Jane Hazlegrove, who is best known for playing Bernie Winter on Coronation Street, has launched a rant at a fellow actor and her co-stars have all clamoured to know who she was talking about
Jane Hazlegrove has issued a warning to fellow TV stars about their behaviour on set
Jane Hazlegrove has issued a warning to fellow TV stars about their behaviour on set. The actress, 58, who currently plays Bernie Winter on ITV soap Coronation Street and previously starred as Kathleen ‘Dixie’ Dixon on Casualty, took to Instagram over the weekend to make a statement about professionalism within the industry.
She shared an image of a quote which read: “Booking the role isn’t the end of the interview. How you behave after you’re hired matters too.”
In the caption of her post: “This post makes total sense! WHO DO YOU THINK YOU ARE? As my Dad used to say, you are only as good as your last performance! Be nice! And if you can’t be nice… step away… cos people see!”
The actress, who joined the soap in the role of Bernie in 2019 but also appeared in the mid-1980s Sue Clayton and was involved in a storyline with Jack and Vera Duckworth, was inundated with comments from co-stars.
Jack P Shepherd, who plays David Platt in the soap and has appeared on the show since 2000, said: “This isn’t me is it?”
Sally Carman, who plays Abi Webster, quickly joined in as she replied with a string of laughing emojis, but Jane said: “Soz pal you don’t win this one!!! No it’s bloody not!!!” Sue Devaney, who plays Debbie Webster on Coronation Street, left a string of heart emojis.
Loose Women star Sunetra Sarker, who appeared alongside Jane on Casualty when she played Dr Hannah, said: “Never a truer word said ma’am.”
Emmerdale legend Lisa Riley, who first appeared as Mandy Dingle more than 30 years ago and went on to appear in Waterloo Road and compete on Strictly Come Dancing before making a comeback in 2019, left a string of clapping hands emojis in the comments section of the post. Michelle Hardwick, who plays Vanessa Woodfield on Emmerdale, said: “Oh I LOVE this”
But Jane, who has also appeared in other programmes like Heartbeat, Silent Witness and Holby City over the years, quickly pinned a comment to the top of her Instagram post, so she could clear up any confusion.
She said: “Just for clarification this post is NOT about anyone I am currently working with at Coronation Street. It’s a gentle reminder to be kind and professional at all times!”
When Bernie arrived on Coronation Street, she was introduced as the estranged mother of Gemma Winter (Dolly-Rose Campbell) and Paul Foreman (Peter Ash), who was later diagnosed with motor neurone disease and died in late 2024.
Bernie went on to enter into a relationship with local shopkeeper Dev Alahan (Jimmi Harkishin) and it was later established that she was the long-lost mother of DC Kit Green (Jacob Roberts), who later turned out to be the long-lost father of Brody Michaelis (Ryan Mulvey).
Bernie, who currently works in Roy’s Rolls, went on to marry Dev towards the end of last year but was dealt with further tragedy when events that unfolded in the programme’s crossover with Emmerdale saw a crash claimed the life of her son-in-law, Billy Mayhew.
It would be great if “The Hangover” screenwriters-turned-directors Jon Lucas and Scott Moore would leave moms well enough alone. After the one-two punch of 2016’s “Bad Moms” and 2017’s “A Bad Moms Christmas” (both bad comedies), they’ve returned with “Spa Weekend,” which isn’t about bad moms but good moms who could stand to be a little bad.
If you’re not sure how much misbehavior a few friends can get up to at a luxury resort spa, you haven’t met Isla Fisher’s Mel. Yes, “Spa Weekend” is a plate of reheated “Wedding Crashers” nachos, because no one stirs up cheerful chaos like the spirited Fisher. Her Mel brings a delightfully vulgar joie de vivre into the over-scheduled lives of her lifelong friends: workaholic lawyer Jane (Leslie Mann), bitter divorceé Coco (Michelle Buteau) and people-pleasing pushover Sophie (Anna Faris).
“Spa Weekend” is built around the same fearsome foursome ethos as shows like “Sex and the City” and “Girls,” with several different character types and lots of available friction between them. More recently, golden-years comedies like “Book Club,”“80 for Brady” and way too many movies starring the late Diane Keaton have sent friend groups on journeys that have them reevaluating relationships and life goals. Romantic, criminal and naughty hijinks ensue and bonds are tested — and ultimately reinforced. Roll the blooper reel.
Mel might be a disaster with her loud mouth and impolite antics, but her over-the-top meddling does her buddies some good. She helps uptight Jane hook up with a hunky yoga instructor (Adam Demos), gets Sophie fired from her toxic job and lures Coco’s ex-husband Roger (Dominic Ona-Ariki) to the resort for a little reconciliation. Her friends are furious, but while they might not get what they want (relaxation), they get what they need (liberation). All it took was some coke and strippers (Lucas and Moore have a bizarre fixation on moms and male strippers).
You know what? Fine. It’s true that working moms often put themselves last and “Spa Weekend” is an argument for them to come first. It’s a film about embracing the craziest friends because they bring excitement to an otherwise boring and overscheduled life. All of these things are true. They’re just executed here with all the subtlety of a sledgehammer. In case we didn’t get it, these themes and lessons are spoken out loud by Jane in big declarative speeches.
One of the most distracting things about “Spa Weekend” is its uncanny geography. It’s set in Los Angeles but the cafés and shops are obviously not local and the worst, most dated stock L.A. traffic footage can’t cover that up.
They drive what seems to be about 45 minutes to the resort, through wooded forests on windy roads, and arrive in a tropical location overlooking miles of white sandy beach. At one point, Jane claims they’re 100 miles away from home. Ain’t no way this is Encinitas. Nothing about it makes sense until the credits roll and you learn the film was shot entirely in Queensland, Australia. But if one’s thinking about the geography that much, it means the story isn’t all that compelling.
Call it nitpicking but it’s indicative of how much care and craft — or how little — goes into a movie like this, aimed at female audiences. Much like the “Bad Moms” movies, “Spa Weekend” isn’t insightful, isn’t interesting and isn’t funny. It’s condescending and hacky and the humor always aims for the lowest common denominator. Please don’t expect me to laugh at the goats from goat yoga rampaging through a hotel lobby or a high-speed golf cart chase. Guess what? Mel has brought a suitcase full of dildos.
Worse than tired gags, we don’t get a sense of who these women really are in relationship to themselves or other women. We only know them through the prism of men: Jane lusts after Yoga Dude, Coco rages at Roger, Sophie is bullied by her boss. We know nothing about them outside of their superficial signifiers.
That’s why Fisher’s Mel feels so radical. She might be a grifter and a liar (a vastly underexplored subplot) but she has fully decentered men — so hard that no rule of polite society can hold her. If that’s a disaster, sign me up. But please don’t let Lucas and Moore make more comedies for women. They can stick to the frat houses and bachelor parties they’re used to.
‘Spa Weekend’
Rated: R, for language throughout, sexual material and some drug use
In the private home studio left behind by his father, Shane Hawkins is hitting the drums hard. The teenager behind the kit is locked into “Driven to Tears,” the Police’s reggae-charged protest song, channeling its sharp, syncopated beats with controlled fury.
His long blond hair swings across his face as Hawkins loses himself in the moment, tapping into a brisk echo of ’80s rock. He then shifts into the thundering blues of Black Sabbath’s “The Wizard,” driving into the heavier groove while surrounded by the instruments, gear and treasured memorabilia of his late father, Foo Fighters drummer Taylor Hawkins, who died in 2022.
Joining him in this rehearsal are bassist Wiley Hodgden and guitarist Brent Woods, who played hard-rocking cover songs in Taylor’s side project Chevy Metal for more than two decades. After Taylor’s death, the Foo Fighters carried on, but Chevy Metal were certain they could not. Shane changed that.
“Wiley and I were in agreement, like, it’s done,” says Woods. “Shane was the one that said, ‘I want to do Chevy.’”
For Taylor’s son, the band was one more thing he didn’t want to let go.
“It was a part of my childhood and it’s like, my dad was gone and these people that I’ve watched my whole childhood, they’re still there,” says Shane, 19. “Why not keep something going? And it’s just honoring my dad, you know?”
Most of the music world first saw Shane behind the drums during Foo Fighters’ performance of “My Hero” at the Taylor Hawkins tribute concert at Wembley Stadium on Sept. 3, 2022. He was 16 and already obsessed with drums, but he says it wasn’t until that moment that he knew he wanted to devote his life making music.
“It was a gnarly time,” Shane recalls. “You had to pull that off. You can’t really f— that up.
“I played for a lot of people, and there’s only one feeling like that — especially playing the drums. Once you do that, you never want to do anything else.”
With Chevy Metal, Shane is in a band committed to playing songs mostly created before he was born, with a typical setlist including songs by Van Halen, Led Zeppelin, Queen, the Rolling Stones, Talking Heads, Rush and the Doors. His presence now means leaning more often into classic punk rock. During their live sets, Shane will usually take the mic to growl through the Bad Brains’ speedy “Big Takeover,” pacing the stage and banging his head.
“We’re playing the Germs now,” says Woods. “We’re playing Black Flag, which we never did before.”
Shane Hawkins plays drums with Chevy Metal at the Viper Room.
(Steve Appleford)
Chevy Metal shows routinely feature surprise guests. Dave Grohl and other Foos have frequently appeared. So have Mick Jagger and players from Queen, Red Hot Chili Peppers, Guns ‘N Roses and more. Even tennis star John McEnroe once joined the band on guitar at a Malibu gig, alongside his wife, singer Patty Smyth.
One regular guest is Lee Ving, singer for the pioneering L.A. punk band Fear. “Lee is like the elder statesman, and then we got Shane, who is so young,” Hodgden says of the age range. “You never see that unless it’s maybe a church band or something.”
Another regular is Anthrax guitarist Scott Ian, a family friend whose son Revel also plays music with Shane.
“He’s a great dude and he is a monster drummer,” Scott says of Shane. “I sit and I watch him and Revel play together. It’s so great to see, especially in a world where a lot of younger kids don’t pick up instruments anymore. They live, eat, sleep, breathe, bleed, rock music.”
Until this month, the resurrected Chevy Metal could only perform during Shane’s breaks from his boarding school on the East Coast, but he is newly graduated and ready to play. The trio performs Saturday at Alex’s Bar in Long Beach as part of a series of shows that will take the band to the U.K. Shane is also working with other young players on new material.
“He’s already jamming with kids his own age and friends that he’s had for years, and starting his own project,” says Woods. “But this is good for him to learn, just to play in different venues and travel around and get his feet wet playing covers.”
Chevy Metal once served a similar purpose for Taylor, a favorite pastime alongside his Foo Fighters work. Hodgden has been part of the Foo Fighters crew for 24 years, both on the road and at their studio 606, starting as Taylor’s drum tech. Before that, he was a bartender newly arrived from Oklahoma that the drummer befriended.
In 2002, Hodgden and original guitarist Achim “Dange” St. Dangerfield started the band as an acoustic duo doing cover songs. Taylor was a regular, Hodgden says, turning to Shane. “There’d be two drunks at the bar, and then your dad sitting there heckling us,” Hodgden says with a laugh. “We go into ‘Hotel California,’ and he’s like, ‘Oh, great song choice, guys.’”
The Foos drummer soon wanted in.
“Taylor was trying to come up with names and he’s like, ‘How about Chevy Metal?’ And I said, ‘Well, you can’t really name the band. You’re not in it,’” Hodgden adds. “But we jammed all the time up at his house, and then one day we’re playing and it sounded good. And Taylor stood up and said, ‘I’m gonna be your drummer and we’re gonna call it Chevy Metal.’ And I was like, that’s a rad name.”
“He got to be the boss in this band and steer the ship and do whatever he wanted,” says Hodgden. “But also it was low pressure and it was all about fun.”
Taylor filled much of his downtime making more music. Aside from Chevy Metal, he recorded new songs with the Coattail Riders (which included Woods) and, earlier, the Birds of Satan (including Hodgden).
“He never stopped,” Woods recalls. “He would call me at 7 a.m. and go, ‘What are you doin? Get up here!’ He’d go to bed probably at midnight, one o’clock, and he’s up taking the kids to school, he’s mountain biking, and he’s ready to roll. I was still sleeping, but he would be up every day wanting to create and work.”
Woods saw Chevy Metal’s first show with Taylor at Abuelitas in Topanga Canyon in 2002. After Dange moved up north to work as a teacher, Woods eventually became Chevy Metal’s new guitarist. Woods grew up in Burbank and took guitar lessons from Randy Rhoads, best known for his work on Ozzy Osbourne’s early solo albums.
“He was such a great lead player, but he was adamant that if you can’t play rhythm, it doesn’t matter how great of a lead player you are,” Woods says of Rhoads, who emphasized “rhythm and feel.”
“I wouldn’t be sitting here right now if it wasn’t for Randy teaching me.”
Growing up initially in Topanga Canyon, the first beat Shane learned to play was the thunderous drum fill from Phil Collins’ “In the Air Tonight.” Then came Deep Purple’s “Smoke on the Water” and the Rolling Stones’ “Miss You.” By 13, he was spending hours each day practicing alone in the basement at his boarding school.
“There were no other kids that really played at the school, so I’d just sit down and play,” he says.
Shane grew up watching both Foo Fighters and Chevy Metal shows. “I’d sit behind my dad and watch him play and watch people just go crazy,” says Shane. “And as a kid, you think that’s the coolest thing in the world, because it is. It’s the best feeling.”
The band Chevy Metal — bassist Wiley Hodgden, left, drummer Shane Hawkins and guitarist Brent Woods — gestures downstairs at the Viper Room on the Sunset Strip.
(Steve Appleford)
Taylor’s home studio was built in a guest house behind his family’s home in Hidden Hills, a gated community on the northern edge of the San Fernando Valley. Inside, the walls are still covered with his guitars, posters, photographs and other relics from his favorite artists: Aerosmith, Rush, Bowie, Jane’s Addiction and Soundgarden.
The reborn Chevy Metal still rehearses in what Woods describes as Taylor’s “man cave.”
“He put a lot of work into making this room what it is right now,” says Shane. “I remember him precisely making sure every picture was hung up in the exact place. And every banner was hung perfectly and every speaker was placed perfectly for your ear.”
The band recorded a lot of songs here with Taylor, and they hope to release some of that material from the vault. They plan on more recording with his son.
Before Shane graduated high school, the last time Chevy Metal played a hometown show was at the Viper Room on New Year’s Eve. It was also a gathering of rock ’n’ roll families, as second-generation musicians took turns onstage with Chevy Metal, representing the offspring of Guns ‘N Roses, Jane’s Addiction and Anthrax.
During the sound check, the band ran through songs by U2 and Foreigner, and Shane hammered the drums at full volume. Afterward, he was chatting with Scott Ian, who advised him: “You never want to be great at dress rehearsal. You want to be good at dress rehearsal, and then be great at the show.”
Shane nodded, but for now, he says he can only play at one level: loud.
As Shane sat in the dressing room before Chevy Metal’s set, Jane’s Addiction drummer Stephen Perkins walked in, asking, “Where’s the drummer?” Then he spotted Shane, smiled, grabbed his hand and said, “There he is!”
Peter Katsis, a music manager who helped shepherd the careers of Smashing Pumpkins, Jane’s Addiction, Morrissey and Backstreet Boys, has died. He was 69.
Representatives for Katsis confirmed his death on Thursday in Los Angeles, from complications of congestive heart failure, in a statement to the Hollywood Reporter and Billboard. “To the music world, Peter was one of the most influential managers of his generation. His vision, instincts and fierce belief in his artists helped shape some of the most important careers in music for more than four decades. He saw possibilities others didn’t, inspired those around him to dream bigger, and fought relentlessly for the people and artists he believed in,” his family said.
“Peter was simply larger than life. He loved fiercely, laughed loudly and lived with extraordinary courage and conviction. Above everything else, he loved his family. He was our strength, our fiercest advocate, and the person we could always count on to believe anything was possible. The void he leaves in our lives and our hearts is immeasurable.”
Katsis’ career began in Chicago, where he managed the groundbreaking industrial rock group Ministry. He also worked with emerging regional house music acts, helming A&R for the essential label Trax Records and booked acts like Marshall Jefferson and Adonis at globally prominent nightclubs.
After moving to Los Angeles in the early ’90s, he worked with the Cramps and other experimental rock acts before joining Jeff Kwatinetz at the Firm. There he managed hard rock acts including Korn and Limp Bizkit, helping make them superstars of the “TRL” era. He also worked with 30 Seconds to Mars, rapper Snoop Dogg, and played a major role in building Audioslave, the supergroup of Soundgarden’s Chris Cornell and members of Rage Against the Machine.
Katsis took on diverse pop acts like Enrique Iglesias as well, and helped turn the Backstreet Boys into a stadium act, breaking Ticketmaster records for its 1999 Into the Millennium tour.
In 2008, Katsis co-founded a new management firm, Prospect Park, with Kwatinetz and Rich Frank, building a roster that included Smashing Pumpkins, Jane’s Addiction and Morrissey. Katsis also repped Liz Phair, 311, Bush, Fever 333, and pop groups Pentatonix, One Republic and 5 Seconds of Summer.
Smashing Pumpkins’ Billy Corgan wrote on Instagram that he was “Heartbroken that Pete is gone. He meant a lot to Chloe and I as a dear friend and extended member of our family. He will be missed and I’ll always cherish his intense candor and deep love of great music; which was infectious. And he deserves immense credit for helping to usher in the alternative revolution of the ’80s and ’90s and beyond. He was truly one of a kind. One of a us. And Chicago royalty through and through.”
Katsis is survived by his sister Anastasia and his son Ian.
Jane Austen’s most famous novels have been adapted numerous times, but one film adaptation is widely praised as one of the best.
Kelly Reilly stars in the iconic film(Image: UNIVERSAL PICTURES)
Period drama fans need to clear their diaries this weekend for a Jane Austen classic.
Devotees of period dramas and Jane Austen classics are being urged to set aside time as a “simply excellent” Austen reimagining is being broadcast free-to-air. Pride & Prejudice stands as one of Austen’s most celebrated novels and the 1813 masterpiece has been brought to screen on countless occasions.
The narrative charts the tempestuous relationship between Elizabeth Bennet and Mr Darcy and the ramifications of rash judgements.
In 2005, a period romance film featuring Keira Knightley and Matthew Macfadyen in the principal roles was released and it garnered widespread critical acclaim from audiences at home. The 2005 Pride & Prejudice film is being shown on BBC Two this Sunday, July 12, having recently departed Netflix.
Screenwriter Deborah Moggach dedicated more than two years to crafting the script, creating approximately 10 different drafts.
Actress Knightley also disclosed on The Graham Norton Show that she hadn’t been an obvious contender for the leading role, as director Joe Wright believed she was “too pretty”.
Despite considerable uncertainties surrounding the film and some criticism from reviewers, Austen devotees have proclaimed it among the finest adaptations to date.
In July 2025, the film appeared in the Readers’ Choice edition of The New York Times’ list of The 100 Best Movies of the 21st Century.
Enthusiasts turned to IMDb reviews to voice their opinions, with one declaring it an “emotional masterpiece”, stating: “Pride and Prejudice was the best movie I’ve seen in a very long time, if not the best I’ve ever seen.
“It captured the very essence of Jane Austen’s brilliant novel. In fact, I enjoyed the movie more than the book itself. Everything about the movie was perfect.
“This movie is a work of art, an emotional masterpiece. Watching this movie was actually a life-changing experience.”
Another viewer described it as “absolutely perfect”, sharing: “This Pride and Prejudice adaptation perfectly captured the wit, the intelligence, the passion and the romance of Jane Austen’s classic.
“The 1995 mini is fabulous, and I have watched it many times, but I have always been frustrated that while it got so much of the dialogue and the detail right, it somehow fell flat on some of the more subtle dynamics of the novel. But this movie adaptation has captured what has before been missing!”.
A final fan labelled it “simply excellent”, sharing: “Loved this movie. It’s simplicity that empowered every possibility for imagination. The music, the natural scenes, the arts, and every honest soul in the movie made this film alive.”
Pride & Prejudice is being broadcast on BBC Two this Sunday, July 12, at 4.25pm.
Away from Coronation Street, Leanne Battersby star Jane Danson is married to a famous face
20:23, 01 Jul 2026Updated 20:25, 01 Jul 2026
Coronation Street Jane Danson’s romance with co-star she’s ‘fancied since she was 15’(Image: ITV)
Coronation Street’s Leanne Battersby has had her fair share of romances on the soap but in real life actress Jane Danson is loved-up with a fellow soap star.
And over the years, Leanne has played a part in several big storylines; from shock affairs and sex work to heartbreaking baby loss and drug abuse. And over in Weatherfield recently, she has struck up a romance with newcomer Idris Nazir (Junade Khan).
However, away from the soap, actress Jane is actually married to fellow soap star Robert Beck. Robert has appeared in the likes of Brookside, Emmerdale and Waterloo Road.
And he even appeared in Jane’s own soap Coronation Street back in 2008, playing criminal Jimmy Dockerson. For his Emmerdale stint, he played baddie Damon ‘Harry’ Harris in 1999.
The soap power couple Jane and Robert met in 1999 and tied the knot in 2005. The pair are also parents to Harry – born in July 2006 and Sam – born in February 2009.
Jane and Rob first met in May 1999, at the British Soap Awards. Recalling their first encounter Jane said: “I’m not the world’s most confident person but I’d had a crush on Rob since I was 15, so I thought, I have to speak to him, it’s fate.”
Appearing on Loose Women back in May 2025, Jane was asked about her other half, and whether she ‘manifested’ marrying him. “I have got to be careful here because I’m a little bit younger than him…” she admitted.
“When I was at school, I had a sticker of him on my pencil case and a poster of him. He was in Brookside at the time, another soap that’s no longer around, but he was very big in the soap at the time. I liked him a lot and some years later, when I was a little bit older, he was at the soap awards!”
In an intimate chat with OK! Magazine, Jane revealed the secret to her marriage with Robert, commenting: “Me and my husband have been together for 22 years, and we’re really good friends as well as loving each other lots.”
She also previously shared: “Rob’s absolutely my best friend in the world. We’ve only had about two rows in 20 years. I’m not saying we don’t get on each other’s nerves sometimes, but we’re a strong team and we’ve always allowed each other to be individuals.”
And in December last year, Jane shared a gushing tribute to Robert on their 20-year wedding anniversary. Sharing a beaming photo of them on their special day, Jane shared on Instagram: “Happy 20th wedding anniversary my love @robertbeck529.”
And her Corrie co-stars were quick to respond. On-screen sister Georgia Taylor said: “Absolute couple goals. Love you both so much.” Andy Whyment replied: “Ah Happy 20th wedding anniversary you lovely couple. Enjoy your day.” Samia Longchambon commented: ” Happy big Anniversary you two!” Catherine Tyldesley added: “Happy Anniversary loves.”
Coronation Street airs Monday to Friday at 8:30pm on ITV1 and ITVX
Since its triumphant run, devotees of period drama have been desperately seeking out comparable shows and films to plug the gap while the Christmas special gears up to enter production.
A 2007 film starring Felicity Jones and JJ Feild has emerged as a firm recommendation, serving as an adaptation of Jane Austen’s 1817 novel of the same name.
Northanger Abbey is the title in question, following a young Catherine Morland (Jones), who travels with family friends to Bath and discovers she has captured the hearts of both Henry Tilney (Feild) and John Thorpe (William Beck).
When she receives an invitation to stay at Northanger Abbey, Catherine’s fanciful imagination runs wild as she muddles reality with the Gothic romance found within the pages of her beloved novels.
Viewers have flocked to IMDb to voice their opinions on the film, with one declaring: “Classic!” Another hailed it a “must-watch”, adding: “The 2007 adaptation of Northanger Abbey is a delightful and faithful rendition of Jane Austen’s novel.
“From the charming performances to the captivating storyline, the film brings Austen’s wit and satire to life. Felicity Jones shines as Catherine Morland, perfectly capturing her innocence and imagination, while JJ Feild makes a dashing and charismatic Henry Tilney.
“The adaptation stays true to the novel’s themes, blending romance, humour, and gothic intrigue seamlessly.”
One final enthusiast described it as “masterful”, elaborating: “This is a really lovely TV/film version of this book, and of course… the script is by master adapter Andrew Davies. He is just magnificent. ENJOY this masterful adaptation!”.
A Reddit user put forward the film, which is available to purchase on Prime Video for just £1.89, as a comparable watch to The Other Bennet Sister, commenting: “Surprised Jane Austen adaptations have barely been recommended, unless those are too obvious.
“The Other Bennet Sister is not only a spin-off of Pride and Prejudice with many familiar characters from that story, but in many ways it takes inspiration from other existing Austen novels, which is very Austen of the author, because her stories frequently recycled/reworked the same characters/plot-lines.”
One devotee took to Reddit to express their desire for a fresh Northanger Abbey adaptation off the back of The Other Bennet Sister’s triumph, writing: “@BBC thank you for adapting this rather than another round of endless adaptations of Austen’s books that already have so many amazing adaptations!
“@Netflix take notes! Fans don’t want you to ruin Austen’s work with crummy adaptations that don’t do the original ones justice.
“Let’s adapt other beautiful stories instead! Honestly, I would be fine with another Northanger Abbey adaptation or maybe a Mansfield Park adaptation if it’s absolutely needed.”
Northanger Abbey is available to buy on Prime Video for £1.89
As the noise-rap-electro act Jane Remover shrieked and pleaded through a 90-minute marathon set at the Fonda on Thursday night, one very young couple dressed right out of a conservative‘s nightmare — gender-ambiguous, purple hair, facial piercings — tapped me on the shoulder. They politely asked if I could mind their newly bought vinyl for a bit as they thrashed in the heaving crowd. Of course, this unc obliged them.
Anyone who laments that L.A. crowds don’t dance should go to one of the last sets of Jane Remover’s three-night stand at the Fonda this weekend. It had the most genuinely raucous pit I’ve seen in 2026, made all the more feral for how sweet and earnest it was. After a hotly tipped Coachella set, this Live Exhibit tour affirmed that the subculture Jane Remover built may or may not have wider pop potential, but it’s getting big enough to count for stardom in the fractured music world of today.
Jane Remover is a trans polymath producer and singer-songwriter with influences across rave, shoegaze, trap and beyond. They’ve built up a ferocious elaboration on the hyperpop of predecessors like Sophie, who similarly packed so many good ideas into songs they became talismanic to fans, a tonic to reinvent yourself (new Charli XCX opener Underscores is another fellow traveler).
The music itself sounds like reverse-engineering the moment in the 2000s when metalcore kids discovered EDM. Only now it’s Discord-disaffected youth ramping up hardstyle techno, autotuned girlypop ballads and rage-rap to an explosive fusion point. “Census Designated,” Jane’s brash and dramatic 2023 coming-out LP, tipped them as a force beyond the underground. But they soon eclipsed it with 2025’s “Revengeseekerz,” a deliriously overheated mix of romantic yearning, internet score-settling and virtuosic production prowess.
Backed by just a DJ (Dazedgxd, who opened the set) and a retina-scorching light rig up front, Jane acknowledged on Thursday that the stakes were getting much higher. They joked that they’d played the El Rey like three times before this tour, and to judge by the wild-eyed passions out in the audience, the Fonda will probably be the smallest venue they’ll play for some time. “It gets so cold this high up,” Jane sang on “Turn Up or Die.” “Can’t go to hell but I can drop you off.”
The sentiments driving the music are ultramodern: self-aware, vicious and desperately vulnerable. The hilariously zesty “Angels in Camo” (home to the all-time banger of a line: “Jesus never had it with a freak b—”) wrapped up with a bloodletting plea that “I can’t let you b— win.” Jane wields that word like the flaming sword on the “Revengeseekerz” album cover, with all the casual lustiness of Future but also the wrath of a reclaimed slur.
On “Professional Vengeance,” they grappled with the weird lures of celebrity and intimacy, where no one really knows anyone but desire still courses; “Experimental Skin” found them craving and fighting off God and nihilism and technology and addiction all at once.
The tension in these tracks are the binding agent for Jane’s fan base — the music is full of contradictions and incompatibilities smashing together that just feel like being young right now. Other than a quick affirmation that fans of all identities and backgrounds will always be welcome at their shows, they let the contorting, violent music speak for itself about the way queer fans are feeling about life under siege in the United States.
If the set was a bit too long for the limited setup onstage, it was because Jane simply had that much music to let out — that caliber of emotion to unburden, that much want to acknowledge. It seemed like the set was closing with “In the Dark,” an aching ballad from their Venturing side project, plainly declaring “I still dream of us” through a fog of effects. But instead they ramped it back up for one last cathartic blast to close, sending their faithful out onto Hollywood Boulevard, sweaty and filthy and fundamentally known.
