Kate

JEFF Brazier’s ex-wife Kate has gone Instagram official with her hunky new boyfriend, almost a year after her marriage to the TV presenter ended.

The PR executive, 36, shared a string of holiday snaps from South Africa, giving followers their first glimpse of her new man.

In one picture, her dark-haired boyfriend looked relaxed in sunglasses as he enjoyed a ride on the famous Franschhoek Wine Tram.

Another showed him sitting indoors in a black T-shirt and light trousers, holding a bottle as he gazed off to the side.

Kate also shared a romantic picture of the couple standing arm in arm beside a picturesque stretch of water, and she appeared to be making the most of her sun-soaked getaway, posting a snap of herself relaxing beside a swimming pool.

The loved-up pictures come almost 12 months after The Sun exclusively revealed that Kate and Jeff, 46, had separated following seven years of marriage.

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The former couple tied the knot in 2018, having first got together in 2013, but their relationship endured a number of ups and downs.

They previously separated briefly in 2022 before deciding to give their marriage another chance.

However, last November, sources told The Sun that the couple had grown apart following a difficult year, with Kate reportedly moving out of their marital home.

At the time, Jeff hinted at a fresh start of his own, sharing pictures of his new countryside home and telling followers he was embracing a calmer chapter in his life.

The presenter, who raised sons Bobby and Freddy following the death of their mother Jade Goody in 2009, has continued his television career, including his work as a football presenter.

Jeff’s eldest son Bobby, 23, has also carved out a successful showbiz career, starring in EastEnders and reaching the final of Strictly Come Dancing in 2023.

Kate has not yet shared the name or more details about her new boyfriend.

Tony Berlant, a seminal influence in the West Coast Pop Art movement of the 1960s, died Tuesday after a long battle with Alzheimer’s disease. He was 85.

L.A. Louver, his longtime gallery, confirmed his death to The Times.

Berlant, a “painterly collage artist” who called Santa Monica his home for many decades, developed a signature style making collages using shards of printed tin instead of paper and thousands of shiny nails instead of glue. He often worked with vintage metal street signs and ads. In recent years, he printed personal photographs onto the metal, giving the colorful works story structure and an autobiographical bent.

One of his most recent shows, in fall 2018 at Hollywood’s Kohn Gallery, featured cut metal collages that blended elements of assemblage, Pop Art and abstraction. He was also known for his metal cube sculptures, which have been called quilt-like.

Berlant was a collector of both ancient Southwest pottery and Paleolithic stone objects. In fact, he co-curated two museum exhibitions: “First Sculpture: Handaxe to Figure Stone” at the Nasher Sculpture Center in Dallas and “Decoding Mimbres Painting: Ancient Ceramics of the American Southwest” at LACMA. He was also a founding member of the Mimbres Foundation, an archaeological conservancy that studies and preserves ancient Native American pottery.

Berlant was part of L.A.’s famous Ferus Gallery art scene in the 1960s, a group of “Cool School” artists that also included the late Ed Moses and Robert Irwin as well as Ed Ruscha, Larry Bell and others. The Ferus Gallery was a revolving door of experimentation at the time and helped fuse the city’s otherwise sprawling and disparate art scene.

Berlant was part of one of the earliest museum exhibitions of Pop Art in 1963, “Pop Art USA,” at the Oakland Art Museum. He showed his work alongside Robert Rauschenberg, Andy Warhol and Claes Oldenburg.

The L.A. visual art scene may be more established today, but it’s also more commercial and safer in some ways. However Berlant firmly believed that L.A. still retains its defining creative spirit.

“My New York friends tend to think of the ’60s as a kind of golden moment that’s now been erased by commercial focus,” Berlant told The Times in 2018. “But I think L.A. is [still that]. It never left. I just assume that there’s all kinds of fantastic artists working that I’ve never heard of because they pop up here and there, and I see them, and I’m just really excited by that. It’s what makes you feel good about a place.”

Tony Berlant stands in front of his collaged-metal self portrait for his show “Fast Forward” at the Kohn Gallery in Hollywood in 2018.

(Patrick T. Fallon / For The Times)

Berlant’s work is included in the permanent collection of LACMA as well as the Hirshhorn Museum and Sculpture Garden in Washington and the Art Institute of Chicago.

He is survived by his wife, Helen Berlant; daughter, comedian Kate Berlant; and brother, Jeff Berlant.

Susan Saint James, the TV star who shared the screen with Rock Hudson as his on-screen wife in “McMillan & Wife” and co-led the heartfelt, blended family comedy “Kate & Allie” with Jane Curtin, has died.

The Los Angeles native died Monday after being diagnosed with pancreatic cancer, according to People, which first reported the actor’s death. She was 80.

Saint James’ family remembered the actor for her warm personality and kindness, writing in a statement shared with the magazine, “Every person she met became the most important person in the room at that moment, from a fellow board member to the clerk at the shoe store, who usually walked away knowing her entire life story.”

Her acting career spanned almost six decades — she broke out as Peggy Maxwell in NBC series “The Name of the Game” — from the mid-1960s to the 2020s across TV and film, but audiences know the actor best for starring as Hudson’s detective wife in “McMillan & Wife.” The NBC series, which aired from 1971 to 1977, centered on San Francisco police commissioner Stuart “Mac” McMillan and wife Sally McMillan as they solve a variety of crimes. Saint James earned four Emmy nominations for her work.

She pivoted to film and TV movies after the series ended, garnering roles in “Love at First Bite,” “The Kid from Nowhere,” and “Don’t Cry, It’s Only Thunder.”

After nearly a decade away from the TV series scene, Saint James returned in CBS’ unconventional sitcom, “Kate & Allie.” She starred as Kate McArdle, one of the series’ titular divorcées who decide to raise their children under the same roof. Saint James’ Kate was the modern and no-nonsense counterpart to Curtin’s old-fashioned, sweet Allie. The series aired from 1984 to 1989 and earned Saint James two additional Emmy nominations.

When the stars and creative team of “Kate & Allie” reunited amid the COVID-19 pandemic in 2021, Saint James reflected on how the show was representative of a same-sex household and how mothers raising their own children related to the show’s material. She and her co-stars also said they knew at the time that the series was something special.

“It wasn’t like we went back and said, ‘You don’t know what you got ‘till it’s gone.’ It was just fun,” she said.

Saint James mostly stayed away from Hollywood in the decades following “Kate & Allie,” save for brief appearances in series including “Law & Order: SVU,” “Suits” and “Upload.” She notably found herself in the spotlight again in the early 2000s, but for family tragedy.

Her son Edward “Teddy” Ebersol died at age 14 in a 2004 Colorado plane crash that also claimed the lives of two other people. Teddy Ebersol, whom Saint James shared with husband and former NBC Sports Chairman Dick Ebersol, was aboard a chartered Canadair CL-601 Challenger jet with his father and older brother, Charles, on Nov. 28, 2004, when it crashed during takeoff in light snow and freezing temperatures from the airport near Montrose, Colo. The pilot and a flight attendant were also killed in the crash. Dick and Charlie sustained injuries in the crash, and a copilot was critically injured.

“Here’s the bad part … I’ve never touched his clothes, I’ve never been able to move his things,” Saint James told Oprah in a 2006 interview. She continued to speak publicly about her grief in the following years.

“The thing that could move me on was that I could embrace Teddy finally in a way that was, ‘he’s my kid,’” she said during a 2009 panel on grief. “They can take his body, but I own that boy and I love that boy.”

Beyond her screen work and family tragedy, Saint James was also known for her longtime advocacy in the sports world. Saint James supported the mission of the Special Olympics since an early iteration of the games in California in 1972. The first Special Olympics was held in Chicago in 1968.

In a statement published Tuesday, Special Olympics said Saint James “believed deeply in the power of inclusion” and she served as a board member and a campaign co-chair for Special Olympics Connecticut. Her advocacy included founding the annual Susan Saint James poker tournament fundraiser. The organization’s Susan Saint James Leadership Award honors individuals who “embody her remarkable spirit of leadership, generosity, and dedication to our mission,” the post said.

“Thank you, Susan, for being an extraordinary champion of our athletes,” Special Olympics added in its statement. “Your legacy will live on through the lives you touched and the inclusive future you helped build.”

The actor, born Aug. 14, 1946 and raised in Rockford, Ill., received her star on the Hollywood Walk of Fame in 2008 and partially attributed her success in the industry to her connection with Special Olympics. Former California first lady Maria Shriver, daughter of Special Olympics founder Eunice Kennedy Shriver, attended the ceremony.

During that ceremony, Saint James said she managed to achieve her dream of becoming a Hollywood movie star “through the good works of a lot of wonderful people that created a loving and home-like environment for me all those years.”

“But the thing that really contributed to my success and happiness with my career was coupling it up with the work that I did with the Special Olympics,” she said, adding, “you can guess that being associated with them turned out to be getting to know some pretty amazing people since I’m now really cozy with the first lady of the state of California.”

Saint James was married three times, first to scriptwriter Richard Neubert from 1967 to 1968, according to People. She remarried in 1971 to makeup artist-turned manager Thomas Lucas. They share two children — daughter Sunshine and son Harmony — and divorced in 1977.

Saint James remarried to then-NBC executive Dick Ebersol after they met in 1981 when she hosted “Saturday Night Live.” They welcomed children Charles, William and Edward (Teddy.)

In case it wasn’t already clear: Debora Cahn, the creator of “The Diplomat,” likes to leave viewers in suspense.

The Netflix political thriller has followed Kate Wyler (Keri Russell), the highly competent, intensely impulsive, deeply flawed and incredibly relatable career diplomat, as she’s cleaned up backroom deals, navigated volatile international crises and unstable government leadership — all while managing a topsy-turvy marriage tangled up in it. And the stakes escalate with each season’s finale, forcing Kate to test her limits. But the fourth season has brought her breaking point.

Alarmed by the questionable decision-making by President Grace Penn (Allison Janney) — as the bullying tactics used against the U.K. to ensure their cooperation against Russia become untenable — Kate resigns in unplanned, but grand fashion at the G7 summit in front of world leaders. She’s eventually joined by other members of Penn’s administration: chief of staff Billie Appiah (Nana Mensah), Secretary of State Miguel Ganon (Miguel Sandoval) and, most notably, her husband, Vice President Hal Wyler (Rufus Sewell).

“We like a good cliffhanger,” Cahn says during a recent video call.

Cahn’s thought about how “The Diplomat” will ultimately conclude. But like the show’s savvy titular character, she perfectly executes the art of the charming evasion when pressed for answers — namely, how close are we to getting there?

Keri Russell as Kate Wyler, left, Rufus Sewell as Hal Wyler, Allison Janney as Grace Penn in Season 4 of “The Diplomat.”

(Netflix)

“I don’t know — maybe it just did,” she teases. Cahn then turns more serious: “I’ve always had an idea of what the end is. As with everything on the show, I’m always delighted to have that idea blown out of the water by a better idea, but so far it hasn’t happened.”

Cahn began her television writing career on Aaron Sorkin’s acclaimed political drama, “The West Wing,” spanning seasons 4 through 7. After working on shows such as “Grey’s Anatomy,” “Vinyl” and “Homeland,” she took the helm as creator and showrunner for the first time with “The Diplomat.” And writing a political drama today meant grappling with a creative responsibility she hadn’t faced before.

“I didn’t have to figure out what ‘The West Wing’s’ political position was going to be or what ‘The West Wing’ thought about the world,” she says. “I want to make a show that is compelling for a lot of different people. And there are certain things that are happening in the world that, as much as I try or would like to be even-handed, … [are] really difficult to ignore when you’re living at a time when you feel like democracy is crumbling.”

On a recent afternoon from her home in New York, Cahn spoke more about the new season of “The Diplomat.” These are edited excerpts from the conversation, which includes spoilers.

The marriage between Kate (Keri Russell) and Hal (Rufus Sewell) is tangled with their work.

(Netflix)

So much of the show, but particularly this season, is about lines that are drawn and the crossing of them. How did you and the writers decide what would be the line for Kate?

It took months and months and months to decide because we wanted to treat the question as realistically as possible. A lot of good people don’t quit. And so, why? What’s the reasoning? The whole season is examining that question for Kate and, in a way, for all of them. I didn’t want to be like, “Well, she doesn’t like the president, so she walked on out.”

What did you want out of that final moment of the season?

The moment when she stands up, she has come to a clarifying realization that her line has just been crossed. It happens in that room. And we argued about that a lot. We ended up feeling really strongly that it be what was happening right there. That this was a question she had wrestled with, but when you see that you are off the cliff, it will become clear what you have to do. So for her, Grace’s speech was that moment. She then walks out of the room and thinks: “What the mother f— did I just do? I’ve just ended my career. Have I ended my husband’s career?” That’s how she feels until she hears the door open and sees Billie walk out, and both of them go through a similar moment when they hear the door open, and Ganon walks out; then obviously the last one [is Hal] that really nobody was expecting. But for Kate, there is a big difference between having realized that you can’t go forward because your own line has been crossed, to realizing that you have started a movement, and that there is a contagion in that action.

How much did the real world, particularly international relations, inform or shape the season?

I don’t ever like to do a ripped-from-the-headlines show, particularly because we write it and then a year or two passes before it gets on air. But it did feel like, at a time when this administration was coming back into power again, and their first move was to fire people and really obliterate the institution that we were writing about, it didn’t seem like a story that we could walk around and ignore.

Bradley Whitford as Todd Penn and Allison Janney as Grace Penn in Season 4 of “The Diplomat.”

(Nick Wall/Netflix)

We haven’t had a woman president. We know the sexism around this topic: Women are too weak, women can’t make tough decisions. What was the lay of the conversation in the writers’ room about who Grace Penn would be as president?

The situation that we wanted to sustain throughout the season was she’s not doing these things because she got shot, her stomach hurts and she’s mad. She’s doing things because she became president, and she thinks this is how the country needs to be run. Is there an overcompensation around her making sure that people don’t think that she’s too weak and afraid to be a foreign policy hawk? I think in plenty of circumstances, women in positions like that are more likely to take a strong decisive military action because there is this looming concern of, “Well is she tough enough? Is she gonna try and have everybody hold hands and make up?” There is an instinct to make sure that people realize that that isn’t your plan. Every one of the decisions that she made, we made sure that there was a smart, strategic, security mandated argument for doing what she was doing.

What Grace says at the top of that summit regarding the U.K. and Russia, if you didn’t know what was going on behind the scenes, it would seem reasonable and strategic.

I’m happy to hear you say that because that was very deliberate. We went round and round with different versions of what she said in that speech because some people would listen to it and say, “Oh, my God, she can’t say that. It’s just overwhelmingly reprehensible.” Then we would show our Washington people, and they were like, “It’s not so bad.” Democrats who were like, “This isn’t crazy. This is kind of middle of the road these days.” We realized that we couldn’t have her saying things that have become accepted in Washington because the public would view it as monstrous, and we didn’t want to be portraying a villain.

Is that the most difficult thing for you as the showrunner of a political show today — a president as a villain?

It’s trickier than I hoped it would be. I’m not really interested in the presidency as much as I’m interested in the thousands of people who interact with the president and perhaps don’t, as individuals, wield as much power in their hands as that office holder does. But real power, particularly in numbers, can make things happen or stop really disastrous things from happening. Whether or not we think that there’s a villain in the White House, what does everybody else do to try to manage it?

Rory Kinnear, who plays Prime Minister Nicol Trowbridge, sings opera in a scene where his character is having a hallucination.

(Clifton Prescod / Netflix)

There’s a surreal interlude with Prime Minister Nicol Trowbridge (Rory Kinnear) and his hallucinations — he’s singing opera, at one point. How did you arrive at that turn for him?

I would be lying if I didn’t say one of the big reasons I wanted to do that was because I found out Rory Kinnear sings opera. When we knew we were going to have this situation where he was going to through something even more stressful than everything that he’s been through up until now, it felt like it would be really great to see what’s going on in there [his mind]. I called him up and I said, “I’d like to have you singing ‘Pagliacci’ — is that OK?” And he was like, “Well, let’s start warming up now.”

For a brief moment, with Grace shot, Hal is acting president. I’m curious how you arrived at the length of time he’d fill in for Grace. It’s a few hours. And it reveals so much.

There’s a gravitational pull that we’ve been resisting ever since we made the president a big role, and then placed one of our leads in the role of vice president. There’s this pull toward the White House. But I’ve never wanted to be like, “Oh, well, then Hal’s president. Then, Hal dies, and Kate’s president! Everybody gets a chance.” Once he was VP, it started to seem equally absurd to not have a taste of that because it is, in fact, the reality in that job.

Making Hal a president for a long period of time wasn’t all that interesting to me, but I did want a little bit of a window into it. We think we really know what Hal Wyler is going to do in that role — and by we, I mean Kate, really —and it just isn’t true at all. It also turns out she really had no idea who he was as a vice president, and he’s a much different person than she thought. She thought he was going to continue to be a bull in a china shop, big swings and big ideas and asking for forgiveness, not permission. That’s not who he’s been in that job.

Billie (Nana Mensah), left, Kate (Russell), Hal (Sewell), Grace (Janney), Fitzwilliam (Neil Pearson) and Todd (Whitford) in “The Diplomat.”

(Nick Wall/Netflix)

Both couples faced questions like: Who is this person I married or how am I responding to who they are at this moment? What were you interested in exploring in both these dynamics?

The conversation that we were just having is in a way relevant for all four of them. Not only is Hal different than Kate thought he would be, Hal’s different than Hal thought he would be. I haven’t run a show before. This is this is my first time in that position, and I am absolutely different than I thought I would be. I was 100% sure I knew exactly how I would handle things, and it didn’t happen. That’s an idea that we wanted to keep alive for Hal and definitely for Grace. You can prepare for it all you want and still not know.

You can’t help but feel for Todd as he tries to figure out Grace. But then he nearly dismantles NATO and you’re like, Todd!

Todd goes through two phases. He has this terrible feeling of helplessness that is eventually supplanted by this terrible feeling of power that he’s unable to manage. In a lot of ways, the Todd story is the most realistic one we’re telling because a lot of people who’ve never done this before are making the most consequential decisions, literally in the world. And Todd’s not a dumb guy, and I don’t think the people that we’re watching do this are dumb people, but, boy, are they in over their head really fast.

I want to talk about Grace and Todd and the use of “babe.” There’s something so intriguing to me about what they’ve done with that pet name across the season.

You’re thinking about all my favorite things. I don’t know what to say other than I’m glad it’s reading. You take a term of affection, and, at a certain point, it just becomes a name. The affection that it carries with it is just a horrible memory of a moment that is clearly gone.