life

The hours since actor Hayden Panettiere’s unexpected death over the weekend have proved to be a “time of profound shock and grief” for her ex-fiancé Wladimir Klitschko and their daughter, the Ukrainian boxing star said on social media.

Klitschko, a multiple-time heavyweight world champion, on Monday evening mourned the “Heroes” star and his former partner in an emotional tribute shared to Instagram. The former pro athlete posted a family photo of himself, Panettiere and their daughter Kaya (whose face is censored by a bright orange dot) all smiles against a cloudy sky. Klitschko wrote that news of the actor’s death “saddens me deeply” and echoed a recurring sentiment expressed in a majority of tributes to Panettiere: “She left this world far too soon.”

“Hayden was, although no longer my partner, an important part of my life and the mother of our daughter, Kaya,” Klitschko said. “She built an incredible career through immense talent, while also facing the darker sides of a very demanding industry. Nothing will erase the times we shared or the place she had in our lives.”

Panettiere, whose career spanned TV, film and video games, died Sunday at age 36, her father announced in a statement. A cause of death was not revealed, but an autopsy Monday found no signs of trauma that would have been a contributing factor. She was found unresponsive at an apartment complex in Greenville, S.C., shortly before 2 p.m. Eastern time after an acquaintance called 911, police said in a statement. Police said a preliminary investigation had not indicated any signs of foul play.

Panettiere and the boxer were in an on-and-off relationship from 2009 to 2018 and were engaged in 2013. The “Nashville” and “Ice Princess” star welcomed their daughter in 2014 but relinquished full custody to Klitschko in 2018. In her past, Panettiere had been outspoken about her struggles with postpartum depression. She previously refuted speculation that she just gave up her child.

“It was the hardest thing I could do,” she said during a 2022 appearance on “Red Table Talk.” “But the best thing for my daughter was to make sure she was OK, take care of myself and make sure I could be a good mom to her. And sometimes that means letting go.”

Klitschko said in his post that he will carry on Panettiere’s legacy at home, while making a promise to Kaya: “I will always speak of her mother with respect and make sure she remembers the person she was.” He concluded his post by sending his condolences to Panettiere’s loved ones and fans. He also asked followers to respect his family’s privacy as they mourn the loss.

He added: “Young and talented people like Hayden should not leave this world so soon.”

Klitschko joins Panettiere’s co-stars and Hollywood peers in paying tribute to her life and career on social media. “Heroes” star Masi Oka said Panettiere was “wiser beyond her years and now gone too soon” while “Nashville” co-star Connie Britton recalled Pannettiere was “bursting with brilliance” during their time on the ABC series.

To Viola Davis, “Custody” co-star Panettiere was a “beautiful Phoenix rising from the ashes.”

On what should have been a fun-packed summer holiday turned into a ‘nightmare’ after a family of six were ‘abandoned on the streets’ and told ‘we have no rooms for you’

A mum-of-four has been left ‘devastated’ after what was meant to be a cherished family holiday turned into a ‘nightmare’, after they felt “abandoned on the streets”.

Yasmin Kauser, who hails from Stratford-upon-Avon, had been looking forward to spending some quality time with her four children, aged 4, 12, 14 and 18, and her husband during their annual trip abroad in August. For the occasion, she booked a 10-night package holiday to Turkey through Loveholidays for £4,863, and was set to stay at a four-star hotel.

Following a lengthy journey from the UK, the family of six arrived at their pre-booked hotel in Alanya, Turkey, at around 2am. “We were knackered, we just wanted to go to bed, and the children were sleeping everywhere,” Yasmin exclusively told the Mirror.

But there was an unexpected issue with their hotel reservation. “We were told there were no rooms available for us.”

She outlined: “We remained at the hotel until around 5:30am, when, after I became increasingly frustrated and distressed, they eventually provided just one room for six people instead of the two rooms that had been booked.”

Yasmin says she repeatedly contacted Loveholidays, before the family was “given arrangements to move to a five-star resort”. The family made their way to the resort on the second day of their holiday, around half an hour’s drive away. “I hadn’t slept the night before, and I was exhausted. I’m only human, and I was breaking down because I was that tired, and the kids were very tired.”

‘There are no rooms’

However, when they turned up at the next resort, there was another issue. “At the resort, we waited for around an hour, only to be told that they had no rooms for us,” Yasmin alleged. “I said to them, ‘But we’ve got a reservation from Loveholidays, and they said, ‘There are no rooms’, so you’ve got to leave the hotel’.

She continued: “At around 3pm, I was left with my children on the road with our luggage and without access to suitable toilet facilities or accommodation. We were sitting outside the hotel; everybody was walking out, and we were like homeless people – we were abandoned.”

Yasmin was in touch with Loveholidays to explain the situation, and in an email, the company advised the family to “wait inside the hotel lobby for their safety and the safety of their children”, and said they were working on the issue as a “matter of urgency”.

The mum of four recalled: “I wasn’t panicking as it was around 3pm, the weather was nice, we had some water and snacks from the shop, so we just sat out there.” Although Yasmin added that it was around 40C, and when it got to 9pm, that’s when things became worrying.

“As it started to get dark, I started to panic, thinking, what are we going to do. We’ve got the children, and it was peak season.”

She claimed: “We remained without accommodation until around 11pm. My sister in the UK eventually contacted the emergency number on our behalf. After a further wait of around two hours, Loveholidays arranged emergency accommodation at a three-star hotel.”

Yasmin said that when her sister reached out to Loveholidays, they said they had emailed Yasmin earlier in the day, but the mum claims she never received it. She had told the firm that she was switching between a standard SIM and an eSIM, and the travel company said they tried to rectify the situation promptly.

Yet, they went to the third hotel in the hope of securing a room for their holiday.

“Not knowing what the hotel was like, but being so long on the street, I was just thinking we just need to get into some accommodation and have a roof over our heads”, Yasmin said. “We had to take another taxi to this hotel and eventually received two rooms at around 1am.”

‘Strong smell of urine and mould’

While they successfully obtained rooms, Yasmin was left disheartened. “One of the rooms was effectively a small box room with no windows and was in a condition that I found extremely distressing. There was a strong smell of urine and mould, and I struggled to breathe comfortably in the room,” she said.

Yasmin said she struggled to sleep “in the mess” and, early the next morning, got back in touch with Loveholidays about their accommodation. She claimed: “During the conversation, I was told that they had provided me with ‘shelter’. I was subsequently left in the emergency accommodation for the remainder of the holiday, despite repeatedly raising my concerns.” The family were later moved to another room during their stay at the hotel.

After hearing that Yasmin was dissatisfied with the alternative accommodation, Love Holidays offered her £1,015.99 in compensation for the inconvenience. In addition, they offered the family the option to relocate to an upgraded five-star hotel on an all-inclusive basis, but despite ongoing attempts to reach Yasmin on multiple platforms, they never received a response.

Yasmin said: “I don’t know if I was more tired before I left the UK or after the trip. I was in survival mode all the way through. We should have just stayed at home. This has been the worst experience in my life.”

A Loveholidays spokesperson told the Mirror: “We are very sorry that Ms Kauser’s experience fell below our usual high standards, and are investigating the issues she faced with the relevant hotel suppliers as a matter of urgency.“Our On Holiday Support team worked hard to put things right for Ms Kauser during her holiday, including an offer of cash compensation and a relocation to an upgraded five-star property. Despite several attempts to contact Ms Kauser, we did not receive a response to either of these offers or our subsequent communications and, as a result, we were unfortunately unable to put these solutions in place during her holiday.“We are contacting Ms Kauser to apologise for the stress and inconvenience caused and offer a full refund of her holiday.”

Do you have a travel story to share? Email webtravel@reachplc.com

Hayden Panettiere spent much of her life in front of a camera, beginning her acting career before she was even a year old, starring in commercials. At the tender age of 4, she landed her big break with a recurring role on the ABC soap opera “One Life to Live,” which led to a role on another soap opera, CBS’ “Guiding Light.” Over the years, she performed in a number of films and TV series, landing notable roles that made her a staple of network television. In addition to her onscreen work, she did voice acting for animated films like “A Bug’s Life” and “Dinosaur,” as well as the video game franchises “Kingdom Hearts” and “Until Dawn.”

The actor, who died Sunday at 36, was a versatile performer whose no-nonsense attitude and vocal range added depth to roles. Here is a guide to some of her notable work.

‘Remember the Titans’

Disney’s 2000 sports drama was based on the real story of Herman Boone, a Black football coach who was installed as head coach at the desegregated T.C. Williams High School in Arlington, Va., and led the team to a perfect season and state championship. In the film, Panettiere plays Sheryl Yoast, the young daughter of coach Bill Yoast (Will Patton), whose job Boone is given by the school district to placate Black community members as racial tensions rise. Panettiere’s Sheryl makes an impression right away, with a fiery speech directed at an official who comes to tell Yoast that Boone will now be head football coach of T.C. Williams. “You can’t just walk in here and take my daddy’s job away,” she cries as she stomps away, but not before kicking said official in the back of the leg. Later, she understands the implications of the decision, even if it comes at the cost of her father’s selection into the high school football hall of fame, preferring to put the team and their teamwork first: “Bunch of old rednecks … Let’s knock ‘em dead at state, coach.” (Watch on Hulu and Disney+.) — Maira Garcia

‘Ice Princess’

In Disney’s 2005 film, Panettiere was a little too good at playing the popular mean girl. She was even better at playing the popular mean girl who lets her icy walls melt away to welcome in the new girl. As talented figure skater Gennifer Harwood, Panettiere faithfully portrayed the evolution of friendships — especially for young women — in highly competitive sports and the tension between young athletes and their well-intended, but overbearing parents. While Panettiere could stand on her own talents, her performance was even more memorable for the dynamic she shared with screen partner Michelle Trachtenberg. The latter played Casey, a student with Ivy League ambitions whose interest in physics brings her to the figure skating world. Trachtenberg died in 2025 at 39. (Watch on Disney+.) — Alexandra Del Rosario

‘Heroes’

Claire Bennet (Hayden Panettiere) with her father Noah (Jack Coleman), also known as H.R.G., in NBC’s “Heroes.”

(Chris Haston / NBC)

This superhero series was a hit from the moment it debuted in 2006. An international cast fueled a show that featured people gifted with superpowers around the world that had a mysteriously ominous connection. At its heart was Panettiere’s Claire Bennet. An unbreakable high school cheerleader, she embraced the role of hero, facing pushback from a shadowy government group, serial killers and a twisted family dynamic. Panettiere became the face of NBC’s freshman ensemble success story, and despite an industry work stoppage and dwindling fan support afterward, the show’s viral campaign — “Save the cheerleader, save the world” — centered her, and her character’s courage, on a bona fide fandom-generating ride that ended way too soon in 2010, after four seasons. (Watch on Netflix and Tubi.) — Jevon Phillips

‘Scream’ franchise

Hayden Panettiere at the premiere of “Scream VI” in New York City in 2023.

(Nina Westervelt / Variety via Getty Images)

The actor joined the hit horror franchise in 2011’s “Scream 4” as Kirby Reed, a Woodsboro High student who is a horror film buff. One of that film’s memorable scenes featured Kirby in a tense trivia telephone showdown with the Ghostface killer, rushing through the titles of several slasher films while attempting to save one of her friends.

Although Kirby was seemingly killed off, she returned as an FBI agent in 2023‘s “Scream VI” when the franchise continued with younger characters and moved its setting to New York. “Scream” fans cheered during an early screening when Panettiere’s character appeared — she and Courtney Cox were one of the few “Scream” veterans to return for the new film.

Panettiere’s hair was longer and her role was expanded in the new “Scream.” Kirby explained that she had survived the Ghostface attack: “I was technically dead for four minutes. When I was revived, I got mad … I wanted the monsters to be afraid of me.”

Kirby also engaged in another trivia back-and-forth with Mindy Meeks-Martin (Jasmin Savoy Brown) where they agreed on the best “Nightmare on Elm Street” (“the original”) and that “Psycho 2” was “underrated,” but disagreed on the best “Friday the 13th” sequel. Although she is investigating a new set of Ghostface killings, Kirby later becomes a prime suspect. (Watch all on Paramount+.) — Greg Braxton

‘Nashville’

In ABC’s “Nashville,” Juliette Barnes’ storyline was infused with personal struggles similar to Panettiere’s.

(Katherine Bomboy-Thornton / ABC)

Panettiere was noticeably more mature when she became a co-lead role in ABC’s “Nashville” as Juliette Barnes, a crossover singer with more than a few similarities to Taylor Swift. The music-flavored drama, which premiered in 2012, starred Connie Britton as country star Rayna Jaymes, whose career was on the downturn at the same time Barnes was climbing the charts.

The actor injects her “Nashville” character with a mix of sexiness, snark and edge as Barnes becomes rivals with Jaymes. When the two first meet in a dressing room during the pilot, Jaymes is gracious while Barnes is condescending.

Panettiere said in an interview that she was tense during that scene. particularly since it was the first time the two actors had met. She said she apologized to Britton repeatedly saying, “‘I am so sorry!’ Because it was our first experience together, and I didn’t want to step on toes. Sometimes it gets real, very real, you know?”

While filming the series, Panetierre gave birth to her daughter in 2014. She detailed her struggles with postpartum depression in interviews, saying the condition was “scary and needed to be talked about.” In the series, Barnes also suffered from postpartum depression during the show’s third and fourth seasons. (Watch on Pluto TV and Netflix.) — G.B.

‘Kingdom Hearts’

Square Enix’s beloved video game series was my personal introduction to Panettiere and her acting abilities. In the first two installments, Panettiere voiced the kind island kid turned princess Kairi for the games’ English dub. Before protagonist Sora’s (voiced by a young Haley Joel Osment) world descends into darkness, Panettiere’s Kairi is playful and tender early in “Kingdom Hearts 1.” In the slightly more complicated “Kingdom Hearts 2” Panettiere’s older Kairi is contemplative, defiant and desperate to help all her friends. Kairi’s scenes are often accompanied by the powerful score from composer Yoko Shimomura, amplifying the emotion that has driven the games’ fanbase for more than two decades.

“Don’t ever forget. Wherever you go, I’m always with you,” Panettiere’s Kairi says in a memorable cut scene. — A.D.R.

A YOUNG rock bassist in Australia has revealed he only months to live after being diagnosed with colorectal cancer.

Jordan Brunoli, 29, is the bass guitarist for Brisbane-based band Bugs and last year was told he had colorectal cancer.

The rocker gave a devastating update that after trying all kinds of medical interventions he was told in June that his prognosis was terminal, with him having between three to four months to live.

“I have spent over a year now trying different chemotherapy drugs, backed by an amazing oncologist and treatment team,” Jordan wrote on the band’s Instagram. 

“Unfortunately I have a mutation that causes rapid growth of tumours, and none of the treatments have been able to stop the cancer from spreading. I am now entering the final chapter of my life after being told in June I had a prognosis of 3-4 months.”

Jordan vowed to live his life to the fullest and thanked his bandmates, Connor Brooker and Brock Weston and the wider Bugs team for rallying around him to record their latest album, Head Noise.

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“I’m forever grateful for the support from Con, Brock and our OG Bugs team who have banded together to indulge my wish, to release our album and play some shows before I go,” he wrote.

“Head Noise means so much to me. I can’t wait for you to hear the whole album.

“We’ve worked on it for the last 2 years, through the good and the bad. We kept recording when I was recovering from surgery, sick from chemo, even when I had neuropathy so bad I couldn’t feel the guitar I was playing.”

He added: “My focus has always been on enjoying the music and sharing it with others.

“Playing, recording and touring around Australia with Bugs has been the opportunity of a lifetime. I just wanna say, if there were a few final shows coming up, you can bet your ass I’ll be playing them.”

Jordan concluded: “Thank you everyone, and watch me enjoy the f**k out of the rest of my life.”

The bassist revealed his cancer diagnosis last year and explained it was at stage 4 because it had spread to his liver and lymph nodes.

Jordan had surgery to remove part of his bowel and got a permanent stoma before beginning chemotherapy.

Bugs launched a fundraiser at the time to help pay his medical bills and to cover his living costs while he couldn’t work.

The musician used his platform to raise awareness about bowel cancer and its rise amongst people under 50.

GORKA Marquez has admitted he sometimes “can’t be a*sed” to have sex with fiancée Gemma Atkinson as he made yet another joke about their private life.

The Strictly dancer made the candid confession on the couple’s Lost In Translation podcast.

Gorka, 35, said: “Sometimes when Gemma says, ‘Do you want a cheeky one?’ I just think, ‘I can’t be bothered. For f***’s sake, Gemma!’”

He then quickly added: “But I bet she thinks that about me.”

The saucy exchange was sparked by a listener asking whether the couple ever don’t feel like recording their podcast.

They admitted there are days when they aren’t in the mood – prompting Gorka to compare it to their sex life.

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He later swapped back to talking about the podcast saying: “It’s like going for a run. You never feel like doing it, but you always feel better for it afterwards!”

Gemma, 41, chipped in: “You have to have those days where you think, ‘For eff’s sake,’ because then you appreciate the other days.”

It comes shortly after Gorka made headlines with another series of racy remarks to Gemma during a previous episode.

The loved-up pair were answering the question: “Who is fitter out of you both? And what are your strengths and weaknesses in fitness?”

Gorka then decided it was the perfect opportunity to make a string of cheeky comments.

As part of her answer, Gemma said: “I stretch every day. You’ve got to as you get older.”

Gorka winked and replied: “I stretch her out,” before asking: “Can I pipe you tonight?”

Gemma and Gorka met during the 2017 series of Strictly Come Dancing and announced their engagement in 2021.

The smitten pair share two children – Mia, six, and Thiago, two.

Gaza City — Rabab Deifallah sits inside her tent, clutching a small, battered lighter. She presses it once, then again, trying to produce a spark strong enough to ignite a pile of wood inside a stove.

The mother of five has carefully looked after the lighter. Her son has repaired it several times since it became difficult to buy a new one after Israel’s genocidal war on Gaza began in October 2023.

Firewood has become essential for 46-year-old Rabab. She uses it to bake bread, heat water for her children, prepare food and make tea amid shortages of cooking gas and soaring fuel prices.

“Our whole daily life depends on fire,” Rabab told Al Jazeera. “But getting a fire started begins with a lighter and this small object has become one of the hardest things to find in Gaza.”

Before the war, lighters were so cheap and readily available that she remembers buying three for one shekel ($0.33). Today, a new lighter can cost between $27-33 and Rabab last spent $12 to repair her old lighter.

“Should I spend that amount on a lighter, or should I buy a bag of flour?” she asked.

Palestinians in Gaza would rather spend their limited money on food, so a single lighter is often passed around families in several tents.

Some days, Rabab cannot find a lighter at all, so her family has been forced to spend days eating cold food or waiting until a neighbour has a fire burning to borrow a spark.

She often sends a piece of cardboard to a neighbour to get a light off their fire and bring it home. Other times, if a neighbour is baking bread, she may ask to use their oven to prepare food for her family.

The lighter is now something she guards carefully, as it is, for her, the starting point for fire, food, bread and hot water.

A second struggle

Nearby, Hasnaa Mansour, 43, faces the same problem but from a different angle.

Displaced from Jabalia refugee camp, Hasnaa sits beside a clay oven she had treasured since her family’s financial situation deteriorated during the war.

Her husband previously worked as a tailor and the family lived relatively comfortably, but due to a lack of business, Hasnaa now bakes and sells food to help support their six children.

Hasnaa has repeatedly repaired her lighter because buying a new one is beyond her means.

But a shortage of cooking gas has made the problem even worse.

“With gas, all you need is a small spark to light it. But with the oven, I need a real fire,” she said.

“I’ve been sitting here since the morning and by 10 o’clock I still couldn’t light the oven. I sent my young daughter with a piece of cardboard to look for someone who had a fire burning, but she couldn’t find anyone.”

Restrictions and shortages

The lighter shortage comes amid Israel’s continued siege on Gaza.

The UN Office for the Coordination of Humanitarian Affairs (OCHA) says restrictions on the movement of goods and closures of crossings have contributed to shortages and rising prices of essential supplies. OCHA also says items classified by Israeli authorities as “dual-use” face additional difficulties in obtaining approval to enter Gaza.

The Gaza Chamber of Commerce and Industry said in June that restrictions on crossings and the mechanisms for bringing commercial shipments into Gaza continued to limit the flow of goods.

It said that more than 30,000 trucks entered Gaza during the first five months of 2026, an average of no more than 191 trucks a day – still far below the territory’s daily pre-war needs.

In an earlier publication, the chamber of commerce documented the emergence of lighter-repair work during the war, saying lighters were among items prevented from entering Gaza.

That is why lighters are now so valuable and families spend relatively large amounts to fix them rather than buy a new one.

Sharing a single lighter

For Shadi Abu Shamlah, a displaced father living with his family at Al-Karmel School west of Gaza City, the shortage means sharing a lighter among tents.

“The whole school here… you wouldn’t find more than four lighters,” he said.

The few available lighters move from one tent to another as families try to cook, heat water or prepare hot drinks.

“The lighter today is the backbone of life. If you have a lighter in your tent, you’re okay. If you don’t have one, you’re stuck,” he said.

“The simplest things need fire. You want a cup of tea, you want to cook, you want to make milk for a child… you need fire.”

Abu Shamlah says his family sometimes goes to bed without dinner because they cannot light a fire.

Repairing lighters has also become difficult. He says a lighter flint can cost 25 to 30 shekels ($8–$10), while people have resorted to using gas from larger cylinders to refill lighters, sometimes causing burns.

Tamer Al-Shawish, who worked as a driver before the war, turned to fixing lighters to help provide for his family.

On a small stall near Al Karmel school camp, the 24-year-old father of two says his new profession was previously unheard of.

“The war has forced us into jobs and work we never knew before. I started repairing lighters so I could provide for my family’s needs,” he told Al Jazeera.

A new profession

“Before the war, no one needed to repair a lighter. They were cheap and available. When the gas ran out, we would throw it away and buy another one.”

“People come to repair the lighter because it is cheaper than buying a new one, especially with the high prices and shortages of basic goods,” Tamer said.

He salvages parts from damaged lighters to repair others.

“Even an old lighter has value now. We take parts from damaged lighters and use them to repair other lighters, so they last longer.”

When the doors to the emergency room in “The Pitt” swing open and a new patient arrives, we, like the doctors, are on high alert, wondering what the acclaimed medical drama is about to throw at us.

We know two things: The actors will be superb. And it’s best not to become too attached to the characters they’re playing.

Five of those actors earned Emmy nominations for Season 2 guest turns on “The Pitt” last month, a long-overdue return to the time when the guest categories regularly rewarded working actors doing exemplary work.

Even better: Two of the five “Pitt” nominees self-submitted their performances after HBO Max, looking to streamline its submissions in the guest categories, did not put them forward.

If you watched the second season of the show, you could probably name the actors who made the Emmys’ guest list: Tina Ivlev, heartbreaking as the sexual assault survivor; Brittany Allen, poignant as the dying mom; Tal Anderson, combative and funny as Dr. King’s neurodivergent sister, who craves independence from her protective sibling; Ernest Harden Jr., devastating as the doomed Louie; and Jeff Kober, who, playing Dr. Robby’s motorcycle mechanic, has some of the most affecting scenes in the season.

HBO Max entered Ivlev, Harden and Anderson, leaving Allen and Kober to pony up the $225 to submit themselves, joining the ranks of 84 entrants for guest actor and 51 for guest actress. (To be eligible to compete in guest, actors must appear in less than 50% of a show’s eligible episodes.) Eight other actors appearing on “The Pitt” also self-submitted.

“The three actors that HBO put forward delivered beautiful, human work that resonated deeply with audiences, and they were in a tough position having so many actors who had all delivered great performances,” Allen told me over a call from her Pasadena home.

“Though at first there was a moment of disappointment, I quickly moved on from that,” Allen continues. “I didn’t take it personally because as an actor, you get good at not taking things personally.”

Kober, calling from the Valley, signs off on that sentiment. He won a daytime Emmy in 2022 for “General Hospital” after he submitted himself.

“I guess that’s how the Emmys work for me,” he says, laughing. “I don’t know any other way.”

There is precedent for self-submission success at the Emmys. Three “Game of Thrones” cast members — Gwendoline Christie, Alfie Allen and Carice van Houten — entered themselves in 2019 and were nominated. Kelly Jenrette did the same in 2018 for “The Handmaid’s Tale” and earned a nod.

For Allen, it came down to believing in herself and the work she did on “The Pitt.” As her seven-episode arc aired, strangers often stopped her at her local Trader Joe’s and at the park with her 3-year-old son to tell her how moved they were by her performance and her character Roxie’s decision to accept that her life was coming to an end and say goodbye.

But, good as it was and seen as it was, that work didn’t translate into landing an agent. Having recently turned 40, Allen figured she had nothing to lose, having reached an age where she wasn’t “as worried about being perceived as the quiet little girl who doesn’t ruffle any feathers.”

In a challenging industry, that approach has resonated deeply with her peers.

“I’ve had similar moments in the past where I’ve had a memorable role on a high-profile show and I’ve thought, ‘Maybe this will make it a little easier moving forward’ and it hasn’t,” Allen says. “So if ever there was a time to go, ‘I’m going to try to put my name out there in a way that might make me a little more bankable,’ this is it.”

Kober, 72, has had ups and downs over the course of his 40-year acting career and like Duke, the grounded mentor he played on “The Pitt,” he possesses a calm acuity when talking about the profession.

“Acting is the most profoundly spiritual career a person could have because you don’t get into it unless you need approval, and then when you get that approval, you find it doesn’t do a thing for you,” Kober says. “Then you’ve got to find a way to do something with this thing you love that isn’t about getting approval. It’s only when you’re not working for that when you know the work matters.”

With his shoulder-length hair, goatee and go-with-the-flow manner, Kober gives off distinct vibes of another Jeff — Jeff “The Dude” Lebowski.

“I have heard that comparison made,” Kober says, smiling.

Both Kober and Allen express deep appreciation for “The Pitt” as a workplace where actors can come in and do the kind of work that they aspire to do, work that resonates with audiences and reminds them why they entered the profession in the first place.

“I love being on set,” Allen says, “so going to Warner Bros. every morning as the sun rose and watching that miniature city come to life and having the privilege of working in an environment that is so ripe for accessing truth and play and shared humanity was a gift. When Roxie came along, I saw it as the epitome of what I want to offer as an actor and as a person in this life.”

Because of her character’s fate, Allen will not be returning to “The Pitt.” The fate of Duke, diagnosed with a life-threatening ascending aortic aneurysm, is ambiguous. Dr. Robby encourages him to follow up with further tests, which Duke agrees to do if Robby promises to return from his sabbatical and let him take his Triumph Bonneville for a ride.

So … Duke’s coming back, right?

“One would think,” Kober says, hopeful. But then, he jokes that maybe there will be a line next season where someone in the ER says, “Did you hear about Duke? What a shame.”

“Or he could come back in Season 4, who knows,” Kober adds, noting he has heard nothing from the show’s producers. “One thing I’ve learned over the years as an actor is the importance of letting go. That’s the life of an actor.”

Lots of broken-up bands reconvene for a tour, as the Black Crowes did in 2019, half a decade after brothers Chris and Rich Robinson dissolved the Southern rock group they’d formed in Atlanta in the mid-1980s. Some even stay together long enough to make a new record, as the Crowes managed to do with 2024’s well-received “Happiness Bastards.” What’s relatively rare in music is for a reunited band to quickly follow up a comeback album with a second one. Yet that’s what the Robinsons did this year when they dropped “A Pound of Feathers,” the Crowes’ 10th studio LP, behind which they’ll touch down Monday night at the Hollywood Bowl. Ahead of the show, Chris Robinson, 59, called from the road to tell the stories behind five of the band’s songs.

‘Hard to Handle’ (1990)

The Black Crowes broke out with a frisky cover of this Otis Redding tune just as hair metal was giving way to grunge. A hit on MTV, the song drove sales of the band’s debut, “Shake Your Money Maker,” to sales of more than 5 million copies.

There are some songs of Otis’ that I couldn’t do justice. As a 21-year-old kid starting my career — well, we didn’t even know we were gonna have careers — but what am I gonna sing? “I’ve Been Loving You Too Long”? “Hard to Handle,” it’s cheeky, it’s lighthearted. And I loved the break: “Pretty little thing, let me light your candle…” So I took it to George Drakoulias, our producer, and I said, “I think we could do this.” George is the one who turned it into “Walk This Way” — he put it in the same rhythmic space. Otis’ version swings, but we really couldn’t swing at the time.

So “Hard to Handle” wasn’t something you were playing live early on?
No, we brought it in for the record. Being from Georgia and Otis being from Georgia, it was important to us that people knew this is where we’re coming from. Two autumns ago, Zelma Redding and her family invited us to their big old ranch outside Macon, and we had an afternoon in the great man’s study. They have all his awards and guitars and stuff and the velvet slippers he had on when the plane crashed. At certain times in our career, we’ve been like, “F—, do we have to play ‘Hard to Handle’ again?’” We’d jam at the end or try all these things to make it sound different. But as the years have gone by, we just play it the way it’s supposed to be.

George’s engineer, Brendan O’Brien, played the guitar solo in “Hard to Handle.” Why?
We had Jeff Cease, but he’d split and gone back to Nashville. And Rich didn’t play solos back then. That changed, but at the time he was the rhythm guitar player. So it was out of necessity. We needed that meat-and-potatoes solo, and Brendan could rip it. I saw him on some podcast saying we were in L.A. and we were gonna call Slash. I’m like, “No we weren’t — you did the solo in Atlanta on Rich’s Les Paul.”

“Shake Your Money Maker” came out on Rick Rubin’s Def American label, and he’s credited as executive producer. Did Rick do anything on the album?
No.

All righty.
I’m just being honest. George and I lived in Rick’s house — I was in the basement — but the most I saw of him at the time was him leaving to go get lunch at Canter’s with Glenn Danzig. He did come to a session once with Andrew Dice Clay. We were called Mr. Crowe’s Garden at the time — we weren’t yet the Black Crowes. Rick and George were like, “You guys probably need to change your name,” and Andrew Dice Clay goes, “You should change it to Sticky Paste.” I said, “Why don’t you stick to the cigarette over your head, and I’ll handle this?”

‘She Talks to Angels’ (1990)

For “Money Maker’s” fourth single, the band released this darkly poetic ballad about a woman struggling with a drug addiction.

Were you nervous to reveal a softer side?
The only trepidation would’ve been because this was the power-ballad era of all the hair-metal bands.

Poison with “Every Rose Has Its Thorn” and so on.
Every band had one. There were hair-metal bands that only had power ballads — Firehouse or some band with 17th century French aristocrat hair.

Everything but the lace cravat.
Everything but sincere songwriting. Look, they’re people too — I get it. But we wrote a ballad out of the sincerity of how we were feeling, you know? We were reaching for “Wild Horses” or “Dark End of the Street” or “Astral Weeks.” The power ballad was a device for rock bands, but we didn’t use it as that. We used it as pure expression.

Tell me about the story the song tells.
My interest in writing and literature revolved around darker themes, whether it was the Beats or Paul Bowles or whatever. There’s drugs and madness and pain but also glory and redemption and the true heartbeat of life. So the song is a sad story but it’s romantic. There’s no moral gotcha — no resentment toward the character or the predicament they find themselves in.

How’d you come by that approach?
Reading. My mother, who just passed away a few weeks ago, she gave me a great gift: I’m dyslexic, and my mom in the early ’70s in the Deep South, she knew something was up with me. I went to school three times a week after school for years to learn how to read. And when that clicked, that was everything. My life now, it’s horribly boring. Rick Rubin with Danzig at Canter’s sounds exciting compared to Chris Robinson and the used bookstores of my life.

“Angels” is full of vivid details: the lock of hair in the woman’s pocket, for instance. Who were the songwriters that taught you how to create an image?
It all starts with Bob: “Jewels and binoculars hang from the head of the mule” — like, what?! But I’m a funny Dylan fan because I like the weird lyrics he does, like “Clothes Line Saga” from “The Basement Tapes.” Alex Chilton was really big. The first Big Star record I could get my hands on in the early ’80s was “3rd.” As a matter of fact, the first show we ever did, Rich and I played “Nightime” from that record.

On the strength of “Money Maker,” the Crowes were nominated for best new artist at the Grammys in 1991. You didn’t win —
A theme that continues today.

You remember who did?
It was Mariah Carey, I think.

Correct.
Good for her. Rich and I flew in from some tour date for one night, and I remember MC Hammer winning and doing something with Pepsi. I met MC Hammer a couple years ago. Amazingly cool guy.

What put you and Hammer in the same room?
I’m not allowed to talk about that.

Sure.
No, I’m serious — I can’t talk about it.

‘Remedy’ (1992)

The Crowes’ sophomore album, “The Southern Harmony and Musical Companion,” was led by this swaggering soul-rock jam, which Robinson opened with a memorable couplet: “Baby, baby, why can’t you sit still? / Who killed that bird out on your windowsill?”

I was in Philly a few weeks ago, in Rittenhouse Square, and I said to my friend, “That’s the hotel that I opened my window one gray day on tour, and there was a dead bird.” The room was on the 15th floor or something, and I guess the bird had flown into the glass. I was in a series of early failed rock and roll relationships, so my imagination was: Who killed that bird? Oh, she did it. The rest of it’s made up, but I had to see the dead bird that morning to kick off the thought.

There’s some great interplay here between you and your background singers — really draws out the R&B in the band’s sound.
For us, it’s instinctive. I’ve ingested a lot of Funkadelic, a lot of Prince, a lot of the Gap Band. One of my first concerts was Cameo on the “Alligator Woman” tour — mind-blowing. My singing is far more rhythmic than it is melodic a lot of the time. When I was playing with Joe Perry last summer, Steven Tyler came down to the Hollywood Bowl to do “Train Kept A-Rollin’.” He was like, “What key’s it in?” I said, “I don’t know.” He’s like, “You’ve been out with Joe for three weeks, and you don’t know what key the song’s in?” I said, “Steven, are you ready? I’ve never known what key a song is in.”

“Remedy” spent 11 straight weeks at No. 1 on Billboard’s rock radio chart. One of the songs stuck behind it was the Red Hot Chili Peppers’ “Under the Bridge.”
And just think — I never took my shirt off.

‘Sting Me’ (1992)

The tune that eventually knocked “Remedy” from the top spot? The Crowes’ second single from “Southern Harmony.”

It’s as close to a protest song as we ever got. Concerts in the ’90s were wild, man — we were seeing security guards beating on kids. But we were also seeing this blind patriotism toward ideals and philosophies that you’ve never even really looked at with any depth. So: “If you feel like a riot / Then don’t you deny it.”

There’s something slippery about the riff — it takes a second to figure out where the one is.
It fights itself — it’s funky in there. “Shake Your Money Maker” was very straight — click tracks to put the drum track together, now play the bass over that, blah blah blah. We just weren’t great at that point. By the time we’re in the studio with “Sting Me,” though, that’s one take live on the floor. We made “Southern Harmony” in eight days.

You can hear the effect of having played a few hundred gigs.
I’m glad you say that. Now bands are like, “I don’t want to go on the road — I’m gonna take a mental health break.” Can you imagine in 1992, you’re in one of the biggest bands in the world, and you’re like, “Hey man, I gotta chill out”? Get the f— out of here.

The “Sting Me” video was filmed at the Great Atlanta Pot Festival in 1992, which the band played as part of your activism around legalizing weed. What’s it been like to see those efforts succeed to some degree?
My main victory within that, if my voice was a part of it, is that we’re in a more gentle place — that it won’t ruin your life now if the police pull you over and there’s a roach in your ashtray. You have to realize: Being arrested isn’t just about the inconvenience of being incarcerated — it’s that now you’re in the system. I mean, ask any marginalized community — those drug laws were put on the books to keep you down.

‘Pharmacy Chronicles’ (2026)

Over a shuffling country-blues groove, Robinson sings about “perfume, Champagne and sin” in this standout from “A Pound of Feathers.”

Would you have foreseen that, after you got back together, you and Rich would release two albums in less than two years?
I don’t know about that. But leave Rich and I to our own devices, and that’s what we do. Our whole entrée into this world wasn’t because I could sing or he was a great guitarist — we wanted to write songs. I’ve written a lot of songs by myself, and probably out of those songs, there’s a few that I’m proud of. And I think Rich would say the same thing for himself. But there’s just something about the inspiration I get from Rich’s playing that makes us a successful songwriting team.

“Pharmacy Chronicles” has some bedraggled wisdom to it. I’m not sure you could have written it as a younger man.
I wasn’t that cynical then. It’s making fun of yourself in a way — like some old Victorian actor in the bowels of the theater taking his makeup off and wondering what it all means.

Do you think your voice has changed along with your perspective?
Of course my voice has changed — through age and, in the ’90s, through abuse. I can’t hit the super-highest notes I could as a young person. But we still sing the old songs in the original keys. Not that I know what those keys are.

EMILIE Kiser has addressed the controversy that surrounded her after her young son was pictured without a life jacket.

The 27-year-old influencer‘s son, 16 months, was pictured on a boat without a life jacket – and fans were left completely enraged.

In a video posted on Friday, Emilie acknowledged that she and her husband, Brady Kiser, 29, made a mistake for not putting a life jacket on their son and apologized for the incident.

“I understand this conversation.

“I think it is important. It holds people accountable, and I know that I am not perfect.

“I know that we make mistakes, and all I can say is that I’m sorry, and that I know we made a mistake,” Emilie said.

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She captioned the video, “Thanks for listening. Hope you all have a safe and good weekend.”

Emilie also shared a statement which read: “Our child should have been in his life jacket for the entirety of that boat ride, not even for the few moments that he was out of it.

“We are painfully aware that in a matter of seconds, your entire life can change, and we should have done better.

“We recognize and appreciate the genuine care that people have for our children.

“There has also been a deep level of anger and hurt directed toward our family, and we understand the basis of those feelings as well.

“It comes from the belief that Trigg should still be here, and we share that same belief more than can be expressed. He was only three years old, and should have lived a lifetime more. That reality lives with us every moment of every single day.

“We will continue to do better, advocate for better and, as hard as we try to avoid them, still make mistakes. We can only promise that we will never stop learning from them and continue loving our children with everything we have.”

The footage of Teddy was captured during a June family trip to Mallorca, Spain.

The footage was shared by fellow influencer Madi Curtis in a now-deleted upload.

Teddy could briefly be seen sitting on the boat with Brady without a life jacket.

This comes just a year their son Trigg died after falling into the family’s pool.

Arizona police alleged Brady was watching an NBA playoff game while Trigg, 3, fell into the water and was alone for over nine minutes.

Brady found him unconscious, and Trigg died six days later in the hospital on May 18, 2025.

Just last month, Emilie revealed she’s expecting another child.

Taking to social media in July, Emilie penned: “As I stated last year, my family’s privacy will always be my priority.

“Because of that, I’m not sure how much I will be sharing about this pregnancy and next phase of life, but I appreciate your understanding as I navigate those boundaries.”

She added: “This baby has already brought so much hope and joy into our home, and we are treasuring every moment of it together.

“Thank you in advance for all of the love, well wishes, and support as we navigate this next chapter of our growing family.”

The influencer recently opened up about her grief and her decision to stay with her husband in mid-June on the Jay Shetty Podcast.

“Losing a child really shows you, in the scariest, most real way possible, just how quickly life can change and how quickly life can literally be taken away,” she said.

“And I think that really scared me with Teddy [her youngest son].”

Emilie revealed there were times she was “so angry” at her husband and was unsure if she could ever forgive him.

LIAM Payne’s girlfriend Kate Cassidy has revealed that she’s ‘living her best life’ after making one change since his passing.

The social media star was in a relationship with the 1D singer before his tragic death at the age of 31 in October 2024.

In her latest TikTok video, Kate explained she was putting herself first and said: “Your best life starts when you put yourself first.”

The highlight clip included Kate being carried across a grassy field at a festival and wearing a green halter‑style outfit with a matching scarf as she posed for a selfie.

She was also seen in sunglasses with a friend at a huge gig as they partied with a crowd behind them.

Another showed Kate driving with a friend in a red convertible as they cruised down a sunny street.

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Another image showed her sitting on a huge swing with chain supports, as she leaned back with her arms outstretched.

She accompanied the video clip with the hit tune Stop The Wedding by Ashe.

Fans flocked to comment and one wrote: “Keep glowing babe.”

Another added: “I’ve been a fan for a while and I love too see you keep glowing as the time goes on.”

A third added: “You give me so much hope. May you live happy.”

This comes days after Kate hit back at trolls who accused her of abandoning the dog she shared with the singer.

The influencer and her late One Direction star boyfriend adopted their rescue pup Nala just a month before the singer’s tragic passing.

In a TikTok post, a jubilant Kate revealed she was flying off on another trip.

Sharing a video from the airport, she wrote over the top: “I’ve been flying out of town for some peace of mind.”

However, some fans wanted to know where Nala was, while she went off on her holiday.

But Kate was quick to shut down speculation she had left her dog home alone.

“Nala is literally staying with Anna everyone plzzzz,” she snapped back.

Liam tragically lost his life when he fell from the balcony of the hotel he was staying at in Argentina in 2024.

A new young adult series has entered the chat.

“Sterling Point” has all the hallmarks of your usual YA obsession — yearning, an awkward love triangle, a lack of adult supervision, an enviable waterfront setting and complicated friendships. Unlike most other YA series of the moment, it’s an original story that isn’t based on a book. Created by Megan Park, the writer-director behind Sundance hit “My Old Ass” and an actor with roots in the coming-of-age circuit in shows like “The Secret Life of the American Teenager,” the heartfelt drama centers heavily on the complex relationship between two teens who discover they’re half sisters after a death exposes a deep family secret.

It’s the latest series helping Prime Video step further into its WB/The CW era as a go-to destination for younger audiences, joining hits that include “The Summer I Turned Pretty,” “Every Year After,” “We Were Liars” and “Off Campus.” Not to show my millennial wrinkles, but unless the streamer invests in a campaign that evokes the spirit of late ‘90s marketing push known as “The Faces of WB,” what’s even the point of it all? Until then, in this week’s Guest Spot, we spoke with Park about the series that has teen drama enthusiasts hooked.

Also in this week’s Screen Gab, our writers recommend a six-part British television drama that recounts the tragic 1988 bombing of Pan Am Flight 103 and a 2007 stoner comedy directed by Gregg Araki that will help you mellow out and pregame this weekend’s latest addition to the genre. — Yvonne Villarreal

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Recommendations from the film and TV experts at The Times

Phyllis Logan, left, Molly Geddes and Cora Bissett in “The Bombing of Pan Am 103.”

(Netflix)

“The Bombing of Pan Am 103” (Netflix)

Admittedly, I didn’t know a lot about the Pan Am flight disaster that this miniseries depicts, but I’m glad that’s no longer the case. This BBC production (it debuted in the U.K. last year) depicts the stories of American and Scottish investigators who spent more than a decade combing through evidence, clues and tips to bring justice to the families affected by the bombing of Pan Am Flight 103. In 1988, the commercial jetliner was transporting 259 people, including 190 Americans, when it exploded over the skies of Lockerbie, Scotland, killing everyone on board and 11 Scots on the ground. Until the events of Sept. 11, 2001, it was one of the most lethal acts of air terrorism, according to the FBI. In the series, we see the gravity of the disaster, but also a deep layer of humanity, showing how Lockerbie and its citizens were irrevocably changed, yet their compassion never wavered, whether for each other or the victims’ families, who formed a lasting bond in an unlikely place. The main characters in the show are based on real-life people: Connor Swindells is DS Ed McCusker, who helped lead the investigation in Scotland; Patrick J. Adams is FBI Agent Dick Marquise, who led the American investigation; and the brilliant Merritt Wever is Kathryn Turman, a tireless advocate whose work led to reforms and services for families of victims. Be prepared to watch with a box of tissues. — Maira Garcia

Anna Faris, John Krasinski, center, Michael Shamus Wiles in 2007’s “Smiley Face.”

(Lacey Terrell / First Look Pictures)

“Smiley Face” (Prime Video)

This has been a stand-out summer for highbrow discourse about Homeric adaptations. As a reward, let’s get stupid with Gregg Araki’s 2007 stoner flick “Smiley Face,” a giddy, silly romp about a slacker (Anna Faris) whose troubles start when she snarfs a plate of pot cupcakes for breakfast. Her misadventures treat us to a tour of L.A. — from a Hollywood casting office to the Venice Beach boardwalk, with a pit stop at a meat-packing plant in El Monte. Even better, it’s a tour de force performance from Faris, who plays an impulsive mess with the fearlessness of a clown leaping into a kiddie pool of pudding. She deserved to make a dozen more movies just like it. (The “Scary Movie” franchise only halfway counts.) If “Smiley Face” gives you the munchies for a great new comedy, check out “The Wrong Girls” with Kristen Stewart and Alia Shawkat and Araki’s latest farce, “I Want Your Sex,” which stars a ferociously funny Olivia Wilde. — Amy Nicholson

Guest spot

A weekly chat with actors, writers, directors and more about what they’re working on — and what they’re watching

Ella Rubin and Amélie Hoeferle in “Sterling Point.”

(Prime Video)

The enemies-to-lovers romance trope in a teen drama? It’s been done. “Sterling Point” anchors its premise on an enemies(ish)-to-sisters storyline. The coming-of-age drama opens with 17-year-old twins, Annie Jacobson (Ella Rubin) and her twin brother Connor (Keen Ruffalo), who were raised in New York City and inherit a Canadian island following the death of their estranged grandfather. The series follows Annie as she sets out to the island and encounters Ramona (Amélie Hoeferle), the half sister she didn’t know existed until she arrived there. Their initial friction gives way to a tight bond as they piece together emotionally heavy family secrets.

The series hails from Megan Park, who has become known for her nuanced stories about young people with films like “The Fallout,” a drama starring Jenna Ortega about the aftermath of a school shooting, and the Aubrey Plaza-led “My Old Ass,” about a teenager who meets her older self while on a mushroom trip. Over video call, Park discussed the “Sterling Point’s” origins, her hopes for Season 2 and the coming-of-age stories that she admired growing up. — Y.V.

Many series about and catering to young adults right now, some of which are part of Prime Video’s lineup, are based on books that have built-in fan bases. Did that make “Sterling Point” a harder sell? What was your experience of pitching it?

Yes, I think people are always more nervous to take a risk on something brand new when you’re like, “This is just a weird idea I had in my brain, but trust me I think it’ll work.” But I was really lucky with Amazon being so supportive because they had just acquired “My Old Ass” and I think they understood the voice and the stories that I was wanting to tell with the show. I was shocked that people were willing to take the risk of being like, we’re going to go in a writers room and we’re going to figure out the show in an old-school way; we’re not going to rely on any kind of built-in audience or IP. I’m very thankful for Amazon for taking that chance on us. It’s not that I’m against adapting IP. I’m sure I would do that at some point, but I had an idea and somebody still wanted to listen to it, so I feel very grateful for that.

What inspired this story ?

I wanted to try [writing for] TV because I was like, “Well, eight hours is a lot more content than just making a movie.” That was a fun challenge to me. When I was acting, I spent so many years doing TV, so it felt like home. For me, it was the sisterhood story and sort of the the idea of these two young women who are connected by this woman that they don’t know and don’t feel like her death has necessarily affected either one of them, and it has very much affected both of them. I thought it was an interesting idea to explore, nature versus nurture. I come from a family where there’s a lot of adoption, and I had also never really seen a character like Annie where they were adopted and they didn’t have the desire to seek out their biological family, and that was just something they were fine with. That’s been an experience of a lot of people in my family. Oftentimes, [we see] stories about you know people wanting to find their biological family. Both of them exist, but I hadn’t seen the latter in a lot of things. I was excited to explore that.

Daniel Quinn-Toye, Bo Bragason and Jacob Whiteduck-Lavoie in “Sterling Point.”

(Prime Video)

Identity, and how that’s shaped by our parents, drives so much of the story. What interested you in that parent-child or just familial dynamic?

I’ve always just loved stories that are about that; family dynamics are the most interesting to me because they’re so full of triggers, and everybody has some kind of crazy story within their family, or a mystery. At that age, you’re finally realizing your parents are just people too, and they maybe don’t know everything. And maybe you have different ideas or thoughts about how the world works than your parents, and that can sometimes not go over very well. It is an interesting time. And as a mom now with children — I have a 2- and 6-year-old — you think a lot about like, “Wow, how are my kids going to feel about A, B, and C when they’re this age? What’s my relationship going to be with them as teenagers and adults?” It’s so wild to think about. I was also writing it, thinking about a lot about the mom and the parents POV as well.

The show has romance or feelings of infatuation that are a hallmark of young adult dramas, but it’s not the focus of the show. It’s the relationship between the sisters. There’ve been studies saying that teens want less sex in TV and movies, that they prefer watching stories about deep friendships or platonic relationships. Was that top of mind for you at all?

You’re the first person who’s asked me that, and I feel like yes. We love a love triangle, we love a love story — it’s so fun and such an escape; it’s almost like an essential part of a show in a way. But especially this generation, their friendships are deeply important and they live at home longer, statistically. Their relationships, their parents, are a lot different than maybe millennials’. When I was in high school, I was never involved in romantic relationships. That was a later part of life, and I feel like I’ve talked to a lot of people, they were like, I wasn’t dating really in high school. I was not ready and not there yet. You don’t often see that. And so it was fun to have this this North Star that the real love story and the real heart of the show is the sisterhood, and I hope that sets the show apart in an exciting way, because it felt that way when we were writing it.

The season ends with Annie and Ramona essentially swapping locations. What are you interested in exploring in a Season 2 with these characters?

I have a whole bunch of ideas left, so we shall see. There’s a lot between these two young women having now experienced each other’s lives fully that is going to be really interesting to explore and pick up, hopefully, if we get the chance to. Listen, eight hours seem like a lot, but once you get into it, you’re like, “Wait, man, there’s eight hours more that I think I could get deeper into A, B, and C.” And there’s so many great supporting characters in the show, and we had stuff [for them] that we wanted to fit in for them in Season 1 that we just couldn’t fit in. Season 2 could be fun in that way, where you know these people and know the world, and now you can go more into [who they are.] Who is Oona’s mom? There’s all these other characters who we can get more into their world as well.

The YA genre is thriving right now. And it’s not even just young people tuning in — I feel like I see so many TikToks from millennials and Gen X talking about their obsession with them. Why do you think we’re still turning to these types of stories later in adulthood?

Because it’s nostalgic. It’s such a defining time in every single person’s life. It’s why young people are finding shows that we grew up on, like “One Tree Hill” or “Dawson’s Creek.” And why women in their 50s or 60s are still relating to the newer shows like “Off Campus” and and “Elle.” It doesn’t matter the era; it’s just the unique sort of idea that it’s the first this, the first that; the defining moments of our lives in so many ways.

In the spirit of this series, what were some of the coming-of-age films, TV series or books that shaped you?

I grew up in like the era of such great coming-of-age comedies — “Clueless” was a big one for me — and really epic rom-coms like “How to Lose a Guy in 10 Days.” Those movies really stuck with me. I would say that Chris Columbus, as a filmmaker, makes movies like “Mrs. Doubtfire,” “Step Mom” — those movies that are such wild ideas or really sad things, but you’re also unexpectedly crying. In “Mrs. Doubtfire,” you’re like, oh, this is a story about a dad who misses his kids, but it’s so heartfelt but also funny at the same time.” I want to make things that are heartfelt, which isn’t necessarily a cool word to some people. I think it’s cool because I want to make things that are meaningful but also lead with their heart, and you’re surprised when the emotion comes. It’s not just super, super dark or super, super light and fluffy; it hopefully falls perfectly right in the middle.

ICYMI

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When she’s not showing off her brainiac skills, The Chase star Jenny Ryan is loved-up with her actor partner

Jenny Ryan is a firm favourite on The Chase – but who is her real-life boyfriend?

The brainiac shot to fame when she joined the ITV quiz show – hosted by Bradley Walsh – back in 2025. Since then, Jenny has become a regular on TV screens.

From stints on Celebrity X Factor to the new spin-off programme, The Chase Around The World, Jenny, also known as the Vixen, has remained booked and busy.

But away from the TV sets, Jenny is loved-up with her long-term boyfriend, Thom Tuck who also happens to work in the showbiz and entertainment industry.

Over the years, Thom has appeared in the likes of a number of hit shows, including The Crown, Fresh Meat and Babylon. He’s also shown off his talents on stage, performing in theatre productions of Death of A Salesman and Three Sisters.

Thom was also nominated for Best Newcomer at the Edinburgh Fringe for Thom Tuck Goes Straight-to-DVD. The show managed to get adapted to BBC Radio too.

But that’s not all, as Thom is one-third of the acclaimed sketch troupe The Penny Dreadfuls who have made series for Radio 4 and several audio dramas.

What’s more, Jenny and Thom even worked together when they co-starred in the pantomime production of Sleeping Beauty at the Wyvern Theatre in 2025, in which Jenny played the Wicked Fairy Carabosse and Thom played King Keir.

The pair also appeared on Celebrity Escape To The Country in 2023, and shared their plans to move from the city “back home” to the countryside near her hometown of Bolton.

Looking to relocate with a budget of £850,000 Jenny and Thom were shown an array of residences, turning down the first one but falling totally in love with the second one.

After the show aired, Jenny issued an update to fans a year later on her and Thom’s living situation, revealing on Instagram that she sadly did not buy the house.

She explained that before she could even get another viewing, another person put an offer on the property. Jenny then said she was not surprised another house hunter had bought the property but quipped “the search continues”.

The Chase Around The World airs every Thursday at 9pm on ITV1

Duvetyne, or in this case the alternative spelling Duvateen, is a twill fabric with a matt finish that makes it ideal for blocking out light.

In its black fire-retardant form, it has widespread use in the film industry to ensure the right controlling effect.

In the first season of the ­original Star Trek for instance, exterior shots of space, “the final frontier”, were created by gluing glitter to it.

As you’ll discover, it was also used by The Afghan Whigs’ frontman Greg Dulli — and now it’s the name of a pivotal song on the band’s tenth studio album, Soft Control.

It is 40 years since he formed the Whigs in Cincinnati, Ohio, later moving to Seattle to become Sub Pop label mates with grunge pioneers Nirvana, Mudhoney and Soundgarden.

But Soft Control, their first LP in four years, has to be one of their most urgent, textured and captivating efforts yet.

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When he calls from America’s West Coast, it’s the first time I’ve spoken to Dulli since 2008.

He was in London then during an extended Whigs’ hiatus, promoting The Gutter Twins’ album Saturnalia, made with the late Mark Lanegan, one of the grunge movement’s defining singers both with the Screaming Trees and as a solo artist.

Lanegan died aged 57 in 2022, a year after battling a severe case of Covid at his adopted home of Killarney, Ireland. “Mark is someone I miss . . . every day,” Dulli tells me.

He returns to the subject in hand and provides a fulsome explanation of his song Duvateen.

“There was a time in my life when I put it on all my windows,” he admits. “I kept my house in permanent night, living the vampire life.

“I had a friend in the movie business so I went with her to get some. I saw what it could do for me.”

So, what DID it do for you? I venture with a degree of trepidation.

“It was decades ago and I just didn’t have any use for sunlight or for being outside,” replies Dulli, before adding with a knowing sigh, “It was clearly not a healthy time for me.”

By calling the piano-led song Duvateen, Dulli, who delivers the lyrics with white-knuckle intensity, is using it as a metaphor for the infinite void — or, if you like, ­mortality.

He admits: “The symbolic nature of it is not lost on me.”

With lyrics that span his childhood, “teacher gonna chase us down the hall”, to the grave, “dig somebody’s hole”, it encapsulates the circle of life and serves as the album’s heartbeat.

Its sound is in stark contrast to the more rock-heavy numbers, drawing this response from Dulli: “When I get a piano song like that, it’s an exciting moment in my life.

“It’s the sort of thing I could play to my mom.” As for the idea that Duvateen is the album’s centrepiece, he says: “You write songs and, as some emerge, they state their alpha-ness.

“Duvateen got my attention very quickly. It started out differently — a bit like Honky Tonk Women for a minute — but I completely changed it.

“It was one of those songs when you feel as if your hand is being guided from beyond.”

I suggest to Dulli that listening to Soft Control’s ten tracks “feels like an emotional rollercoaster”.

“Well, life in general is an emotional rollercoaster for me,” he replies. “It would stand to reason that any art I put forth would be a similar thing.”

Next the single-minded singer describes his path to the album: “We did a Covid record that came out in ’22, then we toured it for a year.

“Then I took some time off and travelled. I didn’t start working on a new record until ’25.

“But once I began writing songs again, they were happening fast and furious. I did 20, 22. Cut them down to ten. And here’s the ten.”

The result is a concise, dynamic punch of an album. “I like 40 minutes or less and I like ten as a round number,” says Dulli. “I’ve been landing on it for the past four or five records.

“They’re like a little family and sometimes they waiting for a little brother or sister to show up. I wrote the final song, Loose Talk, earlier this year.”

The album comes bursting out of the blocks with taut Jungle Roux and riff-heavy House Of I.

Elsewhere, My Lover leans into the band’s R&B credentials while stately The Deepest Part Of The Darkest Shadow serves as a companion piece to Duvateen.

There’s a song called Memphis, Texas, not as strange as you think because there is such place, along with the famous Memphis in ­Tennessee where Elvis made his name.

The album ends with A Simulation, 70 seconds of ambient beauty segueing into one of Dulli’s most tender vocals and a gorgeous string arrangement.

He calls it one of his “most existential songs”. “I get overwhelmed by injustice, sadness, and people and animals being hurt. I know I’m not the only one wondering, ‘What the f*** are we doing here?’”

But now, before we go any further, it’s time to tell Dulli’s story beginning with his teenage dream of fronting a band, inspired by a legendary psychedelic soul band.

He recalls: “I went to see The 5th Dimension. When (singer) Billy Davis Jr. took off at the end of Let the Sunshine In, it was the most electrifying thing I’d ever seen. I knew I wanted to be a lead singer.”

Having dropped out of studying film at the University Of Cincinnati and flirted with the idea of becoming an actor, Dulli formed his first band, The Black Republicans, in the mid-Eighties.

Did they find it hard to get noticed at first? I ask. “When you’re 20 years old, nothing’s hard, man,” he answers. “You’re literally immortal.

“We all had regular jobs. I drove a taxi. I cooked in a restaurant. I painted houses, put roofs on houses. I was a roadie-type guy at the big theatre in town.”

Crucial to Dulli’s trajectory was the recruitment to The Black Republicans of bassist John Curley, the only Whigs founder member still by his side today.

He says: “We would see this bearded dude at our shows. We all thought he was about 40.

“Then one night after the show, he walked up and introduced himself to me, saying, ‘I’m better than your bass player.’ John came by our rehearsal place and played his way into the band.”

Dulli describes what happened next: “I moved to Arizona for six months and wrote a bunch of songs.

“Then I came back to Cincinnati and started the Whigs with John, Rick McCollum (guitar) and Steve Earle (drums).”

He remembers the Midwestern city on the Ohio River being a “great jumping-off point” because so many towns “weren’t that far away from us”.

Dulli rattles off the places in the manner of Johnny Cash singing I’ve Been Everywhere — “Louisville, Lexington, Kentucky, Columbus, Athens, Cleveland, Toledo, Detroit Chicago, Indianapolis, St. Louis, Pittsburgh.”

But most inspirational to Dulli was a venue in Newport, Kentucky, just across the river from Cincinnati, The Jockey Club.

“Back in the day, the jazz dudes Frank Sinatra, Dean Martin, Sammy Davis Jr. played there,” he says.

“Then it fell into disrepair before opening again as a punk rock club. When I got to college, my roommates were deep in that scene and that’s how I got into The Jockey Club.

“I saw The Damned, Ramones, Johnny Thunders, Violent Femmes, Hüsker Dü, The Replacements, Killing Joke, so many great people.

“And everybody in the area cut their teeth there. If you were in a band, you played The Jockey Club and you played it multiple times a month.”

In 1989, the Whigs self-released debut album Big Top Halloween caught the attention of Seattle-based Sub Pop’s boss, Jonathan Poneman, who offered them a contract.

Suddenly, they were label mates with grunge pioneers Nirvana and Mudhoney — but they were a very different beast.

Dulli says: “We were outsiders in more ways than one. We were from Cincinnati and we weren’t from the Northwest.

“Our covers were R&B covers instead of Stooges’. I love The Stooges but we had bonded over The Temptations. At our first rehearsal, we played Psychedelic Shack.

“We formed in October, 1986, and played our first gig in January the following year — and I guarantee you we played Psychedelic Shack at that show.”

Dulli was also infatuated with a Midwestern powerhouse in the shape of genre-defying Minneapolis-based Prince.

“We weren’t trying to sound like Prince,” he says. “But you could grab elements of him and stick them in your quiver.”

So what was it like heading to Seattle and mixing with Kurt Cobain and Co?

“It was like seeing people our age doing cool things,” says Dulli. “When Nirvana knocked Michael Jackson off No.1 on Billboard, I thought, ‘Wow! One of our own is at the top’.

“It was an exciting time, certainly in Seattle, where we had a front-row seat to it all.

“We loved all those guys and we loved those bands, played with everybody, and got to know everybody.”

When it came to meeting his biggest buddy from the scene, Mark Lanegan, it was via a different route.

“I met Mark in Boston when the Screaming Trees, Primus and the Whigs were on the same bill but we didn’t start hanging out until around 2000.”

The Whigs enjoyed a stellar Nineties, navigating their way through the music industry “machine” on various labels but coming up with at least three first-rate albums, Congregation (1992), Gentlemen (1993) and 1965 (1998).

In 2001, frazzled Dulli decided to take a step back and the Whigs disbanded. Aside from a brief recording reunion in 2006, the ­hiatus lasted ten years.

He says: “I had absolutely no intention of being in the Whigs ever again. In my creative life, I’m so proud of the things I did during that time — The Twilight Singers and The Gutter Twins.

“But when the door opened to the Whigs again, I was a different person and ready to step through it.”

Dulli remembers the times he would pass through his home town of Cincinnati where bassist Curley and his wife were raising their two daughters. “We were all pretty cooked from the Whigs experience but John would come to the shows and would get up on stage and play with either one of my bands — and everybody loved it.”

In 2010, when Dulli was on a solo tour, Curley did his usual thing but was then persuaded to do the next night in Chicago, a five-hour drive away.

He says: “It was the first time in 11 years that anyone had seen John Curley and I on stage together outside of Cincinnati.

“When I introduced him, the ovation was so unexpectedly loud and long. That, effectively, was the catalyst for the Whigs reforming.”

Since getting back together, they have made four studio albums, Do To The Beast (2014), In Spades (2017), How Do You Burn? and the imminent Soft Control.

The current line-up is Dulli, Curley, multi-instrumentalist Rick G. Nelson, Christopher Thorn (guitars) and Bryan Lee Brown (drummer who recently replaced Patrick Keeler who tours with Jack White).

Forty years on since the Whigs formed, Dulli says: “I’m still smiling at my good fortune. Still putting out music, playing live, the whole works. I’m a lucky fella.”

He accepts that he used to be “an angry young man” but, at 61, he has found a degree of peace.

“I had an imaginary chip on my shoulder that I needed to get rid of,” he says.

“You can tame yourself but you can always go back to the wild side — just in case you need to explore.”

It’s fair to say that The Afghan Whigs’ latest album is one of his walks on the wild side.

THE AFGHAN WHIGS

Soft Control

★★★★☆

American football player Travis Kelce has reflected on his wedding to Taylor Swift, telling US media that their nuptials were “the best night of my life”.

Kelce and Swift tied the knot on 3 July at New York’s Madison Square Garden in a star-studded event that was largely kept private.

Few details from the ceremony have been shared publicly and Kelce’s comments on Wednesday mark the first he’s shared since the couple were wed by comedic actor Adam Sandler.

“It was kind of cool to live out my childhood dream of being in that venue, the mecca of all sports venues, being able to get married there,” Kelce told reporters at the Kansas City Chiefs’ training camp in Missouri.

Kelce called the wedding “the best night of my life”, thanking guests who attended and calling it “a crazy night”.

The NFL star and the award-winning singer have kept much of the details of the wedding private and there have been no official photos released of the ceremony held inside the stadium. A litany of Hollywood A-list stars, such as actors Hugh Grant and Jason Sudeikis, singer Benson Boone and model Gigi Hadid were in attendance.

Kelce said he had wanted to attend a game when the New York Knicks basketball team were having a good playoff run last year, but had other commitments. The team ended up winning the NBA championships for the first time in nearly six decades.

“My wife went when I was stuck in a mini camp so I didn’t get my opportunity to go then,” he said referring to Swift as his wife publicly for the first time. She sat courtside at Game 4 of the NBA Finals, when the Knicks pulled off a stunning upset against the San Antonio Spurs in a 107-106 finish.

With the blink of an eye, years go by so fast covering high school athletes. It seems like only yesterday Jake Bauers was a senior at Marina High collecting 48 hits with a .571 batting average. Thirteen years later, Bauers has a beard, tattoos and is in his seventh major league season as the first baseman for the Milwaukee Brewers.

The last time I saw him was the Division 1 championship game at Dodger Stadium. His team lost 1-0 to Harvard-Westlake and Jack Flaherty at Dodger Stadium.

Fast-forward to Tuesday afternoon. He’s in the visiting clubhouse at Petco Park preparing to face the San Diego Padres, the team that drafted him in the seventh round in 2017. He’s as levelheaded and as comfortable as he was living in Huntington Beach. He has 21 home runs this season. Not bad for someone who didn’t get to play varsity baseball until his junior season.

Wearing No. 11 on her cheek at Marina games was his girlfriend, Lauren Carr, now his wife and mother of his two children.

“Same one,” he said of his biggest fan.

Not playing varsity until junior year is now considered a little unusual for top players, but Bauers said it’s nothing to think deeply about.

“We had a good team,” he said. “Maybe it was frustrating at the time. In hindsight, it doesn’t really matter. If you’re a good player, you’ll keep playing.”

The Brewers can call themselves the best team with the most Southern California natives. Trevor Megill, a high school teammate of Bauers, joins Joey Ortiz (Garden Grove Pacifica), Brice Turang (Corona Santiago), Garrett Mitchell (Orange Lutheran) and Christian Yelich (Westlake) as the SoCal group.

“We got a lot of guys from Southern California,” Turang said. “It’s cool. A lot of guys played against each other in high school.”

The Brewers also drafted in the last two years the Ebel brothers from Corona, Brady and Trey, so when they make visits to Dodger Stadium, it’s a big deal.

“Crazy,” Turang said of the Southern California players getting asked for tickets.

Bauers, 30, certainly hasn’t lost his passion for fun. He was playing two Brewers in a video game before heading out to the field.

He said people change as they get older.

“Years of experiences, you gain perspective if you’re willing to look at yourself,” he said.

Turang was asked what high school kids today need to do to succeed in their journey to major league baseball.

“You have to practice every day. This doesn’t come easily,” he said.

Lillia Turner, who plays Lily Slater on EastEnders, has forged a remarkable bond with her on-screen mother Lacey Turner – and the pair share more than just a surname

EastEnders star Lillia Turner joined the soap as Lily Slater back in 2020.

The actress may share a surname with her on-screen mum Lacey Turner, but the pair are not related in real life though you would be forgiven for thinking otherwise.

The teenager, who plays feisty Lily on the BBC One soap, has built a warm and genuine relationship with Lacey, who plays Stacey Slater and the bond between them is clear both on and off set.

Lillia was born on 16 March 2009, making her 17 years old, while her on-screen character Lily is currently 16. She took over the role in 2020, having been chosen to breathe new life into the character previously played by Aine Garvey from 2014 to 2019.

Away from the bright lights of Walford, Lillia lives the life of a typical teenager. In May 2025 she temporarily stepped away from EastEnders to focus on her GCSE examinations, demonstrating that despite her impressive acting career, her education remains a firm priority.

She returned to screens in August 2025, picking up where she left off and continuing to impress both fans and fellow cast members alike.

One of the most charming glimpses into Lillia’s life away from the soap came when she teamed up with co-star Thomas Law, who plays Peter Beale, for an impromptu singing session.

The pair took advantage of a break on set to record a rendition of Best Part by Daniel Caesar, with Law posting a snippet of the performance on Instagram, writing: “[Lillia] and I stealing the echos from the staircase for our teaser version of this beautiful song.”

The clip quickly drew warm reactions from their EastEnders colleagues. Bobby Brazier, who plays Freddie Slater, wrote: “Omg so happy to see, yes lilia,” while Denise Fox star Diane Parish called them “Cutie pies.” Lauren Branning actress Jacqueline Jossa added: “Lillia amazing beautiful girl x.”

The performance offered a peek at a hidden talent that has clearly delighted her castmates, with Lillia’s singing voice earning particular praise in the comments.

Despite not being related in real life, fans frequently mistake Lillia and Lacey for genuine family members thanks to their striking facial similarities, matching surnames and undeniable on-screen chemistry.

Lacey has been vocal in her admiration for her young co-star, heaping praise on Lillia in an interview with Digital Spy.

“Lillia is such a great little actress. There’s something about her that is so warm and so natural, and her instincts are just bang-on,” Lacey said. “She’s been so desperate for a storyline of her own for so many years, so to see her have one is lovely.

“To watch her absolutely nail it has just been brilliant. I’ve tried to stay out of it as much as I can because Lillia actually doesn’t need any help, tips or guidance because she’s just great. She’s got something that is so natural that I don’t want to take that away from her.”

It is high praise indeed from one of EastEnders’ most beloved and long-standing stars, and a testament to just how much of an impression the young actress has made since joining the cast.

Since her arrival on EastEnders six years ago, Lillia has tackled some of the soap’s most challenging storylines, most notably when Lily discovered she was pregnant at just 12 years old.

The powerful performance earned Lillia the Best Young Performer award at the 2023 British Soap Awards, cementing her status as one of the most talented young actresses on British television.

More recently, Lily has found herself at the heart of a gripping new storyline surrounding the attack on Joel Marshall, with the character confessing she had been withholding key information about what she witnessed that night.

With her GCSEs behind her, a soap award already on the mantelpiece, and a castful of admirers cheering her on, Lillia’s future both on and off screen looks extraordinarily bright.

EastEnders airs Mondays to Thursdays at 7.30pm on BBC One and BBC iPlayer

K-POP influencer Mina Chan, 26, has taken her own life during a disturbing livestream.

She said she had been harassed by the fans of a popular boy band for “overstepping boundaries” in the days before her death.

The Japanese social media star died by suicide in the early hours of August 5.

She was based in South Korea and known for running a fan account for K-pop boyband Enhypen.

More to follow… For the latest news on this story keep checking back at The Sun Online

Thesun.co.uk is your go-to destination for the best celebrity news, real-life stories, jaw-dropping pictures and must-see video.

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Jessica Williams always goes to bed laughing.

“Everything’s so sad,” the actor explains. “Not taking yourself seriously is the only way, because otherwise I would just be upset, especially as a Black woman in the year 2026. I hate when people are on ‘The Bachelor’ and they’re like, ‘I love laughing,’ but it’s true. I really love it.”

Williams, 37, knows a thing or two about making others laugh. A three-time Emmy nominee for supporting actress in a comedy series for her work on “Shrinking,” she’s made an art of it. On a show about grief and mental health, Williams is often on hand to bring the funny.

Curled up in a chair on the top floor of The Times’ offices in El Segundo, looking down on the runways of LAX boiling in the late July sun, Williams gives runway fierceness against the beige office walls. She is just like the pop of bubblegum pink polish on her toenails as she strikes a pose in a chic all-black linen ensemble — a delightful burst of cheer in a subdued environment, something effervescent amid so much inoffensive sameness. She’s always been that way.

I would know; I’ve known her since we were 12 years old, awkward adolescents in Marcia Barryte’s Dodson Middle School drama class. As we catch up, I remind her of a PG-13 scene she caused in eighth grade science class during an earthquake drill. (To be fair, the drama students were asked to play standardized patients, and she was assigned “hysteria.”) While the class collected our backpacks, she broke into an award-worthy performance, wailing about not wanting to die a virgin.

“No!” she gasps, covering her mouth but unable to hide the mischievous grin that’s broken across her face at the memory. “That’s very inappropriate. I love that.”

Under slightly different circumstances, it’s a storyline that could belong to her “Shrinking” character, Gaby Evans, a therapist who brings her sunny demeanor, audacious sense of humor and enviable stores of energy into every room. That’s partly because so much of who Gaby is has been carefully honed by the writers and Williams to align with the actor’s voice.

“We can write almost anything and Jessica can make it sound like it has stemmed from Gaby,” says series co-creator Bill Lawrence. “She’s in charge of Gaby’s voice — and it’s a tremendous safety net for us as a writing staff.”

Jessica Williams in “Shrinking.”

(Apple TV)

Williams agrees this has been her experience, one she’s grateful for in an industry often dead set on ignoring perspectives like hers. “At the end of the day, white guys are in charge of this business,” she says. “Progress in film and TV requires them to go to bat for us. I feel really lucky to be on a show where Bill pulled me aside and was like, ‘If I’m doing my job right, the first couple episodes, we write these stories, and then, there’s a moment where it switches to being your character and you are the shepherd of her.’ It made it really collaborative and a safe space for me to play.”

Three seasons in, the set has become the world’s best playground. For instance, the writers gave Williams ample runway in a scene where Gaby turns the tables and proposes to her boyfriend, Derek (Damon Wayans Jr.), after discovering an engagement ring in a desk drawer (and getting it stuck on her finger). “Look, if you’re a television writer and you have a proposal scene and you don’t let Jessica Williams run with it, you’re cheating yourself,” quips Lawrence.

That mutual trust doesn’t mean that Gaby and Williams are the same person — just that Williams’ lived experience has shaped who Gaby is. “The point of a scene is we don’t know what it’s going to be,” she says. “We learned our lines. We’re going to show up. The director’s here. They have an idea. We’re going to make this thing together. We’re going to ‘Yes, and?’ until we get the scene up.”

Her ability to take the ball and run with it is what caught Lawrence’s eye in the first place, discovering Williams as a correspondent on “The Daily Show.” “She works very hard at making it seem like it’s off the cuff,” he emphasizes. “She is quick to call the writing staff with questions and is always looking to improve things. That’s not always the truth with everybody. She works her ass off.”

Jessica Williams. (Ryan Pfluger / For The Times)

That work ethic was essential for her Season 3 arc, which found Williams facing some of the toughest acting challenges of her career. Gaby bonds with a new, albeit reluctant, patient, Maya (Sherry Cola), only to be devastated when Maya takes her own life. It’s the heaviest storyline of the season — and a heartbreaking look at the realities of suicide, loss and trauma in the lives of mental health professionals.

One of the show’s consultants had experienced a similar loss, and their insights helped the writing staff find dramatic resonance. For Williams, it was a chance to showcase what she always believed she was capable of. “For women, people of color, queer people, any minorities, we just want the opportunity to show what we can do,” Williams says. “I was rubbing my hands together. Like, ‘F— yeah. Let’s go.’ But I was also really nervous. Sometimes when I get scenes that are a bit more difficult, I wake up and I wonder if I can do it. Every single time it’s proving to myself that I can. It felt like I didn’t get to rest last season in a way that was really nice. Most times I feel like I’m just goofing, but that felt like, ‘Oh, I’m an actor.’”

That’s an inevitable side effect of appearing on a Bill Lawrence show. His blend of humor and pathos demands a high-wire act from his ensembles. “With Bill, you have to have the acting chops to be able to do the drama, but then be able to turn a joke very quickly,” says Christa Miller, who’s been married to Lawrence since 1999 and played major roles on “Scrubs” and “Cougar Town” before “Shrinking,” in which she stars as Liz. “You really have to be able to do it on a dime.”

Lawrence clocked early on that Williams had the chops to hold her own against heavyweights like Harrison Ford. “We knew comedically she would crush it. The only question mark was about who she was as an actress,” says Lawrence. “But she was great from the second she set foot onstage. It would’ve been a massive mistake not to let her showcase that stuff.”

The storyline also pushed Williams to reopen an old wound. In 2019, she lost her longtime boyfriend to a heroin overdose. “He had a therapist who had come recommended from my therapist,” she says. “I don’t remember that time that much because it was so intense and traumatic. I do remember my therapist was helping me work through it, but she was also like, ‘I’d like to check in with his therapist and see how he’s doing.’ That was the first place I went when they told me about that storyline. It was a good opportunity to work through that a little bit.”

Even though her grief was readily accessible, it also churned up emotions that Williams often tries to quiet. “There’s always something when someone dies, whether it’s suicide or an accident, where you feel guilt,” she reflects. “‘What could I have done?’ It was something that I’ve processed and am still processing, and it was easy to transfer that into Season 3. Grief is so ongoing. It’s a wound that I have forever, and I would give anything to not have it. But now I have it, and I live with it. It’s like an old friend.”

Williams describes the days filming those scenes as different for her, harder to shake. Driving home from the set in Burbank, she’d often take side streets back to her house in Eagle Rock, getting lost in music and her environment. “It felt like trying to shed it,” she explains. “I really felt it. But so many people responded to it in a way that was what I wanted. It’s such an intimate thing, this job, and to be able to portray something [that resonates], that’s the whole point.”

One emotion the work generated that she wasn’t expecting? Embarrassment. “I’m usually not embarrassed doing comedy,” she says. “I’m like, ‘There’s no rules. We can try anything.’ It doesn’t feel as vulnerable, whereas acting, there’s something fundamentally so indulgent about it.”

It’s a surprising admission; though I haven’t spent substantial time with Williams in years, she always seemed fearless to me. Willing to do whatever it took to get a laugh. It’s why our drama teacher invented an entirely new role for her in our spring musical, to showcase her generational comedic talent.

Williams agrees she was a cutup in class, but she never got the chance to do any capital-A acting in middle school. “I would get a part, and then I wouldn’t be able to do it,” she recounts. “Mrs. Barryte would have to call my parents and be like, ‘She did not do her homework. She has bad grades. She can’t do the play.’ I let people down. I remember feeling really sad about it.

“That taught me I’m a part of a team,” she reflects. “I have to be professional. I have to be ready. But I’m glad I don’t have to do my math homework to be able to perform. Public school’s tough — you had to be an awkward Black girl and get good grades to do the musical.”

That all changed when Williams found improv, joining the ComedySportz team at Harbor City’s Narbonne High (she continued on the college team while she was a student at Cal State Long Beach). “I cared about improv so much that I wasn’t not going to do my homework,” she says. “It just affected my life profoundly. I’m getting misty thinking about these programs that are underfunded, that s— really matters.”

Williams has also found reassurance in the response to her character. “She makes me more confident,” she admits. “Just seeing the response to Gaby. A lot of that is amazing writing, directing and an amazing crew, but it’s also my instincts.”

“The first time I was like, ‘Whoa, what the f—?’” she says of her three Emmy nominations for the role. “Second time, it was like, ‘OK, it wasn’t a fluke.’ And then the third time you’re like, ‘Oh s—!’ All the actresses that I admire are in this category, so I’m honored. But these are my peers too. So it’s like, ‘Oh, they see me.’ Gaby means something to people, it feels like — and that’s really nice. It encourages me to keep going.”

As for what that future will hold, besides at least one more season of “Shrinking,” Williams is hungry to do a play on Broadway, having not done theater since high school. Somewhere in there she’d like to capitalize on her tendency to play erudite characters and embody a detective in a thriller (preferably a paranormal one like her childhood faves “So Weird” and “The X-Files”).

Mostly, though, she just wants to keep doing what she’s been striving for since we were kids — “I want, when you watch me, for you to feel like you’ve seen something magic happen.”

Well, abracadabra.

Ruth Madeley is currently taking on lead role, Dr Gabrielle Fox, in BBC’s thrilling new series The Rapture

BBC viewers have been left hooked with new thriller show The Rapture.

The five-part psychological series is adapted from Liz Jensen’s bestselling novel. A synopsis teases of the show: “As temperatures rise, a convicted murderer foretells apocalyptic disaster – is she a manipulative psychopath or does she know the truth? High-stakes thriller crackling with danger.”

In the show, Ruth Madeley plays Dr Gabrielle Fox, who starts a new job at a psychiatric hospital where she is assigned 17-year-old inmate Bethany Krall, played by India Amarteifio.

As talented actress Ruth, 39, takes on the lead role, viewers have been keen to learn more about the actress’ life off-screen, especially as she recently appeared in BBC’s Who Do You Think You Are?

Huge family discovery

On Ruth’s episode of Who Do You Think You Are?, the genealogy team uncovered what turned out to be a huge family secret on her dad’s side.

The family discovered that Ruth’s grandmother, Beatrice, was adopted and no one else knew, including her father, Geoff, as his mother Beatrice never told him this fact.

Talking about the discovery on the show, Ruth said: “No one knew. My dad had no idea. So that was a huge shock. As far as, like, we’re concerned, we’re all just born, raised, died in Manchester.”

Meanwhile, while talking to her father, he responded over the bombshell: “When I got that phone call, I thought, ‘what’s going on?’ You could have knocked me down with a feather” to which Ruth replied: “Wow!”

Her dad continued: “I’m dead surprised that my grandma never said anything. That’s the only thing that I can’t get my head around.”

On the show, Ruth revealed that she and her family – her parents and sister Liz – are “really close, like, shockingly close”. The actress joked: “We are quite a stubborn, determined family, so it wouldn’t surprise me if we had traits of that here, there and everywhere.”

‘Epic’ wedding

Away from the TV sets and shows, Ruth is loved-up with her husband Joe Lawrence, whom she has known since they were five-years-old.

Unlike his wife Ruth, Joe doesn’t work in showbiz or the acting world. He is the owner of a company that trains people to operate cranes and for many years he was also a motorbike racer.

In 2024, after 12 years together, Ruth and Joe made things official and tied the knot. Talking about their wedding on Who Do You Think You Are?, Ruth revealed they had their wedding reception at fully accessible theatre, 53two in Manchester, which Ruth is a patron of.

Ruth said: “It is like my special place. I feel very at home here. And the best bit, so we had our wedding reception here and it was epic. It was so good.”

The actress previously said: “We were friends forever, we were always going to end up together, and obviously now he thinks that what I’m doing for a living is absolutely hysterical. He’s not an actor, he’s very grounded, it’s nice to be able to go home and not talk about it.”

The couple have two fur children – a cat and an adorable Bulldog, who both made an appearance of Who Do You Think You Are?

Acting career

Ruth, who has spina bifida and uses a wheelchair, underwent many spinal operations throughout her childhood. Opening up, Ruth said: “In my secondary school years, those teenage years were really, really hard, but it was never seen as a reason to not achieve or not be happy.

“I never grew up seeing anyone who looked like me on screen. I really didn’t. Oh, acting was a complete accident. I was doing some work experience at the BBC and a producer I met was casting something for, I think it was a children’s drama.

“Yeah, I landed my first role and it developed in a very wonderful way, thank goodness.”

The actress joked: “I absolutely love my job. I feel so privileged to say that I do what I do for a living. I mean, I would do it for free. Actually, don’t say that on camera!”

Does the arbitrary nature of our daily existence cohere into something resembling a story? And if so, how do we begin to tease out meaning from that story?

Valeria Luiselli posits these questions in her new book, “Beginning Middle End,” but mercifully she doesn’t weigh down her fiction with pedantry. Rather, Luiselli tucks her ideas into the folds of an all too human story about a woman, stinging from a recent divorce, and her younger daughter as they embark on a journey across Sicily. The book is written in fragmentary fashion, discrete chunks of prose that accrete into a greater whole, much like the ancient mosaics that are among of the novel’s thematic touchstones.

I recently spoke with Luiselli about Proteus, Pliny the Elder and Polaroid photos.

✍️ Author Chat

There are resonances of your last novel “Lost Children Archive” in “Beginning Middle End.” Certain character names are repeated, and there is also an audio-visual component, as there was previously. Additionally, a QR code in your new novel allows the reader to access audio recordings related to the book. Is this part of a larger project you have in mind?

I learned a lot about [sound and sound recording] when I was writing “Lost Children.” After I finished it I devoted the next five years to a work in progress called “Echoes From the Borderlands,” recording the sounds of the Mexican-U.S. borderlands. I think of “Beginning Middle End” as a book that exists both in its textual version and in its sonic translation.

The story is told in a fragmentary fashion, with short paragraphs that are separated by subheadings. And the last third of the book contains Polaroid pictures and postcards that relate to the story. There is also a mosaic tessera that is integral to the narrative. What is it that appeals to you about the notion of a story that is constructed from lots of discrete parts?

I’ve been interested for some time now in thinking about how to shorten the distance between process and result in such a way that the signs of the process can be read in the final project. When I’m working on something, I’m collecting postcards and archival material, and taking Polaroid pictures along the way, partly because I know that my process in writing is not linear. And I use Polaroids almost as Post-It notes, as another form of note taking.

Valeria Luiselli’s new novel, “Beginning Middle End,” is about memory and imagination.

(Clayton Cubitt)

It’s such a fascinating creative process.

It can be incredibly frustrating. Because sometimes it’s years before I know what language I’m going to be using in its final form.

Your book is about many things, but the act of storytelling is definitely a major theme. Not just in fiction, but in the way we shape our own personal narratives and how they are transmitted. And this notion of “the middle” as a space that hovers between two poles, the place where you are looking behind and ahead, between life and death, and so on.

The mother in the story is in the mess of the middle, trying to make sense of things and laying out events, but not really finding the deeper threads that tie life together and give it some kind of meaning. And it is only until her daughter arrives at the end of the book that you can read the novel backwards somehow, and understand in hindsight how she, the daughter, has seen a relationship all along between all these seemingly arbitrary events. She is the one that finds meaning in a sequence, where the mother sees only chaos.

The book is grounded in Greek and Roman Classical texts. Proteus and Pliny the Elder feature prominently. Where does your interest in the Classics come from?

The early pre-Socratic philosophers were the first to observe nature without the scaffolding of mythology, who were really just trying to make sense of it. And so that’s how I arrived eventually at Pliny, who has this 37-volume compendium of observations of nature that ask all the important questions about the oceans and rivers and mountains and the sky and the clouds. Pliny became a kind of ghost that led me through the years in which I was writing this novel.

Your novel delves into the relationship between memory and imagination.

What guides me are questions that press on me. I have little interest in plots early on. I become interested in plot as an emanation from questioning things. And one of those questions was about the relationship between memory and imagination. How are the two things connected? How much is our imagination shaped by our memory?

One of the writers that has best addressed that question is Jorge Luis Borges in the last story he ever wrote, “Shakespeare’s Memory,” where the protagonist has two consciousnesses inhabiting his interiority. When a train passes, he doesn’t know what it is, because he’s in Shakespeare mode. He doesn’t have a memory of the sound of a train. That story can be read as an allegory for how our memories and imaginations work as readers. We have all our life events that compose our being and our memory of life, but we also have everything we have read. And I think that that’s really where the discussion around imagination and memory gets very interesting.

This Q&A was edited for length and clarity.

📰 The Week(s) in Books

Christopher Nolan’s film adaptation of “The Odyssey” ignited a fire in the literary world, inspiring harsh critiques from Homer translator Emily Wilson and staunch defenses from Joyce Carol Oates and Susan Orlean.

(Illustration by Jim Cooke / Los Angeles Times; Source: Louis-Frédéric Schützenberger)

Chris Young was serving two life terms without parole for a low-level drug charge when Kim Kardashian intervened. The reality TV mogul successfully petitioned President Trump to commute Young’s sentence in 2021. Now Young has written “The Wound Is Where the Light Enters,” a searing memoir that “not only reveals the system’s horrors, but also celebrates the redemptive power of hope, intellect and community,” writes Julia M. Klein.

Justin Halpern, the co-showrunner of ABC’s “Abbott Elementary,” has written his first novel, called “Get Lost,” and Stuart Miller talked to him about it. Of taking on the challenge of writing alone, Halpern told Miller that “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 battle over Christopher Nolan’s movie adaptation of “The Odyssey” rages on. In the wake of Homer translator Emily Wilson’s excoriating critique of the film, Emily St. Martin reports that Susan Orlean and Joyce Carol Oates have publicly rallied behind Nolan. In a recent post on X, Oates wrote that Wilson’s “tone of dismissal & haughty superiority strike a sour note.”

Steve Wasserman takes a deep dive into “Too L.A.,” a newly published collection of author Eve Babitz’s rich trove of mostly unsent correspondence. The letters “brilliantly reveal Babitz’s eye for the deep shallow as well as explore the porous boundary between the largely self-inflicted injuries of her private life and the glittering sheen of her public persona,” writes Wasserman.

📖 Bookstore Faves

Whitmore Rare Books in Pasadena caters to customers who value the physical experience of reading books.

(Pierre Galant Photography)

Although it lives on a busy Pasadena street corner, Whitmore’s Rare Books feels like something a book hound might discover in London or New York: an elegantly appointed space with a large bookshelf running along the length of one wall that contains some of the store’s inventory of antiquarian treasures. Founded by a former lawyer turned bookseller and Pasadena native Dan Whitmore, the store is doing brisk business among a younger clientele that still values the tactile pleasures to be found from beautiful books. I spoke with Whitmore about what’s selling in his store.

How long have you been in the rare book business?

I stumbled into a first edition when I was in law school in Philadelphia in 2006 and I was bitten by the bug to start a collection. I worked as a lawyer for a year out here in L.A. and quit my job in 2009 to pursue rare books full time. So we’re coming up on 17 years, which is a good stretch, although there are people who’ve been in the trade for 50 or 60 years.

How do you find your inventory?

You amass this database of knowledge over time, and there really isn’t a substitute for it. I know people think that the AI boom is going to just turn around and be able to do what we do, but it’s not quite that simple. You really have to understand the market and the way that the market tends to shift over time. More modern material can shift a bit faster. But a Shakespeare folio or Darwin’s “On the Origin of Species” or Adam Smith’s “The Wealth of Nations,” books that document important moments in history where something new is introduced to the world, will always have value.

We just bought a first edition of “Alcoholics Anonymous,” and a second edition that was inscribed by Bill Wilson. These are books that have had such a profound impact on so many people’s lives that there’s this really strong market for early AA books.

What is selling presently?

I would say things like fantasy, science fiction, especially some of the classics: “Lord of the Rings,” “The Hobbit.” Some of these iconic works are having a moment right now, such as “Dune,” “I, Robot” and the “Foundation” trilogy. There are new buyers coming in, and I think some of that is tech money — people who maybe grew up reading these books and find inspiration there.

Why should we spend a lot of money on old books, when we can buy new ones for a lot less?

I don’t think that everyone is a collector or should be. I think that there are people who love the physical objects. They love the connection to history, that feeling of thinking about what it must have been like when someone opened the book and read that for the first time, and they get to have that experience again.

Whitmore Rare Books is at 121 E. Union St. in Pasadena.

(Please note: The Times may earn a commission through links to Bookshop.org, whose fees support independent bookstores.)

OLA and James Jordan described marriage as a “constant job” and opened up about sex life struggles years before their shock split. 

The former Strictly Come Dancing professionals confirmed they’d gone their separate ways after 23 years of marriage this week. 

Ola, 43, and James, 48, share daughter Ella, six, and previously spoke out about what it takes to make a relationship work. 

Speaking to HELLO!, he  said: “We’ve got a beautiful daughter and as my dad always used to say, and it’s true, ‘Marriage can be like a job sometimes, you’ve got to work at it’. 

“I feel sometimes people are quick to give up on something and think the grass is always greener on the other side.”

James also joked that “marriage and wives” are some of the most stressful things to deal with in life. 

RING THE ALARM

All the signs Strictly’s Ola & James had split up after after 23 years

IT’S ALL OLA

Strictly stars Ola & James Jordan split after 22 years of marriage

And Ola confessed that when they’re working together on dance routines they “argue the most”. 

She said: “James has his idea and I’ve got another idea and we clash more than we do any other time.” 

In recent years Ola and James lost a combined seven stone and admitted that when they were bigger their sex life suffered.

Speaking to The Sun in 2022 ahead of their weight loss journeys, Ola said: “The sex life is definitely different, if not worse, because we are so fat and don’t want to move after a bag of crisps and a Chinese.

“The bellies get in the way of us when it comes to sex. And I’m a bit heavy now. It’s not as exciting.”

James added: “Sex is definitely not better with the mum and dad bods. I can’t throw her about any more like I am used to doing.

“So we realise we need to switch up our eating habits to get back in shape.”

A cavalcade of blacked out Mercedes, flanked by police cars, rolled into the Fifa headquarters in Rabat, Morocco, earlier this week.

Infantino had summoned a select few members of the Fifa management board to discuss his plan to sell off 21% of the commercial and ticketing business to a private equity firm.

This is how the Swiss-Italian travels – in between flights on the Qatar Airways Executive jet which has been made available to him. The plane enabled him to take up to three flights a day, watching two games, throughout the 2026 World Cup.

That type of arrival does look presidential – only more like a president of a country than a sports body.

It enables him to travel the globe, visiting Fifa’s official offices like Rabat, where he was based over the past week as the Fifa Forward Enterprise controversy developed.

In his role Infantino is expected to visit the 211 member nations, to see the grassroots projects Fifa has funded.

Part of his remit is to unify football, which cannot be achieved from within the Fifa headquarters in Zurich.

It requires international travel to attend confederation meetings, and the global tournaments Fifa organises. Infantino needs to build relationships with officials and politicians.

In April, before the Fifa Congress in Vancouver, local authorities rejected a request for a level-four motorcade, usually reserved for heads of state or the Pope.

New Zealand police said they had declined a similar request during the 2023 Women’s World Cup.

Alongside the cavalcade of cars and the private charter flights comes a large salary, too, three times what he first earned when elected in 2016.

Infantino, who was paid about £1.3m 10 years ago, now takes home about £4m – a base salary of £2.2m plus a confirmed variable bonus payment of £1.8m.

His predecessor Sepp Blatter was paid a £2.6m package for his final year as Fifa president.

Infantino gets a ‘per diem’ too to cover expenses and living costs, worth £20,500 a year on top of his salary.

As the head of the most popular sport in the world, it should be expected that there is a wage to match.

Infantino would argue that by driving record revenues and funding for member associations, he has proven he is worth the salary.