life

X FACTOR winner Joe McElderry says he’ll be ‘eternally single’ while opening up on his dating life.

The talented 34-year-old became a household name after he won the show in 2009, as a fresh-faced 18-year-old with Cheryl as his mentor.

But where his career has thrived, Joe’s not had the same success when it comes to dating. 

Joe referred to himself as “eternally single” in a chat with The Sun, while adding: “I’ve been single for a very, very long time. 

“And I mean I listen, I’m open to meeting somebody and I’d love to meet somebody, but I think dating is so hard now.

“Online dating is a minefield, and I don’t think people meet people unless it’s on dating apps now, which is crazy. It’s kind of sad in a way.” 

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And if he is to meet someone, they’d have to get the green light from his grandma Hilda. 

Joe continued: “She’s a very good judge of character. You’ll know if she doesn’t trust somebody or she doesn’t like somebody. 

“In our industry, you can come across some dodgy people, but she can call it out in seconds of somebody walking in a room and I’m like, that’s a wise woman.”

Joe shares a very close bond with his grandma Hilda, with the pair set to do a live recording of their popular podcast That’s Ridiculous, on October 23rd. 

The booked and busy star is also delighting audiences across the North East with his autumn tour, culminating in his one-night-only Festive Party at Newcastle’s O2 City Hall on 1st December.

Sharing more about tour life, the Climb singer told us: “It’s a very short tour in comparison to what I normally do, but I’ve been on the road with Joseph the musical since January. 

“We finished that in August, and the original plan was to kind of just have October off, and chill out, and then I got halfway through the year and I was like, I feel like I’m gonna miss touring. 

“So we managed to kind of shoehorn in about 10 shows, it’s been great.  We’ve done three of them already and it’s been lovely and it’s my favourite thing to do, just to be in the room with people that support me and know my music.” 

The star shared his pre-show ritual which he has stuck by for years – but admits it’s “not for everyone.” 

Joe continued: “The weirdest thing I do is I gargle bicarbonate of soda. 

“Years ago, a wonderful supporter of mine sent a letter in and he was saying how it’s like an remedy, and so I read this letter and I thought that sounds a bit strange, but I’m going to give it a go and honestly, I mean I’m not a doctor, so if anybody reads this as advice, do it at your own risk, but it’s like a miracle cure for the voice, it’s like a natural antiseptic. 

“You don’t swallow it or anything, it’s just a gargle on your voice. But I swear by it. I have it half an hour before the show. I sometimes have it in the interval of a show. And I even have it in a quick change if I’m struggling on a show day.” 

The 34-year-old admits huge singers have taken his advice in the past after asking what could work to help their vocal chords. 

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“It does taste disgusting, but honestly not one person has ever come back and gone, #that didn’t work,’” Joe added. 

Tickets for both the tour and the festive show at O2 City Hall are available via Joe’s official website and venue box offices – www.joemcelderryofficial.com.

The sitcom star is thought to split his time between London and a quaint Scottish village, with which he has a ‘very special relationship’

A tiny Scottish village captured the heart of Gavin and Stacey star Mathew Horne. Worlds away from the Essex residence of his character in the beloved television programme, the 46-year-old actor is previously thought to have abandoned city life and relocated to Helmsdale on the eastern coastline of Sutherland.

Hailing originally from Nottingham, the sitcom star, who has also featured in the Catherine Tate Show and Dad’s Army, was believed to divide his time between his working commitments in London and a calmer, more serene lifestyle in the picturesque yet isolated village.

Discussing his passion for the Highlands, Horne previously revealed on That Gaby Roslin podcast that he “would very much like to live there. I am all things Scotophile.”

During another interview, the actor told the Sunday Post, calling Scotland “the best country in the world. My shoulders drop and I feel free. It is where my heart lies and hopefully one day I will have a place of my own there so I can retreat as and when I need to.”

He added: “I love the peace and tranquillity and the people. The food is wonderful, the weather is nowhere near as bad as everybody says and midges don’t like me, so that’s good.

“Most of my downtime when I’m not working is now spent in Scotland.”

Helmsdale, a picturesque village on the North Coast 500 (NC500) route, offers a breathtaking 516-mile journey through the stunning beauty of the Scottish Highlands, reports the Daily Record.

Chatting with the Sunday Post, he shared: “I have a very special relationship with Helmsdale. It’s partly because of discovering it when I was in the Highlands because of my ancestry through my great-great-grandparents who were from Huntly.”

He further added: “That makes me one-eighth Scottish, although I wish I was more.”

The village’s roots can be traced back to 1814 and are deeply intertwined with the 19th-century herring boom, which brought prosperity to many coastal Scottish communities.

The once bustling harbour still remains in use by local fishermen and is a favourite spot for a scenic walk. Nearby, there’s a small shingle beach offering incredible views across the Moray Firth.

The village is also home to the Emigrants statue. A poignant reminder of the town’s darker past, the landmark pays tribute to those who were forced to leave their homes and travel far and wide to start a new life.

Today’s visitors can drop by The Timespan Heritage Centre, a popular community hub that houses not only a local history museum but also a contemporary art programme, herb gardens, a shop, a bakery and a cafe.

Helmsdale could also be the ideal location for those partial to a drink or two. The charming village is conveniently located near the Old Pulteney, Clynelish, Glenmorangie and Dornoch Distilleries.

Mathew also previously named Glasgow as his ‘favourite city’ and has a special fondness for the city of Edinburgh, where he first made his comedy debut at the Fringe Festival in 2000.

SUPERSTAR Taylor Swift has quietly donated $100,000 to help save the life of little girl fighting cancer. 

The Sun can reveal the Look What You Made Me singer, 35, made the huge donation on Friday night after finding herself trawling the pages of GoFundMe. 

The singer’s money will go towards to helping a little girl named Lilah who suffered her first seizure aged 18 months before having surgery to remove a stage 4 tumour just weeks later.

She has since been diagnosed with a very aggressive form of brain cancer – with only 58 known cases in the world. 

A source said: “Taylor has always been keen to give back and help others but even by her standard this is staggering. 

“She often finds herself on GoFundMe reading about the plight of others and Lilah’s story really touched her.

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“Hopefully, her donation can help bring an end to her years of pain.”

Lilah’s mum previously took to social media to reveal how she turned to Taylor’s music to help get her through her darkest moments. 

She even almost named her daughter after Taylor’s 2020 single Willow. 

Posting on Instagram, she wrote: “Also Lilah’s name was originally going to be Willow. 

“We were set on that name my whole pregnancy but ultimately ended on Lilah. I listened to Taylor my whole pregnancy and then birthed a mini Swiftie.”

Lilah loves Taylor’s music and during her cancer treatment she always found joy in it. I hope Lilah gets through this diagnosis and gets to one day go to a Taylor Swift concert in person. I know she would love it.”

After two rounds of chemo Lilah and her family are now trying to figure out the next stage of treatment. 

Her family added via her GoFundMe page: “All the donations we receive will help us with travel expenses and paying bills as we are still out of work while Lilah is in treatment.”

British actor Samantha Eggar, the Oscar-nominated star of films including “The Collector,” “Doctor Dolittle” and David Cronenberg’s “The Brood,” has died. She was 86.

Eggar died Wednesday evening, her daughter Jenna Stern announced Friday on Instagram. Stern said her mother died “peacefully and quietly surrounded by family” and recalled being by the actor’s side “telling her how much she was loved.” A cause of death was not revealed.

Stern described her mother, who was also a prolific TV actor, as “beautiful, intelligent, and tough enough to be fascinatingly vulnerable.”

Eggar pursued a film career that spanned the 1960s to the 1990s and was most celebrated for her work in “The Collector,” directed by William Wyler. The psychological horror movie, based on John Fowles’ novel of the same name, featured Eggar as the youthful art student abducted by a reclusive young man portrayed by Terence Stamp. For the thriller, Eggar collected the Cannes Film Festival‘s actress prize plus a Golden Globe Award and an Academy Award nomination.

After the film’s release, Eggar secured numerous roles, notably in the 1967 iteration of “Doctor Dolittle” opposite Rex Harrison, “Walk, Don’t Run” with Cary Grant, “The Molly Maguires” and “The Walking Stick.”

One of Eggar’s most memorable roles was in Cronenberg’s “The Brood,” released in 1979. She starred as Nola Carveth, a mental patient receiving radical psychotherapy treatment amid a series of mysterious murders. The film also starred Oliver Reed and Art Hindle.

Throughout her film career, Eggar also appeared in scores of television series ranging from “Anna and the King” (opposite “The King and I” star Yul Brynner), “Starsky & Hutch,” “The Love Boat” and “Star Trek: The Next Generation.” Her more substantial TV roles included a voice-acting part in the animated series “The Legend of Prince Valiant,” which ran for two seasons, and a stint as Charlotte Devane on the daytime drama “All My Children.”

The actor also lent her voice as Hera in Disney’s “Hercules,” then reprised the role in the animated classic’s spinoff video game and TV series.

Eggar was born March 5, 1939, in Hampstead, London. Her father was a British Army brigadier and her mother served as an ambulance driver during World War II. She studied art and fashion at the Thanet School of Art and pursed acting at the Webber Douglas Academy of Dramatic Art, according to a statement her daughter shared. Later in life, Eggar returned to the stage, performing “The Lonely Road” at the Old Vic and “The Seagull” at Oxford Playhouse and Theatre Royal, Bath.

She also brought her talents to radio, lending her voice to more than 40 productions for the California Artists Radio Theatre. Eggar was an animal enthusiast and supporter of several environment and health causes.

“Samantha Eggar will be remembered not only for her unforgettable performances but for her generosity, wit, and love of life,” the statement said.

Eggar is survived by her children Nicolas and Jenna, grandchildren Isabel, Charlie and Calla; and sisters Margaret Barron, Toni Maricic, and Vivien Thursby.

Trigger warning for any daughter who has ever had a fraught relationship with their mother: Gish Jen’s remarkable and heartbreaking latest book, “Bad Bad Girl,” may prompt a flood of feelings not felt since adolescence. This marvel of a mash-up — part novel, part memoir, part effort to reconnect with a dead parent who never uttered an “I love you” — has as many pain points as life lessons. Quite a few of the latter — mostly delivered in the form of Chinese proverbs — are dropped by the author’s parents, Chinese immigrants who met in New York as graduate students. Among the pearls of wisdom that stick with Jen, their eldest girl and a keen observer of her parents: “When you drink the water, remember the spring.”

In this, Jen’s 10th book, she wistfully, unsparingly commemorates that “spring” — a punishing mother she nevertheless credits for “biting my heel.” A master of the art of withholding when it came to praise or affection, her mother had no compunctions about delivering ego-shattering put-downs and physical punishments to Jen for being “too smart for her own good.” And yet, Jen writes: “I have thrived.”

Gish Jen has brilliantly structured “Bad Bad Girl” so that invented exchanges with her mother keep returning us not only to the relationship between mother and daughter, but to the present.

(Basso Cannarsa)

Still, she is not at peace. Even after her mother’s death in 2020 at 96, that censorious voice remained “embedded in my most primitive responses, in my very limbic system.” “You were a mystery Ma,” Jen writes. “Why, why, why were you the way you were?” The writer’s instinct kicks in: “If I write about you, if I write to you, will I understand you better?”

“Bad Bad Girl” constitutes a heroic effort to do just that. But soon after Jen embarks on that quest, she realizes that while many mothers want their daughters to show interest in them and listen to their stories, “they were not my mother.” Without much to go on in the way of shared memories or documentary evidence, Jen decides to recalibrate. Instead of writing a straight memoir, she’ll chronicle what she can and construct a fictional narrative around the rest. The result is a heart-piercingly personal work that also imparts universal truths about the immigrant experience — and what it is to be a daughter, a mother and a woman in a world where men are the more valued of the sexes. If there is such a thing as an intimate epic, this is it.

Jen’s mother Agnes — Loo Shu-hsin, as she was originally named — was born in 1925 Shanghai to a wealthy and prominent banker and his much younger wife. In Part I, we are introduced to the lush beauty and extraordinary privilege Agnes was born into, sequestered in a mansion situated in the “international” section of Shanghai, staffed by maids, cooks, nursemaids, chauffeurs and bodyguards. “Proper though she may have been,” Agnes’ mother “did smoke opium.” Apparently, it was good for cramps.

Agnes was the firstborn child, a disappointment in her gender. As tradition dictated, her placenta was hurled into the Huangpu River; when it floated away, it was deemed that she too “would be raised and fed, only to drift away.” Agnes’ mother never bonded with her daughter and showed her little attention except to object to her daughter’s clear intelligence and closeness with her nursemaid. (By age 6 and beginning to read, Agnes still hadn’t been weaned.) By contrast, her father delighted in his daughter’s zeal for learning. The prevailing view was that “to educate a girl was like washing coal; it made no sense.” Still, her father enrolled her in an elite Catholic school where she was nurtured by Mother Greenough, a nun with a doctorate. She praised Agnes for her intellect and encouraged her to be ambitious. After completing her undergraduate studies amid the Japanese invasion and World War II, in the fall of 1947, after peace had finally descended, Agnes declared her intention to leave for the United States to pursue a PhD. Her father embraced that decision, in part because the communist takeover loomed and he hoped at least his eldest child could escape what was to come. “My favorite daughter, so smart and brave,” he pronounces, as the ship she boards sets sail for San Francisco.

Jen has brilliantly structured “Bad Bad Girl” so that invented exchanges with her mother — post-death, printed in bold type and interspersed throughout — keep returning us not only to the relationship between mother and daughter, but to the present. That dialogue is conversational and often funny, in contrast to the unfolding chronicle of Agnes’ journey as a stranger in a strange land. She finds her new countrymen puzzling in nearly every way. For example, “That was how lonely Americans were,” she observes, “that they should not only feed their dogs but walk them every day, rain or shine.”

Initially, Agnes’ spirits are bolstered by her privilege and her parents’ checks. Soon after arriving in New York City to begin graduate school, though, the money stops coming. The communist takeover is complete and, as she gradually discovers through their letters, now they seek financial support from her. Agnes, who’s never boiled an egg, sets to work typing and translating for her still-rich Chinese classmates. She meets and marries fellow student Jen Chao-Pe, and together they move into a dilapidated walk-up in Washington Heights, where Agnes learns to scrimp and save and paint her own walls. Her husband teaches her to cook. When she gets pregnant with her son, Reuben, she is laid low and takes a temporary leave of absence from school. Soon she is pregnant with Lillian, later nicknamed “Gish” for the silent film actor, and motherhood overwhelms her. Three more children come. Of the five, Gish is her least favorite, a girl every bit as clever as she was — a reminder of what she’s permanently put on the back burner. Whatever maternal feelings she has for her other children are missing when it comes to Gish, who becomes her mother’s scapegoat and punching bag.

Miraculously, Gish appears to have been mostly a happy child who excels socially and academically. After being accepted to every university she applies to, she chooses Harvard. She attends graduate school at Stanford and begins to pursue a writing career. She meets her husband, David, to whom she’s been married ever since — for 42 years. They have a son, Luke, and a daughter, Paloma. Jen’s children know how difficult their grandmother has been, and Paloma offers this to her mother by way of consolation: “The effects of trauma can’t be washed away in a generation,” something she’s read in a book. “You can’t get rid of it all, but you did a good job,” she adds.

How rich this book is, and how humane. Unlike, for example, Molly Jong-Fast’s merciless “How to Lose Your Mother,” “Bad Bad Girl” doesn’t read like a hit job. It’s suffused with love and a desire to finally understand. “You shut me out the way you shut your mother out. … What was my crime?” Jen challenges her mother in one of their imagined exchanges. “You were a pain in the neck,” Agnes observes, in another.

“She does not say ‘I love you’ back; she never has,” Jen writes. She doesn’t put those words in Agnes’ mouth here, even when she has the chance. But Jen does venture this about her mother: “I like to think (she) would finally agree both that this book is a novel and that there might be some truth to it.” And then in their final imagined exchange: “Bad, bad girl! Who says you can write a book like that?” Jen laughs. “That’s more like it.”

Haber is a writer, editor and publishing strategist. She was director of Oprah’s Book Club and books editor for O, the Oprah Magazine.

Britney Spears will not stand for ex-husband Kevin Federline’s scathing claims about how she raised their two sons, writing on social media that the allegations in his upcoming book are part of his “constant gaslighting.”

The “Stronger” and “Oops!… I Did It Again” pop star hit back at her ex-husband Wednesday evening in a statement shared to X and Instagram, writing that confronting his latest revelations has been “extremely hurtful and exhausting.” The 43-year-old singer, whose conservatorship ended four years ago, said she has “always pleaded and screamed to have a life with [her] boys.”

“Relationships with teenage boys is complex,” her statement continued. “I have felt demoralized by this situation and have always asked and almost begged for them to be a part of my life.”

Spears and Federline, 47, married in 2004 and divorced three years later after welcoming boys Sean Preston and Jayden James. Federline, a dancer, was awarded sole custody in 2008 when Spears was placed under a conservatorship. In excerpts from his incoming book “You Thought You Knew,” Federline accuses Spears of consuming cocaine while she was still breastfeeding their second son. He also accuses her of holding a knife while she watched her sons sleeping and raises claims about the singer’s alleged cheating and a physical incident.

Federline wrote that the alleged cocaine incident occurred in 2006 during the release party for his album, according to an excerpt shared with Us Weekly. “The first thing I saw was Britney and her young starlet friend snorting a fat line of coke off the table,” he said in his book. He said he urged the pop star not to “feed the kids like this” and that she responded by allegedly throwing a cocktail in his face.

“That’s what ended us,” he wrote, according to Us Weekly.

In a memoir excerpt published by the New York Times, Federline alleged that their sons would awake “sometimes to find her standing silently in the doorway, watching them sleep” with a knife in her hand. “Then she’d turn around and pad off without explanation,” he wrote.

In her social media retort, Spears said their sons “have always witnessed the lack of respect show by [their] own father for me” and added “they need to take responsibility for themselves.” She claimed that she had seen one son for only “45 min in the past 5 years” and that the other has visited only four times since 2021. A judge terminated Spears’ controversial conservatorship in November 2021.

“I have pride too,” the Grammy-winning vocalist said, adding she intends to make herself more available to her sons.

Federline’s book isn’t the first time he dropped bold claims about Spears. He claimed in a 2022 interview with the Daily Mail that their sons had “decided they are not seeing her right now” and opted not to attend her marriage to Sam Asghari, whom she has since divorced. At the time, Federline also claimed the boys had taken issue with her scantily-clad Instagram posts.

“I try to explain to them, ‘Look, maybe that’s just another way she tries to express herself.’ But that doesn’t take away from the fact of what it does to them,” he said. “It’s tough … I can’t imagine how it feels to be a teenager having to go to high school” with those posts existing.

In response to those comments, Spears said she gave her sons “everything” and found Federline’s claims “HURTFUL.”

Federline’s “You Thought You Knew” comes out Tuesday, two years after Spears published her memoir “The Woman in Me.” Her book dished on topics including her struggles with drugs, her relationship with ex-boyfriend Justin Timberlake and her conservatorship.

Spears said on Wednesday that her ex-husband’s “white lies in that book, they are going straight to the bank.” She also urged followers to take tabloid reports about her mental health and drinking with a grain of salt.

“I am actually a pretty intelligent woman who has been trying to live a sacred and private life the past 5 years,” she concluded her statement. “I speak on this because I have had enough and any real woman would do the same.”

Arab Barghouti tells Al Jazeera Israel wants to ‘silence’ his father amid reports Israeli guards beat him last month.

The son of prominent Palestinian political leader Marwan Barghouti says he fears for his father’s life in Israeli prison amid witness reports that he was beaten by guards last month.

In an interview with Al Jazeera on Thursday, Arab Barghouti accused Israel of targeting his father because he is a unifying figure among Palestinians.

“We do fear for my father’s life,” Arab said from Ramallah in the occupied West Bank.

Earlier this week, the family told media outlets that they had received testimonies from Palestinian detainees released as part of the Gaza ceasefire deal that Barghouti was beaten by guards in mid-September as he was being transferred between two Israeli prisons.

Arab told Al Jazeera that the attack is the fourth time since Israel’s war on Gaza began in October 2023 that his father has been assaulted in Israeli detention.

“They are targeting him,” said Arab, explaining that Israel sees his father as “a danger” because of his ability to bring Palestinians together.

A prominent member of Fatah, the Palestinian political faction that dominates the Palestinian Authority (PA), which governs limited parts of the occupied West Bank, Barghouti has been in Israeli prison since the early 2000s.

He is serving five life sentences plus 40 years on murder and attempted murder charges, which he has consistently denied.

A Palestinian Center for Policy and Survey Research poll from May found that Barghouti was the most popular Palestinian leader, garnering more support than Hamas official Khaled Meshaal and PA President Mahmoud Abbas.

Palestinians had called for Barghouti to be released as part of the recent Gaza ceasefire agreement between Israel and Hamas, but Israel refused to free him.

As part of the deal, Israel released 250 Palestinians serving life sentences, several of whom were sent into exile abroad. About 1,700 Palestinians who were detained in Gaza and transferred to Israeli detention facilities during the Gaza war were also freed.

One of the released prisoners, Mohammad al-Ardah, told Al Jazeera Arabic that Israeli forces would carry out “barbaric” raids in the prisons each week, severely beating Palestinian detainees.

“The latest reports we heard about the great leader Marwan Barghouti is that they broke three of his ribs,” al-Ardah said.

The Israeli authorities have denied that Barghouti was beaten in September, with the Israel Prison Service telling BBC News that it “operates in accordance with the law, while ensuring the safety and health of all inmates”.

But Arab, Barghouti’s son, said the Israeli authorities have no credibility.

He also pointed to an August video that showed far-right Israeli National Security Minister Itamar Ben-Gvir threatening Barghouti in prison, as evidence that the Israeli government is trying to “silence” his father’s voice.

“We know that [Ben-Gvir] showed him an electric chair on his phone and he told him, ‘This is your fate’ … If that’s not a threat to his life, I don’t know what is,” Arab told Al Jazeera on Thursday.

Meanwhile, Barghouti’s son said the family has repeatedly asked Israel to allow international lawyers and the International Committee of the Red Cross to visit his father in prison, but their requests have been denied.

“They see him as a danger … because he wants to bring stability, he wants to end the cycle of violence. He wants a unifying Palestinian vision that is accepted by everyone, and the international community, as well,” Arab said.

“They [Israel] know what my father represents, and they don’t want that. They don’t want a partner for peace.”

It’s clear from the existence and execution of “Black Phone 2” that Universal and Blumhouse never expected 2021’s “The Black Phone” to be a hit. If there was ever an inkling that the first film might have been more than a quick and dirty ’70s-style riff on a boogeyman tale, there’s no way those in charge would have let their big baddie, the Grabber, be killed off at the end of the movie.

But a hit it was and so, for a sequel, supernatural elements must be spun out and ’80s slasher classics consulted, especially since it’s now four years later, in 1982. Masked serial killer the Grabber, played by Ethan Hawke (we never really see his face, though we do hear his voice), continues to haunt, torment and maim children, despite the inconvenience of death.

Scott Derrickson and C. Robert Cargill co-wrote both films, with Derrickson behind the camera as director. The first was based on a short story by Joe Hill (the son of Stephen King) and is set in 1978 Denver, where plucky Finney Blake (Mason Thames) had to escape the clutches of kidnapper the Grabber while fielding phone calls from the ghosts of his previous victims, offering tips and tricks. What distinguished “The Black Phone” was its shocking approach to violence with its young characters, who all sported entertainingly profane potty mouths. While it was daring in its hard-R riskiness and played on our basest fears, it didn’t reinvent the wheel, or even try to. However, the film’s phone conceit played well enough and young star Thames was outstanding.

In “Black Phone 2,” Finney’s now a high school student, drowning his trauma in weed and schoolyard fights, sometimes the bully himself. He’s protective of his sister, Gwen (Madeleine McGraw), who has the gift of psychic sight, but mostly he just wants to check out from his own brain. The sequel is primarily Gwen’s movie. She starts lucid dreaming and sleepwalking, receiving phone calls from beyond — like from their dead mother when she was a teenager beyond.

The messages bring Gwen, Finney and her crush, Ernesto (Miguel Mora), to a winter retreat for Christian youth, Camp Alpine, now run by Mando (Demián Bichir) and his niece, Mustang (Arianna Rivas). As it turns out, this camp is rife with the ghosts of young dead boys — the phone keeps ringing and it won’t stop until Finney picks it up.

If “The Black Phone” dabbles in crimes that are taboo and is even unforgivable in its depiction of brutality against innocent children, “Black Phone 2” commits its own unforgivable crime of being dreadfully boring. This movie is a snooze, not just because all of the action takes place entirely during Gwen’s dreams.

The film can’t shake its lingering scent of “Stranger Things,” but the filmmakers have also turned for inspiration to another iconic ’80s-set property: The whole movie is a “Nightmare on Elm Street” ripoff, with a disfigured killer stalking his prey through their subconscious. Those sequences are fine, action-packed if not entirely scary, but at least it’s something more rousing than the awake scenes, where the characters stand in one place and make speeches to each other about their trauma and backstories. The entire affair is monotonously one-note and dour, with only a few pops of unintentional humor.

You realize almost immediately what the deal is with these ghost boys, but the film takes its sweet time explaining it all. It’s a fairly simple story, so you do understand why Derrickson gussies it up with grainy dream sequences and shaky 8mm flashbacks, and a pretty terrific electronic score composed by his son, Atticus Derrickson.

It’s also a bit surprising that “Black Phone 2” turns out to be so pious and deeply Christian, which is a bit of an odd mix. For a film about Jesus and the power of prayer, it also features a scene in which a kid’s face gets sliced in half by a windowpane. Then again, horror’s trend toward the faith-based isn’t a surprise when you take a look at the success of the Bible-thumping “Conjuring” franchise.

However, it seems like this might be the Grabber’s last hurrah. You’ll root for the characters to vanquish him only because then the drudgery might finally end. Who knows, maybe it’ll be a hit and they’ll figure out another way to reanimate this utterly uninspiring horror villain. Personally, I’ve had my fill of the Grabber’s grabbing.

Katie Walsh is a Tribune News Service film critic.

“Frankenstein” has haunted Guillermo del Toro since he was a kid who barely reached the Creature’s knees. Back in 2011, the writer-director was already tinkering with a version of the monster that resembled a blend of Iggy Pop and Boris Karloff with jagged sutures, gaunt wrinkles and a crushed nose. Since then, Del Toro has made changes. The 2025 model is played by Jacob Elordi, a 6-foot-5 actor often cast as the ideal human specimen in movies like “Saltburn” and who here howls to life with handsome features and rock star swagger. But your eyes keep staring at his pale, smooth seams. He doesn’t look hand-stitched — he looks a little like a modern android.

Of course he does. The decades have given Del Toro time to think about what truly scares him. It’s not monsters. He loves all disfigured nasties, be they swamp creatures, eyeball-less ogres or bolt-headed Hellboys. It’s tech bros, like the ones weaseling into Hollywood, who give their every innovation a sterile sheen.

“Frankenstein” is the director’s lifelong passion project: He doesn’t just want to make a “Frankenstein” but the “Frankenstein,” so he’s faithfully set his adaptation in the past. But he’s adjusted the wiring so that 1850s Europe reminds us of Silicon Valley. The result is the best movie of his career.

This Baron Victor Frankenstein (Oscar Isaac) is a short-sighted egomaniac who barks over his critics while jabbing the air with his fingers. “I fail to see why modesty is considered a virtue,” he says with a snort.

And Del Toro has written Victor an enabler: a deep-pocketed investor named Henrich Harlander (Christoph Waltz) who struts into Victor’s science lecture hunting for a whizkid to crack the code to immortality. With his gold-heeled shoes and a confidence that he’s too rich to die, Waltz’s wealthy arms dealer is a 19th century take on venture capitalists like Bryan Johnson and Peter Thiel who’ve been poking into the feasibility of pumping their veins with young blood.

“Don’t be a reasonable man,” Henrich advises Victor. The assumption is — and remains — that tycoons and geniuses deserve to run rampant. Great success demands an indifference to the rules. And if you’re wondering whether money or brains has more power, there’s a scene in which Henrich uses a chamber pot and smugly orders Victor to “flush that for me.”

Del Toro is wired into the outrage in Mary Shelley’s sly 1818 novel, a nightmarish satire about men who care only about yelling “first!” without asking what horrors come next. Centuries ago, she warned of man’s ill-considered rush to create artificial intelligence. Today, Dr. Frankenstein’s descendants keep promising that AI won’t destroy civilization while ignoring Shelley’s point, that the inventor is more dangerous than his monster.

Victor, a stunted man-child who drinks milk served by a sommelier, is frozen in the I’ll-show-him stage of growing up with an abusive father (Charles Dance) who whipped him when he got a wrong answer on his schoolwork. Victor’s name, we’re reminded, means “winner,” a symbol of the pressure he’s under to excel.

Isaac plays him with a pitchman’s exuberance that sags as the corners of his mouth wrench down in disappointment. He’s hacked how to make a disembodied head moan in agony. But having rarely felt affection, Victor doesn’t know how to generate that emotion at all. Worse, it hasn’t occurred to him to think past the triumph of his product launch, that his Creature can’t be readily unplugged. The only kind characters in the movie are a rural blind man (David Bradley) and the moth-like Mia Goth, double-cast as Victor’s mother, Claire, and his brother’s fiancee, Elizabeth. A convent girl with a creepy streak, Elizabeth sees beauty in biology, leaning over a corpse’s flayed back to appreciate the intricacy of its ventricles. But the more she studies Victor, the less impressed she gets.

Because Shelley came up with “Frankenstein” as an 18-year-old newlywed who’d just lost a baby, her message gets boiled down to gender: Women birth life, men mimic it. Really, the feminine strength of the book lies in its foxy, shifting narration that opens with a prologue from an Arctic explorer who’s gotten his sailors trapped in the ice, before transitioning to Victor’s story and then the Creature’s. Like a hostess who secretly loathes her guests, Shelley encourages her characters to flatter themselves and expose their braggadocio.

Del Toro has kept that tactic and he’s kept the book’s structure. But within that framework, he’s changed nearly everything else to make Victor more culpable. Unlike the 1931 film, there’s no Igor and no excuse of accidentally using the wrong brain. This Victor does his own dirty work and what goes wrong is his fault. Meanwhile, Del Toro amps up the action, starting the film off with a ghastly great sequence in which Elordi’s Creature punches a sailor so hard his spine snaps into a backward somersault.

“What manner of devil made him?” the Captain (Lars Mikkelsen) exclaims. Victor guiltily explains why he played God.

Being a futurist isn’t bad. Henrich, an early adopter of daguerreotype cameras, shoots photographs of women posing with skulls like he’s paving the way for Del Toro’s whole filmography. But pompous Henrich and Victor don’t appreciate that their accomplishments are built on other’s sacrifices. When the cinematographer Dan Laustsen pans across a battlefield of dead soldiers, it feels like a silent scream. Henrich made his fortune killing these men; now, Victor will salvage their body parts.

Del Toro delights in the kinetic gusto of the tale, the grotesquerie of cracking limbs and blood sloshing about Victor’s shoes. In the laboratory, dead leaves and buzzing flies whirl through the air as if to keep up with the inventor’s wild ambitions and Alexandre Desplat’s swirling orchestral score. The production design by Tamara Deverell is superb as are the costumes by Kate Hawley, who shrouds Goth in dramatic chiffon layers and dresses laced to highlight her vertebrae. (This movie loves bones as much as Sir Mix-A-Lot loved backs.)

As Victor rudely flings around torsos and limbs, it’s clear that he only values life if it’s branded with his name. So yes, of course, Elordi’s Creature looks good. He’s been assembled from the choicest bits of man flesh to show off the talent of his creator, not so different from Steve Jobs caressing samples of brushed aluminum. When Elordi’s Creature pleads for a companion, a sliver of sculpted abs peeking out from under five hulking layers of wool and fur, you expect half the audience’s hands to shoot up and volunteer.

Elordi has adopted one or two of Karloff’s mannerisms: the arms outstretched in search of warmth, the lurching walk. You can see that he’s a tad lopsided on the left side, presumably because Victor couldn’t find matching femurs. Mostly, he’s his own monster, neither the calculating serial murderer of the book nor Karloff’s reactive, animalistic killer, but a scapegoat who finally starts leveling his foes with bone-breaking efficiency.

Towering over Victor by almost a foot, Elordi’s Creature dwarfs his creator physically, morally and emotionally. There’s anguish in his eyes, and when Del Toro shows us the world through his perspective, humanity itself appears anti-life, a pestilence that destroys without hesitation.

There’s a pack of digital wolves that just looks silly. Otherwise, you trust how intensely Del Toro has doted upon every detail. I was flummoxed by a row of servants flanking young Victor (Christian Convery) who appeared to be wearing gauzy bags over their heads. What are those for? My theory is it’s a tribute to the veil Karloff sported during lunch breaks, so as not to frighten any pregnant secretaries on the Universal lot.

Eschewing mobs of pitchfork-wielding villagers, Del Toro focuses on Victor’s inability to parent his unholy son. And while the end stretch gets a bit too stiff and speechy, particularly with a line that Victor is the “true monster,” I loved the moment when the Creature, venting on behalf of all frustrated children however big they‘ve grown, growls, “The miracle is not that I should speak but that you would listen.”

This deservedly anticipated “Frankenstein” transforms that loneliness into stunning tableaux of Victor and his immortal Creature tethered together by their mutual self-loathing. One man’s heart never turned on. One can’t get his heart to turn off. Ours breaks.

Keri Russell has been a recognisable face on TV screens since the 90s – and she has a famous partner

Netflix’s The Diplomat is back with a third season, featuring Kate Wyler (portrayed by Keri Russell) in an unexpected new role.

Keri Russell, a 49 year old American actress, has been celebrated for her television roles since the 90s.

Born and raised in California, she has an older brother and a younger sister, and due to her father’s job as a Nissan Motors executive, the family moved around frequently.

In 1999, she bagged a Golden Globe Award for her performance in the drama Felicity, and has received four additional nominations for her roles in The Americans and The Diplomat.

In recognition of her contributions to television, she was honoured with a star on the Hollywood Walk of Fame in 2017.

READ MORE: The Diplomat season 4 explored as fans keen for more after finale bombshellREAD MORE: The Diplomat season 3 release date, cast and trailer as new stars join series

One of her earliest roles was at the tender age of 15, when she featured in the Disney Channel’s revival of The Mickey Mouse Club.

Her dancing skills, honed during her middle school and high school years, helped her secure a spot on the show.

She was a regular cast member from 1991 to 1994, and during this period, she made her film debut in Honey, I Blew Up the Kid.

From 2013 to 2018, she starred opposite Matthew Rhys in the series The Americans, where he played her character’s husband.

The on-screen couple became real-life partners during this period.

Who is Keri Russell’s famous partner?

The Diplomat star was previously married to Shane Deary, a Brooklyn-based contractor whom she met through mutual friends.

They tied the knot in 2007 and have two children – a son and a daughter.

The pair parted ways in 2014 and since then, she’s been romantically linked with Welsh actor Matthew Rhys, famed for his roles in Brothers and Sisters and Perry Mason.

They share a son and despite affectionately referring to each other as husband and wife, they haven’t tied the knot.

The duo have voiced their eagerness to collaborate professionally once more, with Russell suggesting to People that her partner could “totally” join the cast of The Diplomat.

“I think that would probably be more in his court,” she added, indicating their mutual desire to work together again.

“But he’s pretty busy doing a million other things. He’s got, like, five other jobs or something,” she quipped.

The Diplomat airs on Netflix

A curse befell Jacob Elordi when he was a child. It happened in the aisle of a Blockbuster Video. The culprit for the incantation was the image of the now emblematic Pale Man from “Pan’s Labyrinth,” flaunting eyes on his palms on the back cover of the DVD.

“My mother remembers this,” an energetic Elordi tells me in a Hollywood conference room. “I came running through the corridor and I was like, ‘I need this DVD.’ And she was like, ‘That’s so much blood and gore. You can’t watch it.’”

“She told you, ‘I’ll get it if you promise never to work with that director,’” Guillermo del Toro, the filmmaker behind the Oscar-winning dark fantasy, chimes in, sitting next to Elordi.

His wish granted, Elordi watched “Pan’s Labyrinth” at a young age. The fable set against the Spanish Civil War forever changed him. “From that moment, because of the way that Guillermo wills magic into the world and into his life, I feel like there was some kind of curse set upon me,” the actor says. “I do genuinely believe that, as out there as it sounds.”

Now, Elordi, 28, has become one of the Mexican director’s monsters in his long-gestating adaptation of Mary Shelley’s “Frankenstein” (in theaters Friday, then on Netflix Nov. 7). Under intricate prosthetics and makeup, Elordi plays the Creature that arrogant scientist Victor Frankenstein (Oscar Isaac) breathes life into — an assemblage of dead limbs and organs imbued with a new consciousness.

Elordi with writer-director Guillermo del Toro on the set of “Frankenstein.”

(Ken Woroner / Netflix)

Receptive to tenderness but prone to violence, the nameless Creature now has, in Elordi, a performer suited for all its unruly emotions. “It was the innocence in Jacob’s portrayal that kept getting me,” says makeup artist and prosthetics designer Mike Hill. “The Creature could snap on a dime like an animal.”

Capable of complex thought, Del Toro’s version of the monster ponders the punishment of existence and the cruelty of its maker. “They’re almost like John Milton questions to the creator,” the director says of the Creature’s dialogue. “You have to give it a physicality that is heartbreakingly uncanny but also hypnotically human.”

The imposingly lanky, gracefully handsome Elordi, born in Australia, has risen in profile over the last few years, thanks to roles in the hit series “Euphoria” and the psychosexual class-climbing thriller “Saltburn.”

“It came from some other place,” Elordi says about the pull to the role of the Creature. “It felt like a growth, like a cancer in my stomach that told me that I had to play this thing.”

(Bexx Francois / For The Times)

“Frankenstein,” however, seems to have been calling his name for a long time.

“Early in my career, I had been reading what folks on the internet would say about me and someone had written after my first film, ‘The only thing this plank of wood could play is Frankenstein’s Creature. Get him off my screen!’” Elordi recalls. “I went, ‘That’s an absolutely fantastic idea.’”

The thought reentered Elordi’s mind while making Sofia Coppola’s 2023 “Priscilla,” in which he played a moody, internal Elvis Presley to Cailee Spaeny’s title character. Long before he was offered the part, the hair and makeup team on “Priscilla” shared with him their next job was, in fact, Del Toro’s “Frankenstein.”

“I looked at [hair designer] Cliona [Furey] and I said, ‘I’m supposed to be in that movie.’ And she said, ‘Did you audition?’ And I was like, ‘No, but I’m meant to be in that movie.’”

“It came from some other place,” Elordi further explains. “It felt like a growth, like a cancer in my stomach that told me that I had to play this thing. I’ve heard stories about this from actors, and when you hear them, you kind of go, ‘Sure, you were meant to play this thing.’ But I really feel like I was.”

Due to scheduling conflicts, Andrew Garfield, originally cast as the Creature, dropped out in late 2023. With production set to start in early 2024, Del Toro had limited time to find a new actor. When Elordi finally heard he was being considered, he had to read the screenplay within hours of receiving it, and be willing to dive into the darkness.

“I had a few weeks to prepare, but I was lucky to have also had my whole life — and I mean that sincerely,” he says, a grin crossing his face. “Playing this was an exploration into a cave of the self, into every experience with my father, with my mother, my experience with cinema, my scraped knees when I was 7.”

Del Toro says he knew Elordi would make the perfect Creature from speaking with him over Zoom. He remembers immediately messaging Isaac, his Victor, convinced that Elordi could play both “Adam and Jesus,” which are the two facets that the creature represents for the director.

Jacob Elordi as the Creature in the movie “Frankenstein.”

(Ken Woroner / Netflix)

“I don’t think I’ve experienced miracles many times in my life,” Del Toro says. “And when somebody comes to your life in any capacity that transforms it, that happened here. This man is a miracle for this film.”

As he typically does for all the actors in his films, Del Toro sent Elordi several books ahead of working together. Elordi’s deep-dive reading list included the bedrock Taoist guide “Tao Te Ching,” Stephen Mitchell’s well-regarded translation of the Book of Job and a text on the developmental stages of a baby.

The most complex element of the performance, Del Toro believes, is playing “nothing,” meaning the blank, pure state of mind of a living being in infancy. “A baby is everything at once,” Elordi says. “It’s deep pain, deep joy, curiosity. And you don’t have chambers for your thoughts yet.”

Right before “Frankenstein,” Elordi had been shooting Prime’s World War II miniseries “The Narrow Road to the Deep North” in Australia, an experience he describes as “grueling,” one that involved losing substantial weight. He repurposed his body’s subsequent fragility as a dramatic tool.

“My brain was kind of all over the place,” he remembers. “I had these moments of great anguish at around 3 a.m. in the morning. I’d wake and my body was in such pain. And I just realized that it was a blessing with ‘Frankenstein’ coming up, because I could articulate these feelings, this suffering.”

Aside from being an outlet for his exhaustion, the transformation also helped Elordi to recalibrate. “Frankenstein” arrived at a time where he found himself wrestling with a crisis of purpose.

“At that time in my life I really wanted to hide,” Elordi says. “I really wanted to go away for a while. I was desperate to find some kind of normalcy and rebuild the way that I acted and how I approached making movies,” Elordi says. “And when the film came along, I remember being like, ‘Ugh, I really wanted to go away right now.’ And I realized immediately the Creature was where I was supposed to go away to. I was supposed to go into that mask of freedom.”

Was he trying to escape the pressures of dawning fame? Elordi says it was much more philosophical than that.

“Who do I think I am? Who do I present myself as? What do I like? What don’t I like? Do I love? Can I love? What is love? Every single thing of being alive,” he says with a radiant smile. “The unbearable weight of being.”

“At that time in my life I really wanted to hide,” Elordi says of the moment just before taking on Del Toro’s version of the classic. “I really wanted to go away for a while. I was desperate to find some kind of normalcy and rebuild the way that I acted and how I approached making movies.”

(Bexx Francois / For The Times)

The part entailed physically burying himself in another body. It allowed Elordi to renounce any hang-ups, surrendering to a fugue state of mind. Every moment felt like a discovery.

“I was liberated in this makeup,” he adds. “I didn’t have to be this version of myself anymore. In those six months, I completely rebuilt myself. And I came out of this film with a whole new skin.”

Elordi sat for 10 hours in the makeup chair on days that required full body makeup — only four if they were only shooting the Creature’s face. “Jacob wanted to wear the makeup and he knew it would be grueling,” Hill says.

“It was nothing short of a religious experience,” Elordi says. “The excitement I had even just getting my body cast — I was buzzing.”

Hill believes that the decision to make the Creature bald for the scenes where he is a “baby” is what makes Del Toro’s take unique within the “Frankenstein” mythos.

“Instead of what happens in cloning where a baby grows, Victor literally did make a baby, just a big one,” says Hill. “The Creature learns quickly because its brain and its bodies have already lived once. God knows what this Creature knew before he forgot and needed to be reminded.”

As for the skin, Del Toro envisioned a marble-statue look that he had been pursuing in earlier movies like “Cronos,” “Blade II” and “The Devil’s Backbone.”

“Mike took it and made it incredibly subtle: flesh with the violets and the purples and the pearlescence,” Del Toro says. “He bested every concept I’ve ever imagined by making it look like parts of exsanguine bodies. That was so brilliant.”

“It was the innocence in Jacob’s portrayal that kept getting me,” says makeup artist and creature designer Mike Hill, here seen working on a model for “Frankenstein.”

(John P. Johnson / Netflix)

A Frankenstein’s monster with rainbow-colored flesh, Hill says, could only exist in the context of a Del Toro picture.

“He had to look beautiful, like a phrenology head or an anatomical manual,” Del Toro adds. “We agreed — no scars. No sutures. No vulgarity.”

Del Toro’s casting of Elordi was fully validated when the actor walked on set for the first time in full makeup. “The whole process was anticipation,” Elordi says. “And then I opened my eyes and he was looking back at me, and it was exactly what I thought it would be when I first read the screenplay.”

For Hill, it was watching Elordi doing an interview, where his limbs seemed loose and relaxed, that convinced him he was the right actor to sculpt the Creature on. “I was like, ‘Look at those wrists.’ And then he turns, and he has these lashes,” Hill says. “Big eyes are beautiful for makeup. And structurally, Jacob has an unassuming nose, so you can build on that.”

“And he has a big chin,” Hill continues amid Del Toro’s boisterous laughter. “I was like, ‘I’m not going to glue one on.’”

Amused at his anatomy being dissected in front of him, Elordi claps back, mock-defensively: “He was grotesque to look at, but he was somewhat gifted. A deformed skinny freak.”

By the time Elordi got out of the makeup chair, he says, the electricity in his body had shifted. He stepped on set physically depleted but in the ideal headspace to embody the creature as it navigates an inhospitable reality.

“He’ll forever be fused into my chemistry,” Elordi says. “He was always there and now I have a little place for him. But I can’t rationalize him.”

Whether by curse or by miracle, Elordi’s Creature lives. And the actor feels reborn.

MILWAUKEE — First things first: The fans in an outdoor stadium in Philadelphia are louder than the fans in an indoor stadium in Milwaukee. No contest.

They are respectful and truly nice here. They booed Shohei Ohtani, but half-heartedly, almost out of obligation. In Philadelphia, they booed Ohtani relentlessly, and with hostility.

Here’s the thing, though: It didn’t matter, because the Dodgers have silenced the enemy crowd wherever they go this October. The Dodgers are undefeated on the road in this postseason: 2-0 in Philadelphia, and now 2-0 in Milwaukee.

The Dodgers have deployed four silencers. In dramatic lore they are known as famine, pestilence, destruction and death. These are only aliases. Their real names are Snell, Yamamoto, Glasnow and Ohtani.

“It’s amazing,” Tyler Glasnow said. “It’s like a show every time you’re out there.”

The Dodgers won the World Series last year with home runs and bullpen games and New York Yankees foibles, but not with starting pitching. In 16 games last October, the Dodgers had more bullpen games (four) than quality starts (two), and the starters posted a 5.25 earned-run average.

In eight games this October, the Dodgers have seven quality starts, and not coincidentally they are 7-1. The starters have posted a 1.54 ERA, the lowest of any team in National League history to play at least eight postseason games.

“Our starting pitching this entire postseason has been incredible,” said Andrew Friedman, Dodgers president of baseball operations. “We knew it would be a strength, but this is beyond what we could have reasonably expected.

“There are a lot of different ways to win in the postseason, but this is certainly a better-quality-of-life way to do it.”

The elders of the sport say that momentum is the next day’s starting pitcher. In a sport in which most teams struggle to identify even one ace, the Dodgers boast four.

In the past three games — the clincher against the Phillies and the two here against the Brewers — the Dodgers have not even trailed for a full inning.

In the division series clincher, the Phillies scored one run in the top of an inning, but the Dodgers scored in the bottom of the inning.

On Monday, the Brewers never led. On Tuesday, the Brewers had a leadoff home run in the bottom of the first, but the Dodgers scored twice in the top of the second.

On Monday, as Blake Snell spun eight shutout innings, the Brewers went 0 for 1 with men in scoring position — and that at-bat was the last out of the game. On Tuesday, as Yoshinobu Yamamoto pitched a complete game, the Brewers did not get a runner into scoring position.

That is momentum. That is also how you shut up an opposing crowd: limit the momentum for their team.

Dodgers pitcher Yoshinobu Yamamoto delivers against the Brewers in the fifth inning Tuesday.

(Robert Gauthier / Los Angeles Times)

“I do think, with what we’ve done in Philly and in coming here, it doesn’t seem like there is much momentum,” Glasnow said.

Of the four aces, Glasnow and Ohtani were not available to pitch last fall as they rehabilitated injuries, and Snell was pitching for the San Francisco Giants.

In the 2021 NLCS, the Dodgers started Walker Buehler twice and Julio Urías, Max Scherzer and openers Joe Kelly and Corey Knebel once each. Scherzer could not make his second scheduled start because of injury.

Said infielder-outfielder Kiké Hernández: “We’ve had some really good starting pitchers in the past, but at some point we’ve hit a roadblock through the postseason. To be this consistent for seven, eight games now, it’s been pretty impressive. In a way, it’s made things a little easier on the lineup.”

In the wild-card round, the Dodgers scored 18 runs in two games against the Cincinnati Reds. Since then, they have 20 runs in six games.

“We said before this postseason started, our starting pitching was going to be what carried us,” third baseman Max Muncy said. “And so far, it’s been exactly that.”

The starters started their roll in the final weeks of the regular season — their ERA is 1.49 over the past 30 games — not that Hernández much cared about that now.

“Regular season doesn’t matter,” he said. “We can win 300 games in the regular season.

“If we don’t win the World Series, it doesn’t matter.”

The Dodgers are two wins from a return trip to the World Series. If they can get those two wins within the next three games, they won’t have to return to Milwaukee, the land of the great sausage race, and of the polka dancers atop the dugout.

There may not be another game here this season. They are kind and spirited fans, even if they are not nearly as loud as the Philly Phanatics.

“That,” Glasnow said, “is the loudest place I’ve ever been.”

Diving star Tom has been married to Dustin Lance Black since 2017 and the pair have two sons

Tom Daley is often in the spotlight, thanks to his diving career and now TV fame on Celebrity Traitors.

But when he’s not in the public eye, he lives a quiet family life with his husband Dustin Lance Black and their two children.

The star, 31, has been married since 2017 and became a dad for the first time the following year, and has been open about what family life means to him.

“I used to define myself by diving,” the Mirror quoted Tom as saying in 2021. “If I dived well it reflected on me as a person. Now I’m first and foremost a father and husband.” So who is Tom’s husband?

Is Tom Daley married?

Tom first came out to his fans in a YouTube video in December 2013, in which he shared that his “whole world changed” when he fell in love with a man.

He started dating Dustin, who is a screenwriter, director and producer known for movies such as Milk and J Edgar.

Tom told The Guardian earlier this year that the pair met at a dinner in 2013 and that they “talked and talked until we both realised how similar our lives were”.

“He had just lost his brother; I’d lost my dad,” he said of Dustin, who is almost 20 years older than him. “He had just won his Oscar; I had just won an Olympic medal. It was the first time I could complain about success to somebody who knew I wasn’t really complaining about success.”

The couple revealed their engagement in October 2015 with a traditional wedding announcement in The Times.

They tied the knot in 2017 in Dartmoor National Park, with Tom telling fans on Instagram at the time: “On 6th May 2017, I married the love of my life, @dlanceblack.”

Does Tom Daley have any children?

In 2018, the couple welcomed their son via a surrogate and named him Robert ‘Robbie’ Ray, a tribute to Tom’s dad Robert, who died in 2011.

Second son Phoenix was born in 2023, also via a surrogate.

The following year, Tom announced he was retiring from diving, revealing his decision after the 2024 Summer Olympics.

Tearing up in a moving interview with the BBC, he said: “It’s hard to talk about, it’s emotional… I want to be with my family.”

Celebrity Traitors airs on BBC One

Police Scotland

Claire Leveque

Police Scotland

‘Quite unimaginable violence’

‘Hard to comprehend’

Jamal Robinson, who achieved his dream of retirement in 2024 and pays himself a whopping £138,000 a year, has revealed what he forks out to live in a “premium” area of Dubai “right off the beach”

A young retiree who pays himself a staggering £138,000 a year has revealed what he forks out to live in a “premium” area of Dubai “right off the beach”.

Jamal Robinson, who decided that he wanted to retire early when he was just a teenager, went from working as a church janitor to a position at Taco Bell for minimum wage, but would ultimately secure roles at Microsoft, IBM, and Amazon.

Jamal, who at the time of speaking was 40, achieved his dream of retirement in 2024. He’s now living as a US expat in Dubai, in the United Arab Emirates, and has managed to save a cash pot worth nearly $4million (about £3m).

A former executive director of generative AI at Microsoft, Jamal accumulated millions in savings and investments and pays himself a staggering figure of about £11,500 every month.

Jamal told CNBC Make It: “What I love most about Dubai is it really caters to people that have been retired and are looking for a lot of services and activities.”

He continued: “I found that, most often, the things that were promised to me in America actually existed here. So, the levels of safety, the levels of like integration of people into society where everyone’s accepted.”

Jamal revealed that he pays himself roughly $15,400 per month (about £11,500), but he tends to spend around $9,000 (£6,700), usually allowing himself around $2,000 for food (£1,500).

A chart displayed Jamal’s spending for December 2024 (which he conceded was a “unique” month). Among his outgoings were $4,429 (about £3,300) for rent, $2,840 ($2,100) for health and wellness, and a discretionary fund of $1,549 (£1,160).

He claimed that Dubai is “actually much cheaper” for him than the majority of the major US cities in which he’s lived. Jamal added that the UAE city allows people to live the “kind of lifestyle” they want and accommodates “a lot” of price points.

A city synonymous with luxury, Dubai is also a popular holiday destination and global hub for leisure and business. Home to more than 200 nationalities, it also boasts the tallest building in the world, the 828-metre Burj Khalifa.

In addition, curious visitors can take advantage of its luxurious malls and traditional souks, and, in further evidence of its wealth, you may even spot the police driving supercars.

According to the Telegraph, it’s expensive to live in Dubai, and expats will have to pay for medical insurance. Despite this, there’s no income tax imposed on people, meaning you keep more of the cash you earn.

It reports that, as of June 2024 (according to figures by CBRE), average yearly rents for apartments and villas were AED 56,000 (about £11,265) and AED 166,000 (£33,393). It also stated that the average salary of someone living in Dubai was £54,647.

Emmerdale have confirmed they will be airing three special standalone episodes featuring key storylines this autumn as we delve deeper into the biggest storylines in the Dales

Emmerdale will air three special standalone episodes featuring key storylines this autumn including a reflective look behind the bars of Robert Sugden’s incarceration and Bear’s recent disappearance.

Earlier this year, Emmerdale fans were left in shock when Ryan Hawley made his dramatic return to the soap, reprising his role as Robert Sugden, crashing the wedding of his brother John Sugden and Aaron Dingle. Robert was sent to prison in 2019 after being sentenced to life for the murder of Lee Posner.

Now, this autumn, fans will be able to see what really went down over those six years – and if it changed him forever. Fans are aware that Robert has a ‘secret husband’, Kev, whom he met in prison, who has recently been released and is living in the village.

READ MORE: Emmerdale spoilers: Aaron rumbles Kev and Robert, mystery arrival and hospital dashREAD MORE: Emmerdale star responds to Kev ‘villain’ claims: ‘There’s more to him than meets the eye’

Elsewhere, another episode will answer all the unanswered questions about Bear’s disappearance. The soap will explore the hundred missing days of Bear’s life, and viewers will learn that he is sadly trapped in an all too common situation for a forgotten generation…

When Paddy and Bear found life under the same roof difficult, Bear decided to leave for another life in Ireland. Paddy believed his estranged father was safe with friends in Ireland, but it becomes apparent that he wasn’t there at all – but where did he disappear to?

Lastly, another special episode set to air in Autumn will explore this fragile and possibly broken relationship between April Dingle and her father, Marlon, as she slips further away from his grasp.

It comes after April’s storyline in which the teen is at the mercy of the merciless drug dealers.

Emmerdale have not confirmed an exact date for these standalone episodes, but fans can expect them to air sometime this autumn.

Fans of the ITV soap can expect a lot more twists and turns over the final months of 2026 as stars including Bradley Riches, Shebz Miah, Lisa Riley, Ash Palmisciano, Beth Cordingly, Rosie Bentham and Bradley Johnson spilled the beans to the Mirror at the Inside Soap Awards.

After the special standalone episode, we’ll be getting ready for all the Christmas drama – and it’s set to be dramatic.

So much so, Lewis Barton actor Bradley said fans would be saying “what the f**k” when they see what goes down.

Vinny Dingle star Bradley Johnson and Mandy Dingle star Lisa also teased a devastating storyline for Bear, which will run through to Christmas and then past Christmas too. Bradley said: “We’ve got the Bear storyline coming up!” whilst Lisa added: “We don’t know where Bear is.

The drama on Emmerdale continues Friday at 7:30 PM on ITV1 and STV, or from 7:00 AM on ITVX and STV Player.

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British vloggers Dan Howell and Phil Lester — known for their gaming and comedic slice-of-life style videos — are taking ownership of their long-rumored romance after more than a decade of incessant fan “shipping” online.

The longtime collaborators revealed Monday that they have been dating for more than a decade, pretty much since they gained popularity in the late aughts. The YouTubers confirmed they have been an item in a 46-minute video titled “Are Dan and Phil in a Relationship?”

“We fell into it hard and fast in 2009,” Howell, 34, said. “And here we are almost 16 years later.”

Before Howell and Lester, 38, spoke about the origins of their couple-dom, the YouTubers— who both came out as gay in 2019 — talked extensively about why they waited go public with their relationship. First, they tackled some fans’ obsessive behavior.

Howell and Lester began appearing in each other’s YouTube videos in the late aughts and eventually, in 2014, launched their shared gaming channel — that page currently boasts 2.95 million subscribers. The pair documented their lives together, opening the door for fans to speculate on their relationship and foster a parasocial connection, Howell explained in the video. Among the most prominent internet personalities at the time, Howell and Lester often became the subject of fan fiction and fan edits on Tumblr.

“Some think that shipping real-life people is problematic. I think that humans cannot stop this natural tendency,” Howell said, later adding that “a line gets crossed” when fan speculation turns into investigation.

The pair recalled fans combing through their old social media posts, reaching out to their loved ones and filming them out in the real world. “If all this digging, investigating was small it could’ve been ignored,” Lester said.

“The problem is this became so big we could not ignore it,” Howell continued.

Howell and Lester also recalled fans dissecting their on-camera interactions and spreading the romance rumors during live events. Ultimately, the rumors became “too loud to ignore,” Lester said.

Howell said he was wary about how going public with Lester would impact their professional dynamic and spoke candidly about how his struggles with his sexuality affected their relationship.

“I had an extremely homophobic childhood,” Howell said, adding that the constant fan pressure to address the rumors took a toll on his mental health. He said that when he and Lester gained popularity he felt he “had to hide the relationship because I was still hiding who I was to my friends, family, myself.”

Online chatter didn’t help and “hit a nerve,” he said. Howell said Lester was “like a literal ray of light in my life back then” and committed to protecting their relationship.

“So when other people tried to grab it and drag it into the light, I felt completely violated,” Howell continued. “Having all of these people trying to out us and being so hostile to me when I tried to hide it was so triggering. Honestly, it could’ve killed me.”

Lester added: “It’s sad because those should’ve been the happiest times of our life. It was so amazing and we were having so much fun personally.”

Invasive fan behavior hung over their success “like a curse” and that led to anxiety and panic attacks, Howell said. Lester also recalled a “breaking point” in their relationship where a personal video leaked on YouTube and spread online, with re-posters refusing to take it down.

As they acknowledged the negative impact of some fans’ invasive behavior, the YouTubers said they don’t hold a grudge. Howell said the skeptics “were just young people that had absolutely no idea what the effects of their actions were.”

“In the same way that we all want people in our lives to give us patience and grace and benefit of the doubt if we ever make a mistake, I have to extend that to the world in regards to this story,” he added. “So I understand and I forgive.”

Howell and Lester, whose work also includes BBC Radio programming and several live tours, ended their video announcing the launch of a new podcast.

Madonna’s “MDNA.” Bruce Springsteen’s “The Rising.” Mariah Carey’s “Memoirs of an Imperfect Angel.”

According to the Recording Industry Assn. of America, none of these albums — each the 12th studio LP by its respective maker — has sold 4 million copies in the United States in the decade or more since it was released.

Yet that’s what Taylor Swift just did in a single week with her 12th album, “The Life of a Showgirl,” which Billboard reported Monday had moved 4.002 million copies in the seven days between Oct. 3 and 9.

That figure, which combines sales and streaming numbers, represents the biggest opening week for an album in modern history, breaking the record set by Adele 10 years ago when her “25” moved 3.482 million units in its first week.

Swift marked the achievement on Instagram on Monday with a note to her 281 million followers.

“I’ll never forget how excited I was in 2006 when my first album sold 40,000 copies in its first week,” she wrote. “I was 16 and couldn’t even fathom that that many people would care enough about my music to invest their time and energy into it. Since then I’ve tried to meet and thank as many people as I could who have given me the chance to chase this insane dream. Here we are all these years later and a hundred times that many people showed up for me this week.

“I have 4 million thank you’s I want to send to the fans,” she added, “and 4 million reasons to feel even more proud of this album than I already was.”

The speed with which Swift hit the 4-million mark is undeniably impressive. Morgan Wallen’s “I’m the Problem,” the biggest album of 2025 so far, has sold and streamed the equivalent of 4.2 million copies, according to the trade journal Hits. But “I’m the Problem” has been out since mid-May; “Showgirl” will almost certainly have surpassed Wallen’s LP by the end of this week (if it hasn’t already).

What’s more remarkable is where “Showgirl’s” blockbuster success comes in the arc of Swift’s career.

Madonna and Springsteen were both in their early 50s when they released their 12th LPs; Carey was 40 when “Imperfect Angel” came out. Swift, in contrast, is only 35 — one advantage of starting out professionally as a teenager.

Still, Swift has been a star for nearly two decades, a point at which many pop musicians have shifted the focus of their work to touring even as they continue to make new records generally ignored by all but their most devoted fans. In 2024, according to Pollstar, Madonna’s and Springsteen’s latest road shows — each drawn from a catalog packed with hit songs — were among the year’s 10 highest-grossing tours.

And indeed Swift has been amply rewarded on the road: At No. 1 on Pollstar’s list was her Eras tour, which sold more than $2 billion in tickets across 149 dates on five continents.

Yet unlike virtually every other veteran act in music, Swift’s recording business is growing along with her live business.

“Everything that’s happening here is historic and unprecedented,” said Hits’ editor in chief, Lenny Beer. “Maybe if the Beatles had stayed together, we’d have seen something like it.”

Also worth considering: Nobody seems to think “The Life of a Showgirl” is Swift’s best album. Reviews have been mixed, and even some fans have expressed disappointment with the record on social media — a once-unthinkable development among the fiercely loyal Swifties.

So how did the singer pull off such a feat?

First, a little math: Of “Showgirl’s” 4 million units, approximately 3.5 million were sales of either digital or physical versions of the album (including CDs, cassettes and vinyl LPs); the remaining half-million came from streams of the album’s songs on platforms like Spotify and Apple Music, which the data firm Luminate counts toward what it calls streaming equivalent albums.

“Showgirl’s” 12 songs racked up 681 million streams in all, Billboard said — the fourth-biggest streaming week of all time, behind Swift’s “The Tortured Poets Department” and Drake’s “Scorpion” and “Certified Lover Boy.” But the album’s sales number is the largest ever recorded since Luminate started tracking sales electronically in 1991.

Among Swift’s strategies to get to that number was selling more than three dozen editions of the album, each with its own artwork and bonus material designed to lure collectors. On vinyl alone, “Showgirl” came out in eight so-called variants, which helped drive the album’s first-week vinyl sales to a modern record of 1.3 million copies.

Offering something for sale doesn’t necessarily mean anyone will buy it, of course. Yet Swift was positioning “The Life of a Showgirl” as a juggernaut from the moment she announced it. Appearing with her fiancé, the NFL player Travis Kelce, on his “New Heights” podcast in August, the singer described the album as a return to the hit-making ways of albums like “Red” and “1989” after the relatively experimental “Folklore” and “Tortured Poets Department.”

To make “Showgirl,” she reteamed with the Swedish producers Max Martin and Shellback, with whom she’d collaborated on some of her biggest singles, including “Blank Space,” “Bad Blood” and “We Are Never Ever Getting Back Together.” On “New Heights” she and Kelce talked about the new album as a “180” from the moody confessions of “Tortured Poets,” whetting appetites for the kind of crisply hooky Taylor Swift songs that blanketed Top 40 radio in the mid-2010s.

Promised the football star: “12 bangers.”

Fans visit an activation for Taylor Swift’s “The Life of a Showgirl” at the Westfield Century City mall on Oct. 4.

(Christina House/Los Angeles Times)

Once “Showgirl” was out, Swift jumped into the promotional fray with more gusto than she’d summoned in years, sitting for numerous radio interviews and putting in appearances on Graham Norton’s, Jimmy Fallon’s and Seth Meyers’ late-night shows; the weekend after the album’s release, a glorified sizzle reel called “The Official Release Party of a Showgirl” played in AMC movie theaters across the country.

On Monday, Swift kept the conversation going with the announcement that two Eras-related projects are headed to Disney+ in December: a six-part behind-the-scenes docuseries and a concert film of the tour’s finale in Vancouver.

“One of the hardest parts of ensuring you have a record-setting first week is making sure that everyone who could possibly be interested in your album knows about it,” said Bill Werde, director of the Bandier Program for Recording and Entertainment Industries at Syracuse University. “I’m not sure anyone has ever covered that need the way Taylor did with this album cycle.”

Yet “The Life of a Showgirl” has not been greeted as enthusiastically as some of Swift’s earlier work.

Pitchfork said “her music’s never been less compelling,” while The Guardian called the album “dull razzle-dazzle from a star who seems frazzled.” Fans on TikTok have complained that Swift’s lyrics — which take up her romance with Kelce, the burdens of fame and an apparent beef with Charli XCX — are unusually shallow; some have even formulated a kind of tradwife critique of “Showgirl” in which Swift is seen as upholding regressive ideas about marriage and domesticity.

The album has also attracted criticism from people who say Swift’s songs recycle familiar elements from other pop tunes without giving credit: the Jackson 5’s “I Want You Back” in “Wood,” for instance, and the Jonas Brothers’ “Cool” in the LP’s closing title track.

“When every song is a derivative of another song, that’s an issue,” said one hit songwriter who asked not to be named in order to speak freely. “That one song is the Jonas Brothers song — the exact same melody. And here’s how lazy that is: It’s the same key and the same tempo.”

In Werde’s view, Swift’s place atop the pop hierarchy makes such carping inevitable. “Anytime an artist gets this big, there’s going to be backlash,” he said — a take with which Swift would likely agree.

“I welcome the chaos,” she said in an interview with Apple Music’s Zane Lowe. “The rule of show business is: If it’s the first week of my album release and you are saying either my name or my album title, you’re helping.”

Even so, the polarized reaction to “Showgirl” — Swift’s 15th album to debut at No. 1 on the Billboard 200 — raises questions about the breadth of Swift’s popularity as compared to its depth. Should the album’s gargantuan numbers be taken as a sign that she appeals to a wide spectrum of pop music lovers or to a committed group of hardcore Swifties willing to spend untold amounts of money to demonstrate their loyalty?

“Showgirl’s” second-week stats should provide the beginnings of an answer, given that they won’t be shaped by one-time sales of all those limited-edition variants.

Then again, another unprecedented chart achievement from the album’s first week is already shedding some light on the matter: “The Fate of Ophelia,” the album’s lead single, is the first song ever to debut inside the top 10 of Billboard’s Pop Airplay chart — an indication of the heavy Top 40 radio play it’s getting along with the millions of daily streams that have kept it atop Spotify’s U.S. Top 50 tally since the song came out.

That’s one banger certified, with more perhaps to come.

THE National Lottery Set For Life numbers are in and it’s time to find out if you’ve won the top prize of £10,000 every month for 30 years.

Could tonight’s jackpot see you start ticking off that bucket list every month or building your own start-up as a budding entrepreneur?

1

You can find out by checking your ticket against tonight’s numbers below.

Good luck!

The winning Set For Life numbers are: 04, 24, 27, 31, 36 and the Life Ball is 08.

The first National Lottery draw was held on November 19 1994 when seven winners shared a jackpot of £5,874,778.

The largest amount ever to be won by a single ticket holder was £42million, won in 1996.

Gareth Bull, a 49-year-old builder, won £41million in November, 2020 and ended up knocking down his bungalow to make way for a luxury manor house with a pool.

1. £1.308 billion (Powerball) on January 13 2016 in the US, for which three winning tickets were sold, remains history’s biggest lottery prize
2. £1.267 billion (Mega Million) a winner from South Carolina took their time to come forward to claim their prize in March 2019 not long before the April deadline
3. £633.76 million (Powerball draw) from a winner from Wisconsin
4. £625.76 million (Powerball)  Mavis L. Wanczyk of Chicopee, Massachusetts claimed the jackpot in August 2017
5. £575.53 million (Powerball)  A lucky pair of winners scooped the jackpot in Iowa and New York in October 2018

Sue Davies, 64, bought a lottery ticket to celebrate ending five months of shielding during the pandemic — and won £500,000.

Sandra Devine, 36, accidentally won £300k – she intended to buy her usual £100 National Lottery Scratchcard, but came home with a much bigger prize.

The biggest jackpot ever to be up for grabs was £66million in January last year, which was won by two lucky ticket holders.

Another winner, Karl managed to bag £11million aged just 23 in 1996.

The odds of winning the lottery are estimated to be about one in 14million – BUT you’ve got to be in it to win it.

After my marriage ended, I blithely thought it would be easy to enjoy holidays as a single parent. I soon found out they were either outrageously expensive, or they seemed only suitable for “traditional” families, or they were so cheap that I came home more knackered than when I’d left.

My first attempt, camping with friends, was fine until I had to pack up the tent. Four hours of wrestling with it in the heat later, I hated camping. Next, the adventure holiday for single-parent families. The abseiling and caving were brilliant, but sleeping in a bunk bed ruined my back. We tried a budget all-inclusive in Tenerife, but the hordes of nuclear families were overwhelming, and pool-side conversations with other women fizzled out because I didn’t come with a handy husband for their own husbands to talk to. A trip to Mallorca with a friend and her children was brilliant, but the cost was eye-watering.

Then, last autumn, a friend asked if we’d house-sit her dogs in Devon while she went to a wedding. For one tranquil weekend, we walked on the beach, and curled up by the fire in the evening. That led to house-sitting for her friend in Dorset, which also went well. Encouraged, I paid an annual £99 fee to join a house-sitting website, where, in exchange for looking after people’s pets, you stay in their homes free of charge. Within a few days, I’d arranged a 10-day house-sit in Sussex, looking after a labrador named Buzz while his owners were abroad.

It was our first sit for strangers, but any nerves dissipated the moment we arrived at the gorgeous four-bedroom house and met the gentle Buzz, who lived for tummy rubs. Our daily dog walks gave us the opportunity to explore stunning nature spots, and, once we returned home, we could relax in the garden for important conversations about our favourite “Ghosts” characters in the BBC sitcom. There were no expensive tourist traps to traipse through – instead, we browsed bookshops, treated ourselves to manicures, and went on kayak trips. I felt lighter and happier than I had in years, and could feel my bond with my daughter Polly strengthen every day. I’m not afraid to say that I cried with happiness. Things felt possible again.

House-sitting isn’t for everyone. Some people want no responsibilities on holiday apart from choosing their next cocktail, aren’t into dogs or cats, or feel odd about sleeping in a stranger’s bed, emptying their dishwasher, and putting out their bins. But the gentle rhythm of ordinary life, with work stripped out and new places to explore, is perfect for me.

It keeps me from descending into complete idleness, which leaves me feeling twitchy and oddly hollow. And, financially, house-sitting is a life-saver for a single parent. A 10-day break in a similar-sized house in the same area we stayed would set me back about £2,500 on Airbnb.

As for staying in a stranger’s house, I found it nourishing. Although house-sitting is a transaction, it’s also an act of trust between strangers and animals, which has brought out my best self – my patient, loving and measured side, full of appreciation for the people and places we discover. I’ve already lined up another four days away, caring for a whippet in leafy Surrey, and, next year, I’d like to try house-sitting abroad. Thanks to a bit of creative thinking, we can see the world from the comfort of home – it just happens to be someone else’s.