpern it was the biggest mistake of his life and he’d “never make a penny writing” but writing was the one thing where he was willing to tackle the tiny little boring things needed to keep improving.

The adaptation of “S— My Dad Says” for television failed but he felt he improved with each successive show. He also didn’t give up when his first two attempts at novels were “terrible” with “nothing salvageable” in either attempt.

He learned to stop imitating his favorite writers. “I was trying to copy authors more skilled than I was and wasn’t taking the time to find my own voice.” And he strived to break the habits of writing for TV (although he’s quick to acknowledge that “Get Lost” remains dialogue heavy), including working alone. A perpetual collaborator who describes himself as “codependent,” going solo “was a huge challenge that almost shut down the novel a couple of times.”

He contemplated calling friends to run ideas by them when he got stuck but ultimately resisted. “If I didn’t figure out how to solve things myself I was never going to finish this novel anyway,” he says, adding with a laugh, “I’m definitely still codependent, but the novel forced me to venture into waters that I never would have gotten into on my own.”

The deepest of those waters came from learning he does not like exploring his emotions. “My wife probably learned this many years ago,” he says wryly. “Every time I need to sit in a feeling, I try to wiggle my way out of it and that’s probably really annoying for the people in my life. To make “Get Lost” work, he had to burrow into the “complex emotional stew” of Lila’s multiple traumas and make her journey feel earned. Each morning he’d take “epic walks” with his dog. “I’d just talk in the voice of the characters in my head, without it having anything to do with the plot.”

Creating Lila’s flippant father came easily, which is why Halpern refused to settle on Dix as the main character. He didn’t want to make Dix loathsome, but he also didn’t want to glamorize his behavior, thinking back to how he felt “The Wolf of Wall Street” made the sleazy finance bros seem too cool to many in the audience.

Writing a female protagonist, especially one who had so many reasons to be guarded, he didn’t want her to be too likable or to be sexualized or to have solutions come easily. “I didn’t want Lila to need to lower expectations of her father and just love the man for who he is but to realize the limitations of this man and not let that affect how she feels about herself.”

It’s easy to read “Get Lost” hearing Aubrey Plaza in Lila’s sardonic tone, and Halpern heard her voice, and others, while writing but kept reminding himself that he’d have no talented actress to add humanity to his dialogue.

“I knew there’d be no Aubrey Plaza here to save my ass,” he says, although he and Schumacker are now planning a movie adaptation. “I had to figure out how to create this complicated character myself,” Halpern tells me via video from the writers room in L.A. for “I Suck At Girls,” an upcoming Netflix series loosely based off another of his nonfiction books. Schumacker came in and dryly praised “Get Lost” by saying: “Justin knows words that I didn’t think he knew.”

Halpern is more self-aware than he lets on as becomes clear when analyzing his baseball journey — when he quit he admits he felt resentful. “I’d given so much time to the game and it owed me something, but hadn’t given me what I’d asked,” he reflects.

Several years later, he realized he needed to embrace the game for what it offered, not what he wanted. He started playing in adult leagues and became so invested that in his mid-30s, when a surgeon told him he’d torn his labrum, he said, “Is my career over?”

The surgeon asked, “Aren’t you a writer?”

Halpern recovered and, when he’s not joyfully coaching his kids’ Little League team, he’s still heading for the mound at age 45, thrilled with the challenges of outsmarting hitters and reveling in the social aspect of being on a team. “Even with a bunch of older people, there’s just something about sports that still really takes me to a higher place,” he says. “I’ve had a super blessed writing career, but the highest highs I’ve ever had are on a baseball field.”

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

After a year and half of research and interviews, the BBC on Wednesday aired an explosive new documentary in which multiple women accused Oscar winner Jared Leto of sexual assault.

Directed by Alice McShane, “Jared Leto: Hollywood’s Dark Secret,” which debuted Wednesday in the U.K., revealed new claims of criminal sexual conduct by the 54-year-old actor and musician from four women, including a possible instance of statutory rape in California. In the film, a total of 10 women recount allegations of sexual assault, along with inappropriate text messages, phone calls and behavior that occurred from 2002 to 2016. Leto has denied the allegations.

To ensure the integrity of the documentary, the hour-long program was not announced ahead of time.

“Everything came out at once,” says producer Jessica Sartenaer, speaking from London over Zoom alongside McShane on Friday morning. “That was all very much part of the strategy because we didn’t want to leak anything before the investigation came out.”

McShane began working on the film after Los Angeles-based DJ Allie Teilz reshared in April 2025 her Facebook post from 2012 in which she accused Leto of trying to “force himself” onto her backstage at a concert. Teilz described the actor as “Hollywood’s most persistent predator.” About 40 women contacted Teilz with their own allegations, according to Sartenaer. In June 2025, weekly newsletter Air Mail published accusations of impropriety against Leto by nine women, which he denied.

“I began ringing around trying to find the women who’d written into Allie,” McShane says. “When I was speaking to women, I realized there were other journalists on the trail. So I did think there was going to be something published relatively quickly, which we can’t compete with because we have a whole different set of considerations. It takes a lot longer to make.”

Social media was the main resource for finding people willing to speak on the record. The filmmakers say they discovered more than 120 separate allegations online.

“But that doesn’t necessarily mean these are all women who want to speak about their experiences,” McShane says. “They’ve posted anonymously for a reason. It was a lot of hours spent digging through hundreds of people from across Leto’s life and career — people who had worked with the band, people in his acting life, his fashion life. We had an enormous spreadsheet. It was a really in-depth process.”

Ultimately, 10 women agreed to be interviewed on camera. The filmmakers offered each various options of anonymity depending on their level of comfort. None are completely anonymous, although only three used their real names. All of their real voices are heard, which McShane says is unusual.

Sartenaer adds, “The courage it takes to come forward and come up against a powerful man like Leto is immeasurable. It’s absolutely incredible what these women have done, and the anonymity decision is a very personal one. Right away, [the women had] this gut instinct about the level of anonymity that they would like.”

McShane drew on her past experiences, including making the 2023 Channel 4 documentary “Russell Brand: In Plain Sight,” which investigated comedian Russell Brand’s treatment of women, to guide the interview process.

“You really learn from a duty-of-care perspective how to best look after the women,” she says. “There’s always this balance of wanting to investigate the story, but also understanding these are people who have gone through incredibly painful experiences and they’re sharing very personal things with you. You never want to push. They are in control. You can never make these things happen. It has to come from the women.”

The initial investigation began in London and the filmmakers visited Los Angeles twice in the months that followed. The first interview was with a woman named Alex last fall. In the documentary, the former model recalls being invited to a 30 Seconds to Mars concert at London’s O2 in 2013 (Leto is the band’s frontman). She says his female assistant then brought her to an afterparty at the members’ club Shoreditch House. Although she was 19 at the time, she told Leto she was 17 to protect herself. She says the musician, then 41, replied, “Age is just a number, and, anyway, we’re in Europe.”

Alex was sent by Leto’s assistant to another afterparty at a nearby hotel, but Leto was the only one there, she says. Alex asked for a phone charger and cash for a taxi home, but was denied. When she asked if she could crash on the sofa in the hotel room, she says Leto threatened to rape her.

“Right from when we started investigating and started hearing from these women, [we were] noticing these patterns of behavior,” McShane says. “[Alex] is an extraordinary communicator. The women we were speaking to, all of them, are amazing storytellers, and resolute about telling their stories. Each time we spoke to somebody it reinforced the importance of getting it out.”

An explosive new documentary revealed new claims of criminal sexual conduct by actor and musician Jared Leto.

(Pascal Le Segretain / Getty Images)

Sartenaer says Leto’s seeming fixation with women of a young age was something “we were interested in investigating right off because of the pattern we noticed in the reposts from Allie Teilz.”

“Many of them did mention that they were teenagers at the time of the alleged offenses,” she says. “We knew that was a thread to follow right from the beginning.”

One woman, named Clara in the documentary, spoke about having sex with Leto for the first time when she was 17 and he was 34. The encounter took place at his home in California. In the film, she describes having a conversation with Leto about the age of consent in the state. “He just kind of shrugged it off, like it wasn’t a huge concern for him,” she says.

As the documentary points out, the age of consent in California is 18. An adult having sex with someone underage can constitute statutory rape. The filmmakers can’t comment on the law or whether there will be any legal repercussions for Leto. However, Mike Radford, executive producer at BBC Current Affairs, says what distinguishes “Jared Leto: Hollywood’s Dark Secret” from prior investigations is that the film showcases alleged criminal conduct.

“That’s a different level of potential wrongdoing,” Radford says, speaking on the phone from London. “From that point of view, it becomes a more serious story, and it goes beyond misunderstanding to something more worrying.”

The filmmakers sent a “lengthy right of reply” letter to Leto and gave him two weeks to respond. They followed up several times with his team to no avail. It wasn’t until after the documentary aired that Leto denied the allegations in a statement, which was shared Wednesday with The Times.

“I have never sexually assaulted anyone in my entire life,” he said. “These claims are absolutely and categorically false.”

The documentary combines the interviews with reenactments and archival footage. Sartenaer says they had a “wealth of material” to pull from.

“There is so much content about him,” McShane adds. “And he’s so overtly sexual on the public stage. We’ve got examples in the film of him, like when he’s in the press room at the Oscars. Everything is packed with innuendo. There are examples where he’s being very inappropriate with young women on the stage. All of that placed next to these interviews can be so chilling and there were countless examples of that available to us.”

The filmmakers worked with a limited budget and a small team of three: McShane, Sartenaer and cinematographer Theo Tennant. In total, they spent a year and half working full time on “Jared Leto: Hollywood’s Dark Secret.”

Alice McShane, left, and Jessica Sartenaer interview entertainment journalist Maureen Ryan for “Jared Leto: Hollywood’s Dark Secret.”

(Theo Tennant / BBC)

The biggest challenge was the fact that “Hollywood is an impenetrable world,” Sartenaer says. The documentary features interviews with two people who worked with Leto speaking completely anonymously, but they were difficult to find and get on the record.

“It really took a very, very long time to have a breakthrough on the insider front [and] to actually get people to start talking with us,” Sartenaer says. “Hollywood is such a precarious place and it’s difficult to get into Hollywood, and I think once people are in, it’s probably a terrifying prospect. One foot stepped wrong could see them catapulted out of it again. We saw that nervousness in trying to speak with people. There’s a real culture of secrecy.”

Despite that, there are hopes that “Jared Leto: Hollywood’s Dark Secret” will encourage other potential victims to speak out.

“The investigation is ongoing,” Sartenaer says. “What these women have done by coming forward [is commendable]. We think their courage will encourage other women to speak their truth, whoever it is about.”

Radford says the BBC is continuing its investigation into the allegations surrounding Leto.

“We would hope that should our investigation continue we would have enough material to make a subsequent documentary,” he says. “We’re not working on a documentary now because I’m not commissioned to do so. But it is our intention.”

At present, the BBC doesn’t have plans to air “Jared Leto: Hollywood’s Dark Secret” in the U.S. It was offered to the U.S. market while in production, according to Radford, but not picked up for distribution.

“There was no legal reason it isn’t airing there,” Radford says. “In fact, the legal threat is much greater in the U.K. because the libel laws are tougher in the U.K. So there was no fear around putting it out in the U.S.”

McShane and Sartenaer have been heartened by the immediate response to the documentary. But they also hope the momentum will continue.

“I hope we keep seeing the reverberations and I hope the conversation doesn’t die,” McShane says. “Ten years ago at the height of #MeToo this would have really punched through. The general outrage has cooled a little bit when stories of this nature are published. But we hope the conversations stay strong because it’s really important people keep talking about this.”

Tom Holland is officially the first “Hot Ones” guest to really spill his guts during a spicy interview.

During a Thursday appearance on the popular talk show — where guests answer questions while eating chicken wings with increasingly spicy sauces — the actor struggled to keep his composure.

Host Sean Evans cranked up the heat with each burning question to Holland and fellow actor Jon Bernthal, his co-star in not one but two of the biggest cinematic events of the summer, “The Odyssey” and “Spider-Man: Brand New Day.” While Holland began the interview with an eloquent discussion of his two blockbuster films, Evans’ lineup of 10 hot sauces, each hotter than the one before, had the “Uncharted” star on the verge of blacking out.

After Holland bit into his chicken wing slathered with the second sauce — Hot Bergine, a roasted eggplant and tomato sauce with a 3/10 heat level — the actor described his first day on the set of Christopher Nolan’s “The Odyssey.”

“I wanted to get a bit of a jump on how Chris likes to work and just watch from afar,” he said, noting that he wasn’t filming any scenes that day, but watched his colleagues working from the beach. “I arrived at the beach, and I could not see a single crew member. You just see miles and miles of ships and extras and warriors and horses, and you’re asking yourself, ‘Where is the crew?’”

“So then they asked me to walk down this beach, and every 10 minutes you’d hear ‘Rolling!’ and I’d have to lie down and hide behind these dunes. And I kept asking myself, where are they rolling? I can’t see the crew anywhere. Then eventually I got down to where Matt [Damon] was and his men, and it really felt at that moment like we were a part of something that had never been done before.”

By sauce No. 4 — Chickpotle, a creamy chickpea sauce with smoky chipotle and ghost pepper with a 4/10 heat level — Holland and Bernthal were loosening up and trading barbs. Holland discussed how speaking in an American accent (rather than his native British) is almost like having a disguise, which makes his job as an actor easier.

“But I would love to explore some more British accents because you know, as an island, we have some of the most interesting, unique, and fun accents,” he told Evans. “I think there’s more accents in Britain than any other country.”

Bernthal, visibly uncomfortable from the heat of his own chicken wing, quipped, “Why does it always got to come to competition … I would go out on a on a limb to say there are more accents in America than there are in Britain.”

Holland said he would “drink a shot of that hottest hot sauce” to prove he’s right. After some quick fact checking, “Hot Ones” production confirmed that Holland was correct — among English-speaking countries, anyway.

By hot sauce No. 10 — The Last Dab: Thermageddon, described as a slow-building superhot sauce forged with Pepper X, Apollo, Carolina Reaper and Scorpion peppers, ranked at a heat level of 11/10 — the two actors had completely lost their composure and appeared nearly drunk on hot sauce.

Eyes red, cheeks tear-stained and foreheads pouring sweat, the two squirmed in their seats and Bernthal said he was going to be sick. Still, the “Odyssey” star appeared to have made it through without spewing any body fluids.

Then Holland got up to snap a photo with Bernthal and Evans and barfed on the floor. While the actor may have been embarrassed, Bernthal cheered and Evans crowned him the first guest to lose his lunch.

Last year, Evans told The Times that the interview format, with its squirm-inducing sauces, was a tactic to turn what might otherwise be a typical press tour interview into something raw and real.

“On ‘Hot Ones’ you have those moments of people who are struggling, who are vulnerable, who are in a borderline state of panic. You have emotions that are real, and all of these things are so hard to get to in a traditional interview setting,” he said. “The fact that we can create these moments, and then combine it with this thoughtful career-spanning interview, all of those elements working together, it just gives you a unique look at the celebrity guests … What we’re doing is knocking them off of that pedestal down to a level that everyone can relate to. It’s very human.”

ESPN’s 30 for 30 will launch the first two of six podcast episodes July 28 examining the gambling scandal that resulted in Shohei Ohtani‘s interpreter Ippei Mizuhara going to prison for stealing nearly $17 million from the baseball superstar and gambling it away.

The podcast, titled “The Betrayal of Shohei Ohtani” is told by Tisha Thompson, the ESPN investigative reporter who led the outlet’s groundbreaking coverage in March 2024.

Ohtani, who signed a record 10-year, $700-million contract with the Dodgers in December 2023 after playing six years with the Angels, apparently trusted Mizuhara implicitly. He said he was unaware that the interpreter regularly ransacked his bank account for more than two years.

The podcast will recount Mizuhara’s life before he began working for Ohtani in 2013 when both were with the Hokkaido Nippon-Ham Fighters in Japan. When Ohtani moved to the United States to play for the Angels in 2018, Mizuhara came with him.

Thompson interviews childhood friends and colleagues of Mizuhara, but the interview that will generate the greatest interest is a 90-minute phone call she had with him 16 hours before she published the story. Thompson got permission from Mizuhara to tape the call and it remains the only interview he has given.

Mizuhara told her that Ohtani had helped him pay off his gambling debts, a story he recanted a day later. The Dodgers fired him the same day they opened the 2024 season with a game against the San Diego Padres in Seoul, South Korea.

IRS special agent Chris Seymour gave Thompson the first interview of his career, and what he and prosecutors say about Mizuhara’s motive goes beyond the narrative that he had a gambling addiction, according to ESPN.

Another interview by Thompson is with bookmaker Mathew Bowyer, who explains on tape that his relationship with Mizuhara began during a hotel poker game with Angels players. Bowyer pleaded guilty last year to running an illegal gambling business, money laundering and filing a false tax return. He was sentenced to 12 months and one day in prison and ordered to pay $1.6 million in restitution to the IRS.

Episodes one and two — “The Letter O” and “The Interview” — will debut July 28, followed by episodes dropping every Tuesday and Thursday through Aug. 11.

Politician Ann Widdecombe gave a pre-recorded radio interview around 20 minutes before police believe she was attacked on Wednesday 8 July.

Widdecombe, 78, was found dead at her home in Devon on Thursday, having sustained serious injuries.

The former Conservative minister turned Reform UK spokeswoman spoke to British Christian radio station TWR-UK for around nine minutes via video link, but the interview was not broadcast.

The station later shared part of the recording with Times Radio, which first aired the interview on Tuesday.

In the interview, she spoke about her support for Reform UK leader Nigel Farage.

Jannik Sinner says Alexander Zverev can be a Wimbledon champion soon and promises to “be very, very careful” as the German challenges his world number one status, following a four-set win for Sinner in the final of the grass-court Grand Slam.

READ MORE: Sinner holds off Zverev to defend Wimbledon title

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Louise Lasser, the star of “Mary Hartman, Mary Hartman,” Norman Lear’s satirical soap opera, has died. She was 87.

Lasser’s friend Susan Charlotte confirmed to the New York Times the actor’s death on Monday in Manhattan.

Lasser was born in New York City on April 11, 1939, to parents Sol Jay Lasser, a tax specialist, and Paula Lasser, a designer. She attended Brandeis University, where she majored in political science and performed in musicals and cabaret. She dropped out her senior year to pursue acting.

“My career started almost too easy,” she told the Times in 1975. “In New York the first agent I met sent me on my first audition, and I was signed for a show-stopping part [a replacement for Barbra Streisand in ‘I Can Get It for You Wholesale’]. After that there was a flood of offers.”

She told the Times that she found it frightening to hit it big with such little training.

“I had to feel prepared,” she said. So, she studied under actor and acting teacher Sanford Meisner and worked hard.

“I feel so strongly that what is worth doing is worth doing the very best you can. But it’s so important to know what you want to do. How you can develop your potentials to the highest, live your life to the richest and fullest.”

Lasser joked in a 1976 article in the Times that her role as Mary Hartman might merit identification beyond being Woody Allen’s ex-wife. The two met in 1962 on a double date — with other people — but their chemistry was potent, and they began working together on various projects, including in her first project for television, “The Laughmakers,” an unaired pilot penned by Allen.

“When we met, I was seeing a friend of his. It was one of those things, well if you think you’re complicated, you should meet so-and-so. And it was Woody,” Lasser told the Toast in a 2013 interview. They “were meant to be in the same playpen,” she said. “Immediately we just connected. He was with somebody … oh, he was married, that’s right. … So, I met him, and it was so clear the whole night the four of us were there, and neither of us are talking to anyone else, do you know what I mean? … We really understood what the other was saying.”

The two were married from 1966 to 1970. Lasser acted in Allen’s “Take the Money and Run” (1969), “Bananas” (1971) and the 1972 film “Everything You Always Wanted to Know About Sex (But Were Afraid to Ask).”

Through the early ’70s, she appeared in various TV movies and television shows including “The Bob Newhart Show” and “The Mary Tyler Moore Show.” Somewhere along the way, the biggest producer in television caught wind of Lasser’s chops and wanted her for his pet project, a parody of sudsy daytime dramas called “Mary Hartman, Mary Hartman.”

During an interview featured in an oral history of American TV by the Television Academy Foundation, Lear said he’d brought the script for the series to a colleague, and they read it and said, “You can’t do this without Louise Lasser.”

“She came in my office, started to read the lines, and forget it,” Lear said. “There’s only one Louise Lasser.”

Lasser, put off by the soap opera nature of the show, turned down the role five times.

“I kept saying, no, it’s just not right,” she said during a 2000 reunion for the show. “I had no job, no money. … I just was that way, so after the fifth meeting, I said to my manager, ‘You mean he’s not going to call again?’

“Then my friend said, ‘You know, I think you really don’t want to say no.’ So I thought to myself my rationalization was, well, maybe it’d be really good for me to work for 52 weeks out of a year.”

Lasser starred as Hartman in 315 of the show’s 325 episodes over the course of an 18-month run.

“Lethal Weapon” star Danny Glover has revealed he has been living with Alzheimer’s disease for years.

In an interview with NBC’s Lester Holt that aired on the “Today” show on Wednesday, the 79-year-old actor and activist opened up about living with the disease. According to People, he received his diagnosis in 2023, which was not long after he was awarded an honorary Oscar in 2022.

“I could live with it, in a sense,” Glover says of his condition, which has been affecting his movement, speech and memory. “I’m sure as it advances, things are going to be different and changing.”

A neurodegenerative disease, Alzheimer’s is a type of dementia that affects memory, thinking and behavior and worsens over time, according to the Alzheimer’s Assn. Holt reports that more than 7 million Americans over 65 are living with Alzheimer’s, with Black men suffering at a rate double the national average.

Glover and his family say the Hollywood icon is sharing his story now to “have ownership of his life” and to help remove the stigma around the disease.

“They’ve got my back,” Glover says of his family’s support.

Besides his portrayal of L.A. police Det. Roger Murtaugh in the “Lethal Weapon” film series, Glover is known for roles in movies including “Places in the Heart” (1984), “The Color Purple” (1985), “To Sleep With Anger” (1990), “Angels in the Outfield” (1994), “Dreamgirls” (2006) and “The Last Black Man in San Francisco” (2019). He’s also been a vocal advocate for social justice and humanitarian causes both in the U.S. and abroad.

He was the recipient of the Academy of Motion Picture Arts and Sciences’ Jean Hersholt Humanitarian Award in 2022.

“I don’t feel like it’s the end of my life,” he said in his interview with People about living with Alzheimer’s. “There’s work to do.”

June 30 (Asia Today) — South Korea is seeking to connect the growth of its commercial space industry with stronger national security capabilities as emerging technologies blur the boundaries between the private and public sectors.

The expansion of security concerns into space, drones and artificial intelligence has increased the importance of the Korea AeroSpace Administration, which is responsible for developing the country’s aerospace industry.

The agency is working with the National Intelligence Service and other government organizations on satellite cybersecurity and broader aerospace security policies.

Hyunjoon Kwon, director general for aerospace policy at the agency, told Asia Today in an interview Friday that space is no longer solely a scientific field.

“Space has moved beyond science to become a domain that can affect both security and industry,” Kwon said. “We need a mutually reinforcing relationship between the market and the public sector.”

Asked how the global space security environment is changing, Kwon said competition is no longer limited to the number of satellites a country possesses.

“The key question is how reliably a country can use and protect satellite communications and satellite imagery,” he said.

Space-based services have been used directly in military operations and critical national infrastructure since the start of the Russia-Ukraine war, Kwon said.

Countries also face increasingly complex threats, including GPS jamming and spoofing, disruptions to satellite communications, cyberattacks and the collision or uncontrolled reentry of objects in space.

Kwon said the agency is developing a national space situational awareness system to strengthen South Korea’s ability to monitor and predict space-related risks.

It is also preparing a cybersecurity response framework to protect space-based services used by the private sector, government and military.

South Korea has rapidly accumulated capabilities in launch vehicles, satellite development and satellite data applications, Kwon said. Its military space capabilities have also expanded.

However, the country still needs to strengthen its domestic production of critical materials, components and software, he said.

Other areas requiring improvement include space situational awareness, satellite cybersecurity and the creation of a sustainable commercial market for space services.

“That is why the growth of private space companies and greater independence in core technologies are becoming even more important,” Kwon said.

Cooperation among the private sector, government and military has entered a stage of institutional development since the establishment of the Korea AeroSpace Administration, he said.

The cooperative channels include a future defense science and technology policy council with the Defense Ministry, an aerospace project memorandum with the Defense Acquisition Program Administration and a satellite cybersecurity consultative body with the National Intelligence Service.

Kwon said the cooperation now extends beyond individual projects to include policy, technology and security.

The agency is seeking to create a structure in which private-sector technology is connected to government and national security requirements, while public and defense demand supports the growth of commercial companies.

Kwon also discussed the government’s recently announced strategy to foster innovative companies in emerging security industries.

“Aerospace is a strategic field that influences both security and industry, extending beyond the boundaries of science and technology,” he said.

Satellite communications, satellite data, unmanned aircraft and space materials and components have significant commercial growth potential while also meeting direct security needs, Kwon said.

The agency plans to focus on establishing a cycle in which the creation of new industries strengthens national security capabilities and security demand encourages further technological innovation.

The plans include developing core technologies for a space data center under the K-Moonshot initiative and building a national platform that will make satellite information available for broader use.

The agency also plans to develop artificial intelligence-powered unmanned aircraft and electric or hybrid vertical takeoff and landing aircraft.

— Reported by Asia Today; translated by UPI

© Asia Today. Unauthorized reproduction or redistribution prohibited.

Original Korean report: https://www.asiatoday.co.kr/kn/view.php?key=20260629010010198

WASHINGTON — A conservative law professor known for his expansive views of presidential power and for decades-old memos that justified harsh interrogation techniques after the Sept. 11, 2001 terror attacks says he will be advising a team of prosecutors investigating whether former law enforcement and intelligence officials conspired against President Donald Trump.

John Yoo confirmed in an email to the Associated Press on Monday that he would be assisting Joe diGenova, the former Justice Department prosecutor who was assigned in April to investigate whether officials, who over the last decade scrutinized Trump, participated in a criminal conspiracy against the Republican president.

“He’s a lawyer. He’s going to be helping us,” diGenova said in a brief telephone interview about Yoo. He did not elaborate.

A law professor at the University of California, Berkeley, Yoo was a senior Justice Department official in the George W. Bush administration who served as a lead author of the so-called “torture memos” that government officials used to justify using “enhanced interrogation” techniques on potential terror suspects. The Justice Department later rescinded the memos.

In the years since, he’s remained a prominent proponent of broad executive authority, telling the AP in a 2020 interview that he had told Trump administration officials multiple times that a Supreme Court ruling which rejected Trump’s effort to end the Deferred Action for Childhood Arrivals program, or DACA, opened the door to enormous new presidential power.

The conspiracy investigation is being conducted in Florida, but the scope is unclear, as is whether any criminal charges will be brought.

Prosecutors have centered at least part of the probe on the long-concluded investigation into Russian interference in the 2016 U.S. presidential election. Investigators have issued a broad swath of subpoenas for records and conducted interviews related to the creation of an intelligence community assessment, released in January 2017, that found that Russia engaged in wide-ranging election interference to boost Trump over his Democratic opponent Hillary Clinton.

A 2019 report by special counsel Robert Mueller affirmed that Russia interfered on Trump’s behalf and that the Trump campaign repeatedly welcomed the assistance, but it did not find sufficient evidence to establish a criminal conspiracy between Moscow and the campaign.

Several subsequent investigations into the Russia probe have identified multiple errors into how it was conducted, and a former FBI lawyer pleaded guilty in 2020 to doctoring an email during the course of the inquiry. But none of the reviews have identified criminal misconduct by any senior law enforcement or intelligence official involved in the investigation.

Trump has nonetheless continued to demand retribution and has sought to punish top officials from that time at the FBI and CIA.

Asked in a Fox News Channel interview in May what the Justice Department had done to address claims of a long-running conspiracy to bring down Trump, acting Attorney General Todd Blanche said, “That’s exactly what we’re investigating right now.”

Yoo’s involvement in the investigation was earlier reported by Politico and CNN.

Tucker writes for the Associated Press.

England head coach Brendon McCullum says he tired to talk Ben Stokes out of his decision to retire from international cricket following the 2-1 series defeat to New Zealand.

READ MORE: Stokes’ England career ends with NZ series defeat

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Jennie Bond was BBC Royal Correspondent for 14 years and struck up a friendship with Lady Diana.

Jennie Bond’s illustrious journalism career stretches back over five decades, during which she has covered a vast array of remarkable stories.

In 1989, she took on the role of Royal Correspondent for the BBC, a position she held for 14 years before stepping down in 2003 to dedicate more time to her family and pursue freelance work.

During her time as a royal reporter, however, she forged a close friendship with Lady Diana, which she discussed with Raj Bisram during her appearance on Celebrity Antiques Road Trip. A repeat of that episode aired this evening (June 20) on BBC Two.

The BBC antiques expert quizzed her on just how close their relationship was, to which she responded: “I was a journalist that she got along with and shared confidences with.

“You know, ‘There were three of us in this marriage,’ all this sort of stuff.”

“Then, at the end, annoyingly, she’d say, ‘Of course, Jennie, this is just between you and me and these four walls.’ I’d think, ‘Ugh!’ So I kept it that way.”

Raj then asked which interview throughout Jennie’s career had left the greatest impression on her, reports Devon Live.

She answered: “I suppose, when I challenged her in Angola on the land mine mission, when she was trying to get an international ban on land mines.

“I said, ‘Ma’am, you’ve been accused of being a loose cannon,’ and she was very shocked and said, ‘I’m just trying to be a humanitarian. That’s it.'”.

“That was pretty momentous. It made an awful lot of news.”

At the time, Lady Diana was described as a ‘loose cannon’ by a junior government Cabinet minister who condemned her position on landmines.

The tense exchange, which took place in 1997, was captured in a documentary of the time, showing Lady Diana’s response to Jennie’s pointed question.

She said: “I’m only trying to highlight a problem that’s going on all around the world. That’s all.”

She was subsequently filmed climbing into a waiting car, visibly moved by Jennie’s remark, as she told the camera team: “I might really burst into tears now. Who said I’m a loose cannon?”

Celebrity Antiques Road Trip is available to watch on BBC iPlayer.

Comedy director James Burrows, the 11-time Emmy-winning director who co-created “Cheers” and helped turn such long-running sitcoms as “Taxi,” “Friends,” “Will & Grace” and “The Big Bang Theory” into fan favorites, has died, his family confirmed to People. He was 85.

“We celebrate the extraordinary life and enduring legacy of James ‘Jimmy’ Burrows, who passed away peacefully today surrounded by his loving family,” his family said in a statement to People. “For more than five decades, Burrows was one of the most influential and beloved directors in television history. As a legendary director, mentor, and creative force, he helped shape generations of comedy and brought immeasurable joy to audiences around the world.”

A master of the multi-camera sitcom, Burrows started his career shooting episodes of “The Mary Tyler Moore Show” in 1974 and “The Bob Newhart Show” in 1975. He soon joined the quality-oriented production company, MTM, which counted James L. Brooks, Steven Bochco and Gary David Goldberg among its alumni.

“They were smart enough to know that it’s better to have a director who can talk to actors rather than a director who can move cameras. You can’t really learn how to make something funny, but you can learn to move the cameras,” Burrows said in a 1995 interview with The Times.

Burrows was born in Los Angeles and later moved to New York with his family where he attended the High School of Music & Art. He graduated from Oberlin College and completed a graduate program at the Yale School of Drama. He worked years as a stage manager with his father, a playwright and director, assisting on shows such as “Breakfast at Tiffany’s” starring Moore and Richard Chamberlain.

He solidified his name in television with “Cheers,” co-creating the lively Boston travern “where everybody knows your name” with Glen and Les Charles. Over its 11 seasons on the air, Burrows directed 237 of its 275 episodes, emerging as a behind-the-scenes comedy legend.

“You bring ‘em in, you sit ‘em down and they talk. That’s all ‘Cheers’ was,” Burrows told The Times. “The word is more important than the goofiness. It was all about the words — which is how I was trained, how my father was trained, how anybody who reads books is trained. It’s the word.”

His father, Abe Burrows, was a Pulitzer Prize-winning playwright, screenwriter and director who performed in radio comedies and co-wrote the books for the Broadway musicals “Guys and Dolls” and “How to Succeed in Business Without Really Trying.” The younger Burrows said that growing up on radio comedies helped him hone his ear for humor.

“I know what’s funny, and I probably know the best way to deliver the joke. Whether it’s walking out of a room, facing that way, facing this way,” Burrows said in a 2010 interview with The Times. “I just have a sense of that.”

Another skill he learned from his dad? was working on his feet.

“He’d run the scenes over and over. He created this wonderful camaraderie, which I always try to do. I love to do ensemble shows because that’s where you get the camaraderie.”

Burrows, often considered a fatherly manager, tried to bridge the gap between actors and writers and notably took the cast of “Friends” on a trip to Las Vegas before directing 15 episodes of the blockbuster comedy. He also threw a party for the “Mike & Molly” cast to build rapport because he believed when everyone liked each other, it showed onscreen.

Actors would know when a joke landed when they would hear Burrows giggle as the scene unfolded.

“I’m the guy that wants you to walk the comic plank for me,” he said. “Take it as far out as you want to take it and I’ll bring it back. Sometimes I’ll take it further. But trust me.”

With his slate of hits — he’s credited for directing several shows in NBC’s primetime “Must See TV” lineup of the 1990s — Burrows amassed sizable wealth and, from an early age, was in constant demand by those seeking his magic touch for their show. However, he also saw his fair share of flops: Henry Winkler’s “Monty, “Cafe Americain” with Valerie Bertinelli and a slew of promising pilots that never got off the ground. He also felt that ABC’s “The Associates” and “The Class” on CBS were canceled too soon.

From 1998 to 2006, Burrows helmed every episode of “Will & Grace,” the Emmy-nominated sitcom about a woman and her gay best friend that aired on NBC for eight seasons during its original run. To Burrows, it was the funniest show he ever worked on. He was also behind the camera for the comedy’s 2017 revival, which brought the envelope-pushing antics of Will, Grace, Jack and Karen back for three more seasons.

“It was a fairytale literally and figuratively,” he said in a 2016 Hypable interview. “It was not of the real world in a strange kind of way. These were exaggerated characters. Although they were grounded with Will and Grace, there was this exaggeration that made the stuff you could do and get away with on that show so extraordinary.”

He won his 11th Emmy Award serving as an executive producer on 2019’s all-star re-staging of “Live in front of a Studio Audience: ‘All in the Family’ and ‘Good Times.’” A year earlier, he was nominated for directing the “‘All in the Family’ and ‘The Jeffersons’” TV special.

James Burrows behind the scenes.

(Chris Pizzello / Invision / Associated Press)

Throughout his career Burrows had a penchant for directing pilots because it meant “you’re better than an episodic director” and could create something new in the writer-driven medium of television. He was also drawn to “more uptown, the more urbane, the more sophisticated” comedies. He tried doing cinema once — 1981’s “Partners” with Ryan O’Neal and John Hurt — and said the result confirmed his belief that he was built for television.

“I’m not a cinematic guy. I’m a theater guy. For what I do, I need a live audience,” he said in a 2016 interview with the Television Academy.

Among his favorite TV moments were the pilots for “Frasier” and “Third Rock From the Sun,” the long-awaited kiss between Sam (Ted Danson) and Diane (Shelley Long) and Woody’s (Woody Harrelson) wedding on “Cheers,” Rev. Jim (Christopher Lloyd) taking his driving test in “Taxi,” Ross (David Schwimmer) being attacked by a cat in “Friends” and Will, Grace, Jack and Karen getting in the shower together on “Will & Grace.”

Late into his career, Burrows continued to work in the multi-camera sitcom format, which is shot in a studio, usually before a live audience. In 2013, he was honored by the Television Academy, and, in 2016, he celebrated directing his 1,000th episode of television programming, crossing the milestone with an episode of “Crowded.” NBC marked the milestone with “Must See TV: An All-Star Tribute” special. According to critics, the show — billed by several outlets as the elusive “Friends” reunion and came off as a living eulogy to Burrows — fell short and did not do the legendary director justice.

In all, Burrows was nominated for 45 Emmy Awards and 17 Directors Guild of America Awards.

JAMES Bourne is made of sterner stuff. The Busted rocker stepped back from the public eye in September after falling ill and ten weeks ago told his fans was awaiting major surgery to extend his life.

And now, James tells me he’s used his time to finish a project which has been 13 years in the offing – and on July 1 will release new album Murder At The Gates, which he created for a brand new musical with legendary American playwright Steven Sater.

“I didn’t want my health to stop me from promoting this project because I’ve put 13 years of my life into it,” James tells me from his home in the UK.

“There was a fear of not finishing it. But I knew I had to finish it and give this to the people. “There’s like a few people that have been waiting for it. There are hardcore fans who show to up for everything – and I have been speaking about this for a long time.

“It feels so good to now have this as a finished product. And it’s the first album I’ve ever produced. So I’m proud of it.”

James, who has racked up eight top ten singles including four No1s with Busted, pulled out of the McFly V Busted tour last September citing his health.

STAR REBOURNE

James Bourne reveals new album & musical after quitting band tour

NEW LOVE

Tina O’Brien’s mystery man revealed as they’re spotted kissing in the street

But rather than wallowing, James threw himself into the 13-track album – which features big name screen stars, including Stranger Things actor Gaten Matarazzo, on vocals.

“This album definitely has a different feeling to all the others,” James explains.

“With everything going on with my health, I have been given the gift of time.

“I was given a lot of time back when I wasn’t touring. It was like turning a negative into a positive. It was such a shame to have to drop out from the tour, because I love touring so much.

“But  you have to turn negative into positive. They’re the conversations I’ve had with my closest friends.

“I wanted to take the time I’d been given and deliver this album.”

James’s last musical, Loserville, earned an Olivier nomination back in 2013 and when he was tapped up by Steven, who earned a Grammy and a Tony award for his cult-hit musical Spring Awakening, he jumped at the chance to get involved.

“Musicals are a very difficult thing to do well and to do properly and to develop properly,” James explains.

“And this one’s been developed on the highest level with the most talented people.

“Steven was looking for a composer and that is when Loserville was in the West End.

“He invited me to his place and I knew immediately how I would do it.

“I’d never done a project where someone else did the words because he’s a lyricist.

“But as I was reading the lyrics, I could hear the music. And we partnered on the project.

“To work on this with someone on Steven’s level has been a dream.”

Of the score he’s created, James adds: “I knew I wanted it to be a very solid piano vocal score to begin with and I knew I wanted it to be orchestral but with a rock band at the heart of it.

“But I don’t think it is a rock musical in the way that rock musicals are presented.

“Rock musicals like We Will Rock You or Rock of Ages tend to veer more towards classic rock and this isn’t what Murder At The Gates is.

“I think a big part of what sold Steven’s show Spring Awakening so well was how contemporary the score was.

“The music is very customised. This is tailormade for Steven’s words and the world that he imagined and the characters that he imagined

“The score had to represent that world, you know.”

James adds: “We wrote about 50 songs for the show and whittled it down to 13.

“Some are old, some have been rewritten, some are completely new.

“It’s a long process that you can’t complete unless there’s a lot of passion involved.

“With songwriting in the pop world, you can blag it. Go into the room with a producer you’ve never met before and come out with something amazing.

“But if you don’t get anything great, you’ve not lost much. With a project like this, it’s a life commitment.”

James admits all of his spare time since 2013 has been dedicated to this project, with him missing dates on the McBusted tours with One Direction in 2014 and 2015 to get his teeth into it.

After stepping back from their tour last September, James was able to focus fully on getting the project finished – and spent time flying from his home in the US to New York to record the tracks.

“We’ve got amazing people like Gaten on board, he was definitely one of the top people on our list,” James explains.

“It was a total cherry picking situation. Steven has so much recognition from Spring Awakening – he’s like a rock star in his own right. He is a genius.

“All of the people who sang on it were busy, many of them were on Broadway so I would fly to New York for each vocal.”

And like all the best projects, James had kept his cards close to his chest – with not even his Busted bandmates Matt Willis and Charlie Simpson hearing the finished product.

“They might have heard something a very long time ago when we were doing promo for one of our tours,” James explains. “But apart from that, I haven’t played it for anyone.

“Even the actors who have done workshops with us over the past decade haven’t heard it.”

Once the record is released, Steven will get to work with James in getting the production green lit.

And James admits he is excited to see what comes of the project.

“We don’t have an opening night yet for the show but we’ve got the album and we’re saying, ‘This is a great representative of what the show is,’”James explains.

“There are still some bonus tracks to come later on. I’m just incredibly proud of it.

“When you do these projects, you strive to create things that can be timeless in a way.

“Classic musicals go on for years and years, and we’ve definitely been really striving to create something amazing.

“When I make albums with Busted, you’re making music for yourself to perform.

“With a project like this, you’re giving something to the community. This show is original, memorable and I don’t think there’s another show like it.

“I just can’t wait for people to hear it, then see it.”

Seth Rogen and James Franco were once an inseparable comedic duo.

But following several women’s allegations of sexual misconduct by Franco in 2018, the pair has been publicly estranged. Rogen recently told the New York Times that he hadn’t spoken to Franco “in a long time” and didn’t plan to work with him.

“Nothing has changed since the last time I talked about all this,” Rogen said, “and I haven’t worked with him in a really long time and I have no plans to.”

The actors got their start in Hollywood on the cult classic TV show “Freaks and Geeks.” At the time, Rogen was 16 and Franco was 21. As they continued to make their way through the industry, they became known for a string of well-loved early-2000s and 2010s comedies including “This Is the End,” “The Disaster Artist” and “Pineapple Express.”

Franco’s illustrious movie career came to a halt when five women, including several of his acting students, accused him of sexual exploitation. Some of the allegations included removing protective plastic guards covering actresses’ vaginas during the filming of intimate scenes, and Franco getting angry when actresses didn’t want to go topless.

Two of the accusers filed a class action in 2019, claiming sex discrimination, sexual harassment, fraudulent business practices and intimidation. Franco settled the case in 2021 for $2.2 million.

Rogen and Franco’s friendship has been a point of contention for the actor, as Rogen continues to climb the ranks in Hollywood. Just last year, “The Studio,” a show that Rogen created, writes, stars in, directs and produces won 13 Emmys and is currently filming its second season.

Rogen previously said he regretted saying that he could work with Franco again after the allegations surfaced.

“What I can say is that I despise abuse and harassment and I would never cover or conceal the actions of someone doing it, or knowingly put someone in a situation where they were around someone like that,” Rogen said in 2021, in an interview with the U.K.’s Sunday Times. “I also look back to that interview in 2018 where I comment that I would keep working with James, and the truth is that I have not and I do not plan to right now.”

The actor is still hesitant to detail the nuances of his friendship with Franco. He told the New York Times that it’s “a very personal thing.”

“There’s the public-facing side of it, which I’ve spoken about, and I have the same stance publicly that I’ve had, and I think the proof is in the pudding — I have not worked with him in years,” Rogen said. “But the personal side of it is just so nuanced, and it involves people that I don’t know if I should be dragging into this.”

While the smoke has begun to clear at “60 Minutes” after three correspondents were fired, CBS News leadership now faces the challenge of finding journalists who can fill their shoes just three months before a new season starts.

The venerable news magazine was plunged into crisis last week as longtime correspondent Scott Pelley confronted management about the May 28 firings of his colleagues Sharyn Alfonsi and Cecilia Vega along with the program’s executive producer Tanya Simon and her second-in-command Draggan Mihailovich.

Pelley, who also accused CBS News Editor-in-Chief Bari Weiss of “murdering” the program, was terminated June 2 after a 37-year career at the network. He later gave an interview to The New York Times, accusing Weiss of “putting her thumb on the scale” for the Trump administration when guiding the editorial direction of stories.

(CBS News denied Pelley’s accusations. But Paramount Chief Executive David Ellison, who has given Weiss a free hand in disrupting the CBS News hierarchy, found the turbulent situation concerning enough to personally reach out to veteran “60 Minutes” correspondent Lesley Stahl, according to The New York Times. He assured Stahl the program would not be subject to political interference, a message she passed along to the staff.)

Lesley Stahl in the 2022 film “Marcel the Shell With Shoes On.”

(A24)

The recent personnel bloodbath followed the already announced departure of Anderson Cooper, and leaves CBS News with four correspondent roles to fill and a far less experienced executive producer — former tech journalist Nick Bilton in place to keep the program on track.

Remaining staffers were encouraged that Maria Gavrilovic, a 19-year veteran of CBS News who worked closely with Pelley, was promoted to senior producer under Bilton. They are also relieved that correspondents Stahl, Jon Wertheim and Bill Whitaker chose to remain with the program rather than leave in solidarity with Pelley.

Norah O’Donnell’s interview with Crown Prince Mohammad bin Salman in 2021.

But “60 Minutes” is under pressure to get a new team in place as newcomers will have little time to learn the program’s formula that gives it the comforting consistency its viewers seek. The 13-minute pieces on “60 Minutes” are filmed, written and voice-tracked in a distinctive narrative style that takes time to master, according to people who have gone through the process.

Weiss has told people internally that “60 Minutes” is the most important platform within the news division and if a major story comes from outside its corps of correspondents, it will find a place on the program.

Here are the leading contenders for full-time roles based on interviews with several sources at CBS News who were not authorized to discuss the matter publicly. A CBS News representative declined comment.

Holly Williams: Williams has been a foreign correspondent working out of Istanbul since 2012. The Australian journalist has reported extensively from war zones in Iraq, Afghanistan, Libya, Gaza and Ukraine. When covering Syria’s civil war from inside the country, she and her team gained access to a prison where alleged ISIS terrorists were being held.

Williams has contributed reports to “60 Minutes” over the years. Before joining CBS, she was a Beijing-based correspondent for Sky News.

CBS News foreign correspondent Holly Williams,

(Michele Crowe / CBS News)

Tony Dokoupil: The anchor of “CBS Evening News” is expected to be added as a contributor to “60 Minutes,” a role also given to his predecessors at the newscast including Dan Rather, Katie Couric, Scott Pelley and Norah O’Donnell.

Dokoupil has done longer interviews and segments for “CBS Sunday Morning” over his 11 years at the network. The additional exposure to a Sunday night audience of more than 9 million who tune into “60 Minutes” could also help boost his nightly newscast. The program has struggled in the ratings since he took over in January when, during his inaugural week, he awkwardly saluted Secretary of State Marco Rubio at the close of one episode.

“CBS Evening News” anchor Tony Dokoupil and the network’s chief national correspondent Matt Gutman.

(CBS News)

Matt Gutman: The network’s national correspondent was Weiss’ first significant on-air talent hire when he joined from ABC News in December. Gutman has been a frequent presence on big stories and breaking coverage for “CBS Evening News” since he arrived.

Mariana van Zeller at the Ultimate Disney Fan Event at the Anaheim Convention Center in September 2022.

(Image Group LA / Walt Disney Co.)

Mariana van Zeller: The multilingual journalist is best known for her documentary series “Trafficked,” which airs on the National Geographic Channel. Van Zeller, 50, has won dozens of awards for the program that has taken her around the world to report on black market activities and human trafficking.

Norah O’Donnell: Currently a contributor to “60 Minutes” who already appears on the program’s trademark open, O’Donnell’s role is expected to expand. After CBS settled a $16-million lawsuit filed by President Trump against the program for what he claimed was deceptive editing of an interview, O’Donnell helped the program by stepping up to interview the president twice, subjecting him to tough questions. Her recent joint interview with three U.S. cardinals about Pope Leo XIV and his church’s opposition to the Iran war and Trump’s aggressive immigration crackdown became a major story in April.

Major Garrett: The network’s chief Washington correspondent recently appeared on “60 Minutes” to interview Israeli Prime Minister Benjamin Netanyahu. The assignment caused internal tension as Stahl was pursuing a sit-down with the leader. But Weiss handled the booking and gave Netanyahu the option to select Garrett.

While the decision faced some criticism, the program regularly agreed to former President Obama’s preference for now-retired “60 Minutes” correspondent Steve Kroft to interview him even though other journalists on the team wanted a chance.

SACRAMENTO — Even before President Trump’s latest wave of unfounded claims of election fraud in California, a significant share of voters in the state expressed concerns about federal interference in the electoral process, according to a new poll.

Trump on Monday claimed on his social media site that the race for Los Angeles mayor was a “Rigged Election,” an allegation that came after Democrat Nithya Raman overtook Republican Spencer Pratt for second place in the ongoing primary election vote count.

Raman’s lead had prompted Rep. Abe Hamadeh, an Arizona Republican, to call for the election to be federalized, or run by the federal government rather than the state, a message Trump reposted.

Earlier Sunday, Trump had alleged during an interview with NBC News that California elections officials “were cheating.” That came after a debunked social media conspiracy theory claiming that a lag in an update of electronic voting data by the Associated Press showed Pratt was being cheated. On Monday, House Speaker Mike Johnson said the elections process in the L.A. mayoral race “stinks to high heaven.”

The ongoing attacks by Trump and his supporters continue to erode confidence in the nation’s elections, especially among Republicans, threatening a pillar of American democracy, said political scientist Eric Schickler, co-director of the Institute of Governmental Studies at UC Berkeley.

“The president … wants to use those claims to make changes in the election process that could make it harder for people to vote, and that certainly is a threat to our democratic institutions,” Schickler said.

“One thing we’ve learned in recent years is that we just cannot take the voting process for granted, cannot take for granted that both sides will accept as legitimate the outcome, and can’t take for granted the idea that there won’t be efforts to essentially manipulate the vote counting process,” he added.

A new poll released Friday by the institute found that 41% of California voters were “not confident” that this year’s elections would be free of federal interference. Although 48% had confidence that there would be not meddling, the concerns expressed were still significant, Schickler said.

More telling was the partisan divide among voters when asked whether they have confidence that local officials would conduct fair and secure elections and that the vote count would be accurate. Among Democratic registered voters, 79% said they trusted elections officials to provide an accurate vote count. Among Republicans, 55% said they were not confident that would occur.

California voters who don’t belong to either party said by a 2-1 margin that they had confidence in the vote count, the poll showed.

“The positive is that local officials are still widely trusted by Democrats, no-party-preference voters, and at least a share of Republicans, though a lot fewer than I think in the past, and a lot fewer than you know we would want for a really healthy democracy,” Schickler said.

That growing mistrust among certain parts of the electorate comes after years of baseless claims by Trump that the 2020 election was stolen from him, as well as Republican-led efforts to restrict the use of mail-in ballots and impose new requirements for voters to show identification and proof of citizenship.

Recent rulings by the conservative-leaning Supreme Court also have rolled back federal protections under the Voting Rights Act. In April, the court sharply limited a part of those protections that had forced states to draw voting districts to help elect Black or Latino representatives to Congress, as well as state and local boards.

Trump and his allies have used California’s slow vote-counting process to allege cheating. The day after the June 2 primary, Trump claimed without evidence that Democrats were trying to “steal” the gubernatorial and L.A. mayoral primaries. The next day, he alleged that California Democrats had “found” mail-in ballots and were “rigging the election” with them.

Secretary of State Shirley Weber and other officials have said California’s voting system prioritizes voter accessibility and security over speedy results. The state has more than 23 million registered voters, and ballots go through numerous verification steps, including verifying signatures on mail-in ballots.

“Over 97% of our folks actually vote by mail. They want to keep that system. That system demands more contact, more touching of the ballot, more verification of the individuals who are voting. All of those things take time,” Weber said during a recent interview with ABC10 in Sacramento.

Gov. Gavin Newsom’s office called Trump’s claims during the recent “Meet the Press” interview the “most severe case of California Derangement Syndrome we’ve ever seen.”

Newsom is considering a 2028 run for president and has consistently warned that Trump may try to interfere in both the 2026 and 2028 elections.

The Berkeley poll found that California voters overall — 74% — want candidates running for president in 2028 to prioritize defending democracy and making voting more accessible. Among Democratic voters, 95% said that was important; among Republicans, 41%.

Funding for the poll was provided to IGS by the Evelyn and Walter Haas, Jr. Fund, a private foundation based in San Francisco that aims to increase civic participation and improve the state’s democratic processes.

The poll of 8,578 registered California voters was conducted between May 19 and 25 online in English and Spanish and has a margin of error of about 2 percentage points in either direction.

Times staff writers Alene Tchekmedyian and Kevin Rector contributed to this report.

IT’S the story the whole nation is talking about – and The Sun’s Clemmie Moodie has the inside scoop after joining Katie Price in Dubai to find out the truth about husband Lee Andrews. 

Conman Lee, 43, is serving time in the notorious Al Awir prison in the United Arab Emirates city, where he is being held for fraud. (Not “spying” as he has apparently suggested).

Clemmie and Katie, 48, have embarked upon an extraordinary international trek looking for “the world’s most hated man” – and tonight, she bares her soul to The Sun in her only sit-down interview since the firestorm started. 

And Katie confesses that if she doesn’t get the answers she wants from her husband, she is prepared to turn the tables in explosive fashion.

In the hour-long interview, Katie shares her sensational side of the story after initially being led to believe that Lee had been kidnapped before – following three weeks of zero contact – learning of his incarceration. 

She’s someone who has lived every possible high and low, both personally and professionally, in the glare of the public eye. 

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But even she warns readers of her latest tell-all: “You don’t want to miss it. 

“This is where you’ll see the truth.” 

Katie flew out to Dubai last Monday and has visited Al Awir Central Prison several times, though her only contact with her Lee has been via the phone.

She opens up to Clemmie about Lee’s infamous flight ban – after he humiliated her by forcing her to do a live TV interview without him – and about the concerns from loved-ones and fans alike over her marriage.

And, in a shock turn of events, Katie will tell all after being confronted with some damning news about the man she loves.

You can read and watch Clemmie’s interview with Katie tonight at 7pm right here on The Sun.

LEE Andrews’ lies, mistruths and mystery disappearance have captivated the nation following his flash wedding to Katie Price in January.

Accusations of fraud, gaslighting and emotional abuse have been levelled at him by ex-partners in recent months, all of who fell under his smooth-talking spell and promises of a happy future and financial riches.

Back in March, I became the first newspaper journalist to interview Lee following his emergence as Katie’s new man.

I held out little hope of it taking place when my initial request via WhatsApp was met with weeks of silence.

But then, out of the blue, Lee replied that he was keen to chat and to quash the ‘lies’ that had been spread about him.

I believe he was either that confident in his powers of persuasion that he could brazenly talk himself out of the numerous question marks around his lavish lifestyle and career, or that he viewed me as a useful idiot who could be hoodwinked into washing his tarnished reputation — perhaps a combination of the two.

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We set a date to talk the following week, but when the time came Lee revealed he was struggling with illness and would need to reschedule.

The interview was then postponed twice more with Lee still under the weather and, at this stage, it felt like I was being strung along, destined for the same fate as the Good Morning Britain producers who tried to land him for a TV interview months later.

To my surprise, he eventually made it onto the Zoom call on Friday, March 26, speaking from inside a Dubai branch of Caffé Nero.

Tanned and with salt and pepper stubble, he wore a baseball cap and T-shirt and sounded like someone coping with the last remnants of a cold.

I found him to be amiable, relaxed and open to being grilled on subjects that I thought would make him uneasy.

Off the bat I asked if he was a fantasist and compulsive liar, which he dismissed with a chuckle, telling me the claims were “comical and spin”.

For over an hour we went through everything from his dodgy CV, which he claimed was the result of errors from an unnamed personal assistant, his desire to start a family with Katie and plans for a lavish second wedding, his ability to speak multiple languages (with some muddling examples) as well as serious allegations from his ex-partners, which Lee likened to “barking dogs”.

There was also lots of business talk, full of wordy jargon that I can only assume was designed to impress and baffle someone not au fait with the workings of a cutting edge tech firm.

At the end of it all, we thanked each other and said our goodbyes.

The following day, the story ran in the paper with the humorous tag line: “I don’t really like liars myself. I do everything with honesty (just don’t look too closely at his CV).”

It was perfectly befitting of the ridiculousness of the story at the time, before even more ludicrous claims came to light including Lee’s attempt to buy Chelsea Football Club and boasts about being an international arms dealer.

But I expected Lee might not see it the same way I did and the next day I was proved right when he messaged me to say: “I don’t appreciate the pictures your edit team have used or the way the article has been written.”

I politely explained that we had a duty to examine the various claims against him, that a light touch of light humour was to be expected and that there was no malice in the framing.

His follow up surprised me.

Rather than pushing back, or at least further pleading his innocence on the accusations about his wealth and past relationships, Lee reiterated that his biggest issue was with his looks.

He simply said: “I don’t like the photo at all.”

The photos in question were a selection of unedited grabs from the Zoom call, a fair reflection on Lee through the course of the interview.

What struck me at the time, and even more so now in light of his disappearance and ghosting of wife Katie, is how his visual portrayal seemingly mattered more than any harm caused to others by his actions.

It’s no secret, Lee is fixated on his appearance; his numerous photoshopped pics have gone viral time and again.

The pictures we used took that editing power away from him and the reality appeared to hurt.

In other videos on social media he can be heard referencing his looks, from his hair to his chiselled body, and commenting about filters — or the lack thereof — to ‘prove’ he’s not fake.

He also took great pains to portray himself as a wealthy businessman with links to Kim Kardashian and Elon Musk, years after his sustainable vehicle company was quietly dissolved, which he continues to insist isn’t the case.

Further interactions between us saw him insist others simply couldn’t understand the workings of his complex world.

Optics are king with Lee and it seems he’s willing to let real feelings fall by the wayside as long as he is presented as the handsome, wealthy success story he’s so desperate to be — a mindset that could have heartbreaking consequences for Katie.