julie

James Acaster has revealed the real reason Julie Hesmondhalgh was banished from the Celebrity Traitors castle and claimed it was edited out of the final broadcast.

James Acaster has revealed the real reason Julie Hesmondhalgh was banished from Celebrity Traitors – and said it was not shown in the final edit of the show.

The actress, best known for previously starring as Hayley Cropper in Coronation Street, was the latest victim of the round table in the hit BBC series, after a campaign led by singer James Blunt, and revealed she had been a Faithful the whole time.

However, reluctant Traitor James has said the real reason the group turned on the Broadchurch actress and voted her out was not shown in the episode.

He told The Times: “In the edit James Blunt’s reason was that Julie was given the first shield. What actually happened is that when they did the shoulder tap for the Traitors ’ pick at the beginning, James told Julie who he thought was acting suspiciously around the table.”

To see more of the stories you love from The Mirror and to find them easily in Google then make us your preferred source. Free and easy-to-do, just click on the link here to find more from The Mirror at the top of your feed.

James spoke to Julie soon afterwards and told her that at that stage in the game, before the traitors knew who each other were, they would not be sharing theories because they might inadvertently incriminate an ally. He suggested that they should take note of who was not being forthcoming.

He continued: “Then Julie went into the room where James [Blunt] was, puts this to everyone, and says, ‘Like you, James. You’re not sharing your theories with anyone’, and James is thinking, ‘Well that’s not true, because I just shared mine with you at the table’.”

James said that when Julie was voted out, the You’re Beautiful singer presented this as evidence of lying. He added: “That’s why Julie got voted off. Which isn’t in the edit. If I was him, I’d be pretty gutted.”

Comedian James also revealed some behind-the-scenes detail about the filming of the hit show, saying contestants stay in a “Travelodge-level hotel about an hour from the castle in the Scottish Highlands, which is a bit of a trek each morning and night”.

They cannot leave the hotel without being chaperoned and have ten minutes each morning to FaceTime a friend or family member. He added: “A member of the production team is there with you, so you can’t have an authentic conversation because you can’t tell them anything that’s happening.

“At one point my partner said, ‘Have you caught the sun?’ I was saying, ‘Oh yeah, we were outside for one of the missions’. I was told I couldn’t even tell her that.”

A spokesperson for The Celebrity Traitors said: “Everyone experiences their own game in their individual way with many differing theories, opinions and multiple discussions throughout the day.

“Naturally, we could never include every minute of a day’s filming in any one episode where we need to focus on the key story moments.

“The round table offers an open forum for all of those theories to be presented and it is there that we see the most salient points come to the fore that succinctly convey how players reach the decision on who to banish in that moment.”

Celebrity Traitors continues on BBC One on Thursday at 8pm.

Follow Mirror Celebs and TV on TikTok , Snapchat , Instagram , Twitter , Facebook , YouTube and Threads .

Sept. 30, 2026 3:01 AM PT

Summer mornings in the Hill Tracts region of Bangladesh are a respite from the dissonance of honking cars and construction of the capital city of Dhaka. It was a welcome change to hear chickens and the sound of … wait, was that Julie Andrews’ voice echoing over the hills?

I was visiting my home country when I heard a group of schoolchildren playing ektaras, a traditional string instrument, and singing the “Do-Re-Mi” song for their morning assembly.

I used my phone to show them a picture of Andrews. “Do you know her?” They immediately leaped in excitement. They didn’t know the composer Richard Rodgers or lyricist Oscar Hammerstein II. But they knew Andrews — even though 60 years have passed since “The Sound of Music” and these children live in a remote Bangladeshi village. The recognition is evidence of something extraordinary.

Andrews is turning 91 on Thursday, and there are calls online to bubble wrap her, just in case. She is indeed a global treasure, and she has been earning plaudits and admirers for eight decades.

Andrews trained in the Italian bel canto tradition and from a young age sang challenging coloratura arias with precision, clarity and range. The bright, happy tone, perhaps a subconscious decision rather than anatomical alone, provided her respite from the doodlebug bombs that fell during her childhood in England in World War II. British critics had dubbed her as the “youngest prima donna,” a title usually reserved for opera greats, and it wasn’t undeserved. At just 12, she routinely floated high Fs above the treble staff during live performances.

Yet before opera could claim her, Broadway stepped in. From “The Boy Friend” to “My Fair Lady” and then “Camelot,” she won the hearts of theater goers and creators alike. Lyricist Alan Lerner described her as “an amazingly quick study in music … who meets any challenge with an unabated eyelid that makes you wonder how Britain ever lost the empire.”

Her voice then was so precise that the late maestro André Previn, who led the London Symphony Orchestra, proclaimed: “No one’s diction in any field of singing can come close. … You understand every syllable from the second balcony — I don’t understand how you do that.”

It’s inaccurate to romanticize her legacy in 2026 as simply nostalgic. That would overlook the depth and progressive nature of her characters. She was essentially the first female superhero on the big screen, as Mary Poppins — who could fly and create alternate realities with the snap of her heels, but whose more stunning superpower at the height of the Cold War was to charmingly portray capitalism as dangerous.

In “Victor/Victoria,” she navigated a gender-bending performance that challenged societal norms, playing a woman who impersonates a man impersonating a woman when it was taboo to speak about any layer of that. Her most overlooked and perhaps her best dramatic role was in “Duet for One,” a 1986 film about a musician who suffers from multiple sclerosis. Tragically this became a moment of life imitating art, foreshadowing her own destiny to lose her instrument after throat surgery in 1997.

Rather than retreat, Andrews adjusted and leaned into voice acting with characters like the dominant Queen Lillian in “Shrek” films, Gru’s hilariously villainous mother in “Despicable Me” and the mysterious Lady Whistledown in “Bridgerton,” for which she won an Emmy, twice.

In real life, the flying super governess fought to adopt two babies from Vietnam just after the fall of Saigon, helping to raise awareness of the need for adoptive parents. She then co-founded the Operation USA disaster relief charity and opened the Japanese wing for the United Nations Development Fund for Women.

Whether it was to support UNICEF after the devastating Bhola cyclone hit present-day Bangladesh in 1970 or jetting to Jordan and Senegal to support women’s and children’s activities, she was a quiet champion for the underserved. In her most famous role, in “The Sound of Music,” she was a savior for children being displaced by war.

Andrews is mostly out of the public eye, but her singing is eternal and accessible. YouTube is home to a trove of Andrews performances, including “This Is My Beloved” from “Kismet,” full-voiced “When You Wish Upon a Star,” from pianissimos to fortes, high B-flats and all — her classical skill shines through. These recordings remind us that beyond just the formulaic legato phrasing that singers from the Italian tradition follow, and the clear resonance, her work it set a gold standard for musical storytelling that few have surpassed since.

Julie Andrews is no longer trilling on the Alps, nor is she reprising her role as queen of Genovia in a “Princess Diaries” film, but her voice, and what it represented for more than 80 years, endures. It lives on not just in films and recordings but also ringing in the minds of children and adults alike, from her hometown of Walton-on-Thames to the Hill Tracts of Bangladesh. In an age of doom scrolling (and alarmingly low singing standards), her vast career offers a rare resonance and a continuing masterclass.

Shams-il Arefin Islam, a Yale-Berkeley College associate fellow who works on climate mitigation and adaptation, is a classically trained tenor.