Love

A new trailer has been released for an upcoming crime drama on Sky that fans won’t want to miss

Sky has unveiled the thrilling first trailer for an upcoming prequel series to one of their best shows.

Gomorrah – The Origins will be released in early 2026 and revealing the startling story of how Pietro Savastano, originally portrayed by Fortunato Cerlino, became one of the most notorious crime bosses in Naples.

The original Italian crime drama aired between 2014-2021 and was one of Sky’s biggest international shows, becoming a worldwide hit after airing in 190 countries.

Now, rising star Luca Lubrano steps into Pietro’s shoes in a six-part origin story kicking off in 1977.

Sky says the gripping new drama will tell “the story of how it all began — how a very young Pietro Savastano will enter a criminal world set against the backdrop of a city in transformation: poor, rough-edged, hooked on cigarette smuggling and about to enter a new era of heroin use.”

Also joining the cast are Francesco Pellegrino as reluctant gangster Angelo ‘A Sirena’, Flavio Furno as charismatic convict ‘O Paisano’, Tullia Venezia as musician Imma, who goes on to become Pietro’s wife, and Fabiola Balestriere as young mother Annalisa Magliocca before she became the notorious female drug lord Scianel.

Supporting cast includes Antonio Buono, Ciro Burzo, Luigi Cardone, Antonio Del Duca, Mattia Francesco Cozzolino, Junior Rancel Rodriguez Arcia, and Antonio Incalza.

The first trailer revealed a fun and fast-paced thriller that will nevertheless delve into Naples’ darker underbelly as fans follow the rise of one of the most iconic characters in international drama.

Based on the bestselling novel by Roberto Saviano, it’s a must-watch for fans of the original series and is also bound to attract newcomers to the franchise who will immediately want to binge all five seasons of the flagship hit.

An official synopsis for Gomorrah – The Origins from Sky reads: “Pietro is a tough city kid who grew up in the poorest parts of Secondigliano.

“He and his friends survive any way they can, riding their mopeds around town and committing petty theft.

“But he has a big dream: to become like Angelo ‘A Sirena, the neighbourhood’s ‘king’. When he manages to get in the graces of the young boss, he finds himself caught in a power game far beyond him.

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“He ends up wondering whether this dark, violent criminal life is really what he wants or if his love for Imma can save him from such a fate.”

The original series overwhelmingly received five-star reviews from fans and, with writers Leonardo Fasoli, Maddalena Ravagli and author Saviano back on board for the prequel, it’s expected to reach similar soaring heights.

One fan raved about the original Gomorrah: “I absolutely adore this show. It’s raw, realistic, and unflinchingly brutal.

“As someone hailing from the North of Italy, I was already familiar with the Camorra, but this series opened my eyes to just how merciless it can be.

“The actors deliver outstanding performances, the script is flawlessly executed, and the storyline is gripping.”

Gomorrah – The Origins premiere in early 2026 on Sky and streaming service NOW.

THE Love Actually reunion no one saw coming just happened – and it’s still 49 days until Christmas.

My insiders tell me that stars of the seasonal rom-com Martine McCutcheon and Thomas Brodie-Sangster have signed up for Google Pixel’s new festive ad.

They filmed the top-secret project in London yesterday afternoon — 22 years after appearing opposite each other in the 2003 hit film.

A source said: “Nothing says Christmas like Love Actually, and so Google Pixel are bringing a sprinkling of it back to insert some nostalgia into the festive period.

“It’s still such a firm favourite with millions of people, so they tapped up Martine and Thomas for the sweet reunion.

“The ad is going to be packed full of throwbacks — especially because Thomas was only 13 when he was in Love Actually.

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“A whole street in London was transformed into a winter wonderland and Martine and Thomas were in great spirits.

“They’re really happy with how the ad worked out. It’s going to be one people are talking about for a while.”

If you’ve lived under a rock and have never seen Love Actually, it’s one of Richard Curtis’s best films.

Martine plays hapless PA Natalie, swept off her feet by the Prime Minister, played by Hugh Grant.

And Thomas took on the role of sweet, love-stricken Sam, who went all out to impress his teen crush.

Google Pixel isn’t the only brand getting in on the Love Actually nostalgia for their Christmas ad.

Aldi revealed their famous Kevin the Carrot will propose to his sweetheart Katie in their festive offering this year using cue cards — inspired by the scene in the film where Andrew Lincoln’s character Mark professed his love for Juliet, played by Keira Knightley.

Without wanting to be too sentimental, it proves love really is still all around us.

And I’m definitely going to be renting it on Prime Video tonight.

KYLIE MINOGUE used a stocking from the filming of her CBeebies bedtime story last Christmas in the music video for her new festive single Xmas.

The Aussie pop star is celebrating the tenth anniversary of her Christmas album with a new version of the record, Kylie Christmas (Fully Wrapped), which features four new songs.

Speaking to Scott Mills on the BBC Radio 2 Breakfast Show about the video, Kylie said: “Because I was on the road we didn’t get to go so Christmassy.

“I think it was from a CBeebies Christmas story | did and they gave me a Christmas stocking.

“I thought, I have got to take something Christmassy and I think that’s it. That’s the one thing that you may see.

“We didn’t get to do fairy lights. We didn’t get to do paper chains. But in spirit we were very Christmassy.”

JOSH’S TOP DAY WITH SPINAL TAP

JOSH GROBAN was one of a few artists asked to perform with Spinal Tap for their next film, Stonehenge: The Final Finale.

I exclusively revealed the ­parody band had shot a concert alongside Eric Clapton and Shania Twain at the ­landmark in August, and now US star Josh has told me all about taking part.

He said: “Singing with Spinal Tap at Stonehenge – I don’t care how much you’ve done, that’s an experience for anybody. Eric Clapton felt it, Shania Twain felt it.

“Everybody was going, ‘I can’t believe we’re doing this’. I can’t tell you the song but it was ­ridiculous and amazing.”

Josh is returning to the UK on April 1 next year for a date at London’s O2 Arena, with tickets on sale tomorrow.

And on November 14 he will drop his next record, Hidden Gems.

The album is a collection of fans’ favourite tracks not available on streaming platforms.

Speaking after an intimate show in ­London at Union Chapel, Josh says: “These are all songs from my past.

“They’re B-sides and special-editions. I’ve also been working on new music.”

MUMMY’S THE WORD, BRENDAN

BRENDAN FRASER and Rachel Weiz are teaming up again for The Mummy 4, 17 years after the last film in the franchise.

They both starred in 1999’s The Mummy and 2001’s The Mummy Returns, below, but Rachel skipped 2008’s The Mummy: Tomb Of The Dragon Emperor.

Plans for a fourth film were ditched in 2012 before Tom Cruise tried to reboot the series in 2017 with another movie called The Mummy, but it lost millions at the box office.

The original followed treasure hunter Rick (Brendan), who wakes up an ancient Egyptian priest with special powers.

The latest news comes three years after Brendan’s career comeback in The Whale, which landed him a much-deserved Oscar for Best Actor.

YUNG HIT IN TRANS PIC SHOW

YUNGBLUD has provided the soundtrack for a new photography exhibition that tells the stories of 13 trans people from across the UK.

His song Hello Heaven, Hello will be used on screens at Outernet, right outside Tottenham Court Road Tube Station in central London, for the free exhibition called Trans Is Human from November 17.

Yungblud said: “I’m honoured that Hello Heaven, Hello will be a part of this exhibition.

“Trans Is Human is all about celebrating truth, identity and the beauty of being yourself.

“That’s something I’ve always tried to celebrate in everything I do.”

BABYSHAMBLES have returned with their first song in 12 years, Dandy Hooligan.

The band, fronted by Pete Doherty, dropped the track yesterday ahead of the launch of their comeback tour.

Pete said: “It’s a well turned-out, ­elegantly crafted reggae-ska-pop song . . . with a sweet melody to bowl along to with your sharpened walking cane.”

They were back on stage in Hastings last night for a warm-up gig ahead of their tour later this month.

ED’S PERFECT PITCH MEANS ALL KIDS CAN LEARN MUSIC

ED SHEERAN has once again proved he is a voice for good after a successful ­campaign to give all kids access to ­creative subjects at school.

Back in March, the Shape Of You singer wrote to No10 urging the government to look at the critical state of music education – and, incredibly, they’ve listened.

Keir Starmer yesterday heralded Ed’s letter, which was backed by stars including Harry Styles, Stormzy and Annie Lennox, as “powerful”, and told him: “I wanted you to know that your voice has been heard.”

In a letter to Ed which has been shared with me, the PM said: “The review ­places creative ­subjects firmly at the centre.

“We are revitalising arts ­education, strengthening music and drama, and launching a new National ­Centre for Arts And Music Education to support teachers and raise standards.

“We will make sure every child has access to those experiences – from arts and ­culture to nature and civic engagement – so that creativity isn’t a privilege, but a right.”

It is a huge victory for Ed and the Ed Sheeran Foundation, which has ­campaigned for accessible, meaningful education for all young people.

In a statement, Ed said: “I set up the Ed Sheeran Foundation because every child deserves to have access to a meaningful music education, and the chance to experience the joy and confidence that musical expression can bring.

“Shortly after ­setting up my foundation, I wrote an open letter to the Prime Minister about the critical state of music education in the UK and the fact it was slipping through the cracks.

“With the help of the letter and everyone who signed it, I’m happy to say that some of the key points we raised have been recognised by the government, marking the first change to the music ­curriculum in over ten years.”

All power to you, Ed. This is ­brilliant news.

COAT AND TAYLS

TAYLOR SWIFT has gone quiet since dropping her album The Life Of A Showgirl last month, but she re-emerged in New York for a night out with Gigi Hadid on Monday.

The singer wrapped up in a coat and knee-high boots alongside the model who is a long-time friend.

I’m sure they had plenty to catch up on, with a wedding to plan for Taylor, while Gigi’s romance with Bradley Cooper seems to be going from strength to strength after two years together.

Perhaps wedding bells will be ringing for her, too, before long.

JENNIFER LAWRENCE has let slip that she’s co-producing a movie with Emma Stone based on Miss Piggy, being written by US comedian Cole Escola.

Asked on the Las Culturistas podcast whether the actresses will also star in the film, she said: “I think so, we have to.”

On working with Emma for the first time, she added: “It’s f***ed up. It’s dark that we haven’t done a movie together.”

CYNTHIA’S IN GOOD MOOD FOR PREMIERE

CYNTHIA ERIVO was grinning from ear to ear at the premiere of Wicked: For Good, despite the fact her co-star Ariana Grande missed the big launch.

The British actress, who returns as Elphaba in the second flick, wore this quirky, tummy-baring outfit and was joined at the event in Sao Paulo by co-star Jonathan Bailey ahead of the London premiere on Monday.

Hopefully, Ariana will make it over here after a fault with a plane meant she couldn’t get to Brazil in time for Tuesday’s event.

She apologised on Instagram, but was then subjected to vile abuse.

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Later on, she wrote online: “Please don’t wish danger on us.

“It’s a sad state of affairs when fans are so vicious over something so unimportant.”

Sad news for Bad Company fans.

Paul Rodgers, one of the original members of the English rock supergroup, announced Tuesday that he will miss the Rock & Roll Hall of Fame induction ceremony Saturday where Bad Company will be honored as part of the 2025 class.

“My hope was to be at the Rock & Rock Hall of Fame Induction Ceremony and to perform for the fans, but at this time I have to prioritize my health,” Rodgers wrote in a statement posted to Bad Company’s Instagram page. The singer had planned to reunite with former bandmate and drummer Simon Kirke on stage to perform a couple songs at the ceremony.

While Rodgers did not elaborate on his health in the statement, in 2023 he told CBS News that he had suffered two major strokes in 2016 and 2019, as well as 11 minor strokes, which had temporarily stripped him of his ability to speak.

“I have no problem singing, it’s the stress of everything else,” Rodgers’ statement continued. “Simon along with some outstanding musicians will be stepping in for me — guaranteed to rock.”

Best known for hits such as “Can’t Get Enough,” “Feel Like Makin’ Love,” “Ready for Love” and, of course, “Bad Company,” the hard rock group formed in London in 1973. In addition to Rodgers and Kirke, who had played together in the rock band Free, Bad Company’s original members included guitarist Mick Ralphs and bassist Boz Burrell.

The band initially disbanded in 1982 but over the years reunited to record or tour, though not always with the same lineup. Rodgers and Kirke are Bad Company’s only surviving original members — Burrell died in 2006, followed by Ralphs this June.

In addition to Bad Company, the 2025 Rock & Roll Hall of Fame inductees include Chubby Checker, Joe Cocker, Cyndi Lauper, OutKast, Soundgarden and the White Stripes in the performer category. Additional inductees Salt-N-Pepa, Warren Zevon, Thom Bell, Nicky Hopkins and Carol Kaye will all be honored either for musical influence or excellence, while Lenny Waronker is the recipient of the Ahmet Ertegun Award for lifetime achievement.

The first shot of director Lynne Ramsay’s stubborn and exasperating postpartum nightmare “Die My Love” would be a great opener for a horror movie. The camera lurks in the kitchen of an isolated ranch house, as still and foreboding as a ghost, while a couple named Grace and Jackson (Jennifer Lawrence and Robert Pattinson) poke around the front porch of their newly inherited property. The two take several beats to go inside, long enough that we suspect these crazy kids are making a dangerous mistake. Just look at the wallpaper. Those florals would make anyone crack.

“It’s not New York but it’s ours,” Jackson says of the rural home, left to him by his uncle who died violently upstairs in a way that Grace finds hilarious. He grew up in the area and his parents, Pam and Harry (Sissy Spacek and Nick Nolte), still live nearby. Neither Jackson nor Grace say anything about their past lives back in the city, but he yearns to play drums and she once claimed to write. There’s a sense that their dreams have stalled out, either due to finances, passion or talent. So they move in, have a baby and pivot to domestic chaos.

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Lawrence and Pattinson are such a natural, overdue pairing that it’s a surprise to realize this is the first time they’ve teamed up to make the kind of polarizing, go-for-broke prestige film they both enjoy. The two stars launched into the public consciousness roughly around the same time, then followed the same trajectory from teen franchise idols to creatively ambitious A-listers and now, more recently, newish parents making a movie about miserable parents whose hopes have run aground. Lawrence has two tots under 3; Pattinson, a toddler. Their kids shouldn’t watch this movie until college.

In a dynamic montage, Ramsay sets up their boyfriend-girlfriend pair as lusty but strange. Jackson and Grace flirt by fighting like wild beasts. Nuzzling, sniffing, biting, wrestling — that’s foreplay (and she’s more into it than he is). But they can’t communicate with words. “If you’re not feeling good, maybe we should, like … talk?” Jackson says tentatively to his increasingly restless and unstable partner. Grace isn’t interested in talking, though occasionally she’s game to scream. When they fight for real, their bodies twist into spasms of outrage. And when the other one isn’t looking, each seems to power down — Lawrence’s Grace physically collapsing like an unplugged air dancer — a clue of how much energy they must privately expend to make it work.

“Die My Love,” adapted by Ramsay, Enda Walsh and Alice Birch from the 2012 novel by Argentine author Ariana Harwicz, makes parenthood feel like being handcuffed to an anchor that’s sinking into a swamp. Lawrence’s Grace needs help and the more she flails, the worse she makes things. The book is an inner monologue of poison: “How could a weak, perverse woman like me, someone who dreams of a knife in her hand, be the mother and wife of those two individuals?” the first paragraph seethes. But Ramsay rejects putting its angst into words. As with Joaquin Phoenix in “You Were Never Really Here,” she prefers characters who silently roil under their skin.

The tension in this home starts quiet — too quiet — with Grace cranking up kiddie albums by Alvin and the Chipmunks and Raffi to drown out whatever noise is happening in her head. After Jackson brings home a stray dog, the racket becomes unbearable, with sound designers Tim Burns and Paul Davies skillfully and cruelly making sure that no matter how far Grace roams, she can still hear the darned thing bark.

Lacking much perspective into Grace, we mostly see a mentally unwell woman incensed that her sexual playtime is over. She howls with the urge to mate, prowling the house in matching fancy bras and thong sets that clash with this disheveled house and its stockpile of cheap beer. Occasionally, a mysterious leather-clad biker (LaKeith Stanfield) speeds by, considering a quickie with this bored beauty.

Grace’s erotic agony is reductive and a bit ridiculous, although I think the script is also trying to imply that Grace herself is focused on the wrong problems. The film represents her depression by coating the night scenes in so much blue tint that even Picasso might suggest dialing it back. Despite cinematographer Seamus McGarvey’s efforts to put us in her headspace with lenses that make the world blur and swirl around her, you’re more afraid of Grace than for Grace, especially when the shock editing has her smashing through doors like Michael Myers.

Hurling herself into every scene, Lawrence puts her full faith in Ramsay. It’s not a trust fall so much as a trust cannonball. As good and committed as Lawrence is, there were times I wanted to rescue her from her own movie, to protect her from the fate of Faye Dunaway when “Mommie Dearest” turned another blond Oscar winner into a joke.

Yet, this is a character who hates pity and I can’t help but admire that Ramsay faces down today’s phonily upbeat and relatable motherhood discourse with this boogey-mom who keeps herself aloof. Grace treats the older women in her family like a wall of advice to be tuned out even when they’re right. “Everybody goes a little loopy the first year,” Spacek’s Pam says, offering empathy that falls on deaf ears. (Spacek delivers a lovely, endearingly layered turn.) And while Grace is so lonely she literally claws the walls, she rejects any overture of friendship, either from a perky fellow parent (Sarah Lind) or a peppy cashier (Saylor McPherson) whose attempts to start a conversation go so badly that when the poor dear asks Grace if she’s found everything she’s looking for, Grace huffs, “In life?”

Pattinson has the more recessive role but his performance is so subtle and clever that it’s worth watching closely. His Jackson is pathetic, passive and skittish around his baby’s mother, who he both longs to heal and tries to avoid. He has a few moments that play so close to comedy — say, whining to be let into the bathroom — that you wish the movie would do more to encourage our pained, guttural laughs. The punchlines are there, such as a beat after one meltdown where Jackson admits he’s getting really stressed out and Grace coolly replies, “About what?”

There’s one scene in which Grace reveals a snippet of backstory that might explain her psychology, and I think that specificity is a narrative misstep. What’s powerful about Grace is that she’s howling for all parents, even the mostly happy ones. Harwicz’s book deliberately never gave her character a name.

Even inside this movie, Grace’s anguish is universal. Yes, she wanders into the wilderness at night, but so do her in-laws Harry and Pam, for reasons of their own.There are dark vibrations emanating from almost every character, even the minor ones, although Grace is too caught up in herself to take any comfort from that. But Ramsay is comfortable suggesting that everyone feels crazy and miserable. I suspect she thinks it’s the most normal way to live.

EMMA Thompson has reunited with a Love Actually and Nanny McPhee co-star for a new show 22 years after the iconic Christmas film’s release.

The heavyweight actors play married private investigators in new Apple TV+ thriller Down Cemetery Road, which sees them drawn into the mysterious disappearance of five-year-old Dinah.

Joe, played by Adam Godley, is tasked with investigating the disappearance which follows a fatal explosion linked to the Ministry of Defence.

In an intriguing first episode, Joe is believed to have taken his own life shortly after accepting the case, and Zoe is seen in a morgue where she identifies her spouse’s lifeless body.

Adam, 61, spoke to UPI about his connection with Emma.

He said: “We have a bit of history.

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“I’ve known Emma slightly for a while, so that was something we could already invest in their relationship and it helped us.

“She’s a glorious human being and a mighty impressive actor and, so, any time I spend with Emma is a good time.”

While filming the aforementioned morgue scene, Adam revealed he laid almost naked underneath a sheet in a cold room with his feet poking out the end.

Highlighting his co-star’s kind nature, he said: “To give you a sense of who Emma is, Emma was standing at the foot of the slab and she noticed my feet were poking out from under the blanket and she assumed my feet would be quite cold, so she just tucked them underneath her jumper, pressed them against her belly to keep them warm.”

In Love Actually, Adam played Mr Trench – a small role in a memorable scene at the end of the film.

Mr Trench leads the Christmas choir which features smitten schoolboy Sam drumming in a bid to impress popular classmate Joanne.

Emma played stay-at-home mum Karen in the film whose heart is broken on Christmas Eve when she discovers her husband has bought his secretary expensive jewellery instead of her.

Three years later, they both starred in Nanny McPhee, with Emma in the lead role as the magical disciplinarian who transforms the lives of the kids in her charge.

Adam played the vicar who officiates a chaotic wedding at the film’s climax.

Kevin the Carrot is back in the latest Aldi Christmas advert teaser – and this time, he has a big question for his beloved Katie

Aldi has dropped its first Christmas advert teaser – and its beloved mascot Kevin the Carrot is back for his tenth year.

The first of three clips shows Kevin waiting in the snow outside the house of his partner Katie. He is joined by adorable new character, Caulidog, which is a cauliflower dog.

With a diamond ring attached to its collar, Kevin and his veggie companion hold up a sign that reads: “To me, you are 24 carat.” He then lifts the sign to reveal another card that says: “Marry Christmas?”

The heartwarming moment mimics the iconic cue-card scene from Love Actually.

The new Aldi advert will appear on TV screens for the first time tonight from 8:15pm, but viewers will have to keep their eye out for the following two episodes launching over the festive season to find out Katie’s answer.

Julie Ashfield, Chief Commercial Officer at Aldi UK, said: “We know how much our customers adore Kevin, and this year, to mark his 10th anniversary, we wanted to bring an extra sprinkle of magic and romance to his story.

”This teaser sets the stage for a truly heartwarming Christmas, reminding us all that love is at the heart of the festive season. We can’t wait for everyone to join Kevin and Katie on their journey and see what other surprises we have in store.”

Last year saw Kevin trying to save the Spirit of Christmas from a group of evil villains called the humbugs.

Previous years have seen Kevin pay homage to the 1998 World Cup, visit William Conker’s fantastical Christmas factory and travel on a midnight train inspired by the Orient Express.

Kevin the Carrot merchandise such as festive decorations, plushies and plastic toys from Aldi has sold out multiple times over the years due to high demand.

It comes after Aldi revealed a list of 23 towns and cities where it wants to open new stores over the next two years as part of its £1.6billion expansion plan.

As well as new stores, the investment will go towards upgrading existing ones. Aldi will also look to improve its distribution network.

Aldi has 1,060 stores but wants to increase this number to 1,500 across the UK. It said its expansion would create thousands of jobs and more opportunities for British suppliers.

Giles Hurley, Chief Executive Officer for Aldi UK and Ireland, said: “Shoppers are still finding things difficult and that’s why we’re staying laser-focused on doing what Aldi does best – offering customers great quality products at unbeatable prices.

“Nobody else is making the same commitment to everyday low prices – no clubs, no gimmicks, no tricks – just prices our customers can trust, and quality they can depend on.“

A former Strictly Come Dancing contestant has said they want to return to the BBC show

Anita Rani, the Countryfile star and former Strictly Come Dancing contestant, has confessed she’ll “never get over” her time on the dance show. The 48 year old telly favourite took part in the BBC competition a decade ago, narrowly missing out on the final by just two weeks.

She was partnered with professional dancer Gleb Savchenko during her stint on the show, which saw The Wanted’s Jay McGuiness and his partner Aliona Vilani take home the coveted Glitterball Trophy.

Soap stars Georgia May Foote of Coronation Street and EastEnders‘ Kellie Bright were the runners-up that year. However, Anita is still convinced she was “robbed” of a place in the final alongside Aliona.

In a chat with The Sun’s TV Magazine, she revealed: “I wish I could do it again – I think they should bring back ‘the robbed’! I’ll never get over it, I should have got to the final.”

During the semi-final, Anita found herself in the dreaded dance-off against BBC presenter Katie Derham. Despite giving it her all, it was Katie and her partner Anton Du Beke who progressed to the grand finale, reports Wales Online.

Anita confessed that she used to turn down reality shows like Strictly, but has recently decided to say “yes” if the “offer arise”. Since then, she’s appeared on popular programmes such as Celebrity Gogglebox, The Chase, and Blankety Blank.

She even hinted that she’d consider joining the cast of Celebrity Traitors if the BBC decides to commission a second series. Meanwhile, Anita and her dad Bal are gearing up for their appearance on Celebrity Race Across the World.

She added: “I used to say no to other reality shows, but now I’m like: ‘If an offer arises, why not?’ The Traitors, I’m A Celeb… But I’ll tell you what me and Dad want to do next – Antiques Road Trip. Let’s put that out there!”.

Before taking part in the travel programme, Anita confessed she wanted her father to enjoy “an adventure”.

She told the BBC: “We get on, he makes me laugh and if I ever want help in making a decision, dad’s the person I call.

“Also, I want dad to have the experience. It’s about my dad having an adventure – he’s never had one before. I think we’re competitive, but I think we’re just really keen to have an amazing experience and give it our best shot.”

The Woman’s Hour presenter reveals she’s currently in a “new era” following the “confirmation” of her fresh romance with partner Alex Lavery.

This comes two years following her separation from spouse Bhupi Rehal. The former pair had been wed for 14 years before they ended their marriage.

Following their break-up, she revealed to Love Sunday Magazine: “‘Life is good, I’m in a good place. I’m focusing on myself and my own wants.

“It’s nice to be able to think about the second phase of my life. I’ve been calling it Chapter Two.”

A little over a year ago, Madi Diaz lay in bed in an apartment near Dodger Stadium sweating out a gnarly case of COVID-19.

The Nashville-based singer and songwriter had traveled to Los Angeles to record the follow-up to her album “Weird Faith,” which came out in early 2024 and would go on to earn two Grammy nominations, including one for a beautifully bummed-out duet with her friend Kacey Musgraves. But after three or four days of work in the studio, Diaz became sick just as the Dodgers were battling the Mets in last October’s National League Championship Series.

“I could literally see the stadium lights — there were drones everywhere and people honking and lighting things on fire,” she recalls. “I was just like, Why, L.A. — why?”

Her suffering in a city she once called home was worth it: “Fatal Optimist,” the LP Diaz eventually completed in time to release this month, is one of 2025’s most gripping — a bravely stripped-down set of songs about heartbreak and renewal arranged for little more than Diaz’s confiding voice and her folky acoustic guitar.

In the album’s opener, “Hope Less,” she wonders how far she might be willing to go to accommodate a lover’s neglect; “Good Liar” examines the self-deception necessary to keep putting up with it. Yet Diaz also thinks through the harm she’s doled out, as in “Flirting” (“I can’t change what happened, the moment was just what it was / Nothing to me, something to you”).

And then there’s the gutting “Heavy Metal,” in which she acknowledges that enduring the pain of a breakup has prepared her to deal with the inevitability of the next one.

“This record is me facing myself and going, ‘I have to stay in my body for this entire song,’ ” Diaz, 39, says on a recent afternoon during a return trip to L.A.

What makes the unguardedness of the music even more remarkable is that “Fatal Optimist” comes more than a decade and a half into a twisty-turny career that might’ve left Diaz more leathered than she sounds here.

Beyond making her own albums — “Fatal Optimist” is her sixth since she moved to Nashville in 2008 — she’s written songs for commercials and TV shows and for other artists including Maren Morris and Little Big Town; she’s sung backup for Miranda Lambert and Parker McCollum and even played guitar in Harry Styles’ band on tour in 2023.

Yet in a tender new song like “Feel Something,” about longing to “be someone who doesn’t know your middle name,” Diaz’s singing reveals every bruise.

“Music is a life force for Madi,” says Bethany Cosentino, the Best Coast frontwoman who tapped Diaz as a songwriting partner for her 2023 solo album, “Natural Disaster.” “She has to do it, and it’s so authentic and so real and so raw because it’s not coming from this place of ‘Well, guess I gotta go make another record.’ ”

“If she doesn’t put those emotions somewhere,” Cosentino adds, “I think she’ll implode.”

Which doesn’t mean that putting out a record as vulnerable as “Fatal Optimist” hasn’t felt scary.

“I was gonna say it’s like the emperor’s new clothes,” Diaz says with a laugh over coffee in Griffith Park. “But I know I’m not wearing any clothes.” Dressed in shorts and a denim shirt, her hair tucked beneath a ball cap, she sits at a picnic table outside a café she liked when she lived in L.A. from 2012 to 2017.

“For a second, I was like, Damn, I wish I’d brought my hiking shoes — could’ve gone up to the top,” she says. “I would absolutely have done that as my masochistic 28-year-old self. Hike in the heat of the day? Let’s go.”

Diaz points to a couple of touchstones for her LP’s bare-bones approach, among them Patty Griffin’s “Living With Ghosts” — “a star in Orion’s Belt,” as she puts it — and “obviously Joni Mitchell’s ‘Blue,’ ” she says. “That’s just a duh.”

Like Mitchell, Diaz achieves a clarity of thought in her songs that only intensifies the heartache; also like Mitchell (not to mention Taylor Swift), she can describe a partner’s failings with unsparing precision.

“Some ‘I’m sorry’s’ are so selfish / And you just act like you can’t help it,” she sings in “Why’d You Have to Bring Me Flowers,” one of a handful of what she jokingly calls “folk diss tracks” on “Fatal Optimist.” It goes on: “Bulls— smile, in denial / We’ve been circling the block / We’ve been in a downward spiral.”

“There are definitely a couple songs on this record where I felt apologetic as I was writing it,” she says. “Then when I finished it was just like: It had to be done.” She grins. “They’re tough,” she says of her exes. “They’ll be fine.”

Asked whether any of her songs express her feelings in a way she wasn’t capable of doing with the ex in question, she nods.

“I’d say I could get about halfway there in real life,” she says. “It’s almost like I couldn’t finish the thought within the relationship, and that was the signal that we couldn’t go onward. Or that I couldn’t go onward.”

Has writing about love taught her anything about herself and what she wants?

“I travel a lot — I’m all over the place,” she says. “And I really like to come and go as I please. But it’s funny: In retrospect, I think maybe I was chasing a relationship that was a little more traditional, even though I don’t know if I can actually be that way. So that’s a weird thing to be aware of.”

Madi Diaz in Pasadena.

(Annie Noelker / For The Times)

Diaz grew up home-schooled in a Quaker household in rural Pennsylvania and learned to play piano and guitar when she was young; when she was a teenager, her talent took her to Philadelphia’s Paul Green School of Rock, whose founder was later accused of abuse and sexual misconduct by dozens of former students, including Diaz. (“It was a really toxic place,” she told the New York Times.)

She studied at Berklee College of Music in Boston before dropping out and heading to Nashville, where she started making her name as a singer-songwriter operating at the intersection of country and pop. After a few years of fruitful grinding, she came to L.A. to “see how high the ceiling was,” she says, and quickly fell in with a group of musician friends.

“We used to love going to the Smog Cutter,” she says of the shuttered Silver Lake dive bar, “to have a couple Bud Lights and sing Mariah Carey really poorly.”

Diaz was making money writing songs — Connie Britton sang one of her tunes on the soapy ABC series “Nashville” — but she struggled to achieve the kind of liftoff she was looking for as an artist. “Turned out the ceiling was quite high,” she says now with a laugh.

Along with the professional frustrations came “a nuclear explosion of a breakup” with a fellow songwriter, Teddy Geiger. “They were going through a huge identity shift,” Diaz says of Geiger, who came out as transgender, “and we worked in the same industry, and it just kind of felt like there wasn’t a place for me here.”

Diaz returned to Nashville, which didn’t immediately super-charge her career. “I was bartending at Wilburn Street Tavern and making Jack White nachos,” she recalls. “He would never remember this, but I remember. I was like, This is my life now.”

In fact, her acclaimed 2021 album “History of a Feeling” — with songs inspired by the complicated dynamics of her and Geiger’s split — finally brought the kind of attention she’d been working toward. She signed with the respected indie label Anti- (whose other acts include Waxahatchee and MJ Lenderman) and scored the road gig with Styles after he reached out via DM; she also became an in-demand presence in Nashville’s close-knit songwriting scene.

“I don’t know of anybody in town that doesn’t love Madi,” says Little Big Town’s Karen Fairchild, who adds that Diaz “has instincts about melodies that are all her own. Sometimes I’m thinking, ‘How’s she gonna fit that into the phrasing?’ But she always does.”

For “Fatal Optimist,” Diaz took an initial pass at recording her songs with a full band before deciding they called for the minimalist setup she landed on with her co-producer, Gabe Wax, at his studio in Burbank.

“We did it with no headphones, no click track, no grid,” she says. “It speeds up and slows down, and it goes in and out of tune as instruments do.” (One unlikely sonic inspiration was a singles collection by the pioneering riot grrrl band Bikini Kill, which she hailed for its “still-kind-of-figuring-it-out energy.”)

Diaz describes herself as a perfectionist but says “Fatal Optimist” was about “trying to find our way through the cracks of imperfection to break the ground and sit on the surface. I feel so proud that we let it live there.”

She’s touring behind the album this fall, playing solo shows — including a Nov. 20 date at the Highland Park Ebell Club — meant to preserve the album’s solitary vibe.

“I don’t know if I’d really thought that through when I made the decision,” she says with a laugh.

As good as she is on her own — and for all the torment she knows another relationship is likely to hold — “I’m a die-hard loyalist,” Diaz says. “I’m still looking for connection more than anything else.”

An underrated period drama based on one of the most influential books of all time is available to watch for free

Viewers shouldn’t miss out on this incredible four-part drama based on a classic novel, as it’s available to watch without spending a penny.

This breathtaking adaptation was originally aired in 2023 on ITV and PBS Masterpiece in the US and has developed a passionate cult following despite not receiving critical fanfare at the time.

Based on the novel by Henry Fielding, Tom Jones brings the seminal 1749 novel to life like never before with an ensemble cast of British legends.

William Tell’s Solly McLeod portrays the titular downtrodden hero, a young man with mysterious parentage who falls in love with his spirited neighbour Sophia Western (played by Sophie Wilde).

Sophie decides to flee her arranged marriage to be with Tom, but the pair are kept apart by a series of increasingly fraught misadventures.

They’re accompanied by some of the most recognisable names from the British screen, including Coronation Street’s Lucy Fallon, Harry Potter’s Shirley Henderson, New Tricks’ Alun Armstrong and Ted Lasso star Hannah Waddingham.

Many viewers consider the drama an essential watch and it’s still currently available to stream for free on ITVX.

One 10/10 review from an IMDb user declared it “Gorgeous viewing with a top notch cast”.

They continued: “The cast list is like a who’s who of the cream of British talent, topped by two lovely and good looking leads.

“The episodes fair gallops on its way, cutting through the boring exposition and getting quickly to the important stuff, the love story between Tom and Sophia.”

The review continued to particularly praise Waddingham’s performance as Lady Bellaston, declaring “Seriously, put this woman in EVERYTHING”.

“If you get a chance, watch it in one go, it’s perfect lazy weekend viewing,” the reviewer concluded.

Another warned that fans of the book should expect some changes to the narrative, but admitted: “Even though the story is not like really really the one from the book is one pretty entertaining and very fun to watch. The choice of actors was really good and they did a great job.

“I really recommend for you to watch it if you want some light series combined with romance, a bit of jealousy and of course some British scenery.”

And a 9/10 review said: “This is what you want from English costume drama – and more. I really liked it.

“Fans of historical dramas and literary adaptations will find Tom Jones a must-watch, as it stays true to the spirit of the novel while making it accessible and enjoyable for modern audiences.”

In the mood for a cosy period romance with plenty of laughs and scenery-chewing performances from British greats? Look no further.

Tom Jones is available to stream on ITVX.

“Bread of Angels,” Patti Smith’s mesmerizing new memoir, only deepens the mystery of who this iconic artist is and where her singular vision originated. I’ve long been struck by her magnetism on stage, her fearless approach to her craft, and the stark beauty of her words on the page, including the National Book Award-winning “Just Kids.” She has a preternatural belief in her own instincts and a boundless curiosity that, taken together, help explain the extraordinarily rich life and oeuvre she’s constructed. This transcendent — and at times terrifying — account of that evolution enriches that understanding. And yet, Smith’s persona remains veiled — sphinx-like — an ethereal presence whose journey to fame was fueled by her questing spirit and later detoured by tragedy.

Like Jeanette Walls’ classic, “The Glass Castle,” Smith’s saga begins with a hard-scrabble childhood she relates as if narrating a Dickensian fairy tale. In the first four years of her life, her family relocated 11 times, moving in with relatives after evictions, or into rat-infested Philadelphia tenements. Smith’s mother was a waitress who also took in ironing. Her father was a factory worker, a World War II veteran scarred by his experience abroad. They shared their love of poetry, books and classical music with their daughter, who was reading Yeats by kindergarten.

Smith, who was born in 1946, was often bed-ridden as a young girl, afflicted with tuberculosis and scarlet fever, along with all the usual childhood ailments. She writes: “Mine was a Proustian childhood, one of intermittent quarantine and convalescence.” When she contracted Asian flu, the virus paralyzed her with “a vise cluster of migraines.” She credits a boxed set of Puccini’s “Madame Butterfly” recordings her mother bought with tip money for her return to health.

As a 3-year-old, Smith recalls grilling her mother during evening prayers, posing metaphysical questions about Jesus and the soul, immersing herself in Bible study and later joining her mother as a Jehovah’s Witness. She didn’t confine herself to a single religious discipline, though. For example, while still a young child, she saw the movie “Lost Horizons” and became entranced by Tibet and the teachings of Buddhism — “an awareness of the interconnectedness of all things.” While “this seemed beautiful,” she writes, “it nonetheless troubled me.”

There is a romantic quality even to the deprivations Smith chronicles, an effect heightened by what she chooses to highlight or withhold. With little money for toys, she and her siblings entertained themselves using the knobs on a dresser as instruments on a ship, sailing on faraway seas. She and her younger siblings regularly set out with their mother to the nearby railroad tracks, where they harvested leftover lumps of coal to fuel their pot-bellied stove — the apartment’s sole source of heat. Under the floorboards of her closet, Smith conceals “glittering refuse I had scavenged from trash bins, fragments of costume jewelry, rosary beads,” along with a blue toothbrush she’s invested with magical powers.

Their apartment building overlooks a trash-strewn area dubbed “the Patch,” which is bordered by “the Rat House.” There, Smith proclaims herself general of the neighborhood’s Buddy Gang, fearlessly fending off bullies twice her size, while at school, she was viewed as odd by her teachers, “like something out of Hans Christian Andersen.”

Within this urban setting, Smith often paused to marvel at nature. Taking a short cut on the long walk to school, she stumbles on a pond in a wooded area. A snapping turtle emerges and settles a few feet away. “He was massive,” she recalls, “with ancient eyes, surely a king.”

It’s impossible to know if Smith was really this self-possessed and ruminative as a child or if nostalgia has altered her perspective. What’s undeniable, though, is that her extraordinary artist’s eye and soulful nature emerged at an age when the rest of us were still content to simply play in our sandboxes. She recollects fishing Vogue magazines out of trash cans around age 6 and feeling “a deep affinity” with the images on their pages. She’s immersed in Yeats and Irish folk tales while being bored at school reading “Fun With Dick and Jane.” On her first visit to an art museum, viewing Picasso’s work produces an epiphany: She was born to be an artist. A decade later, she boards a bus bound for New York City.

At this point, about a third of the way into the book, we enter the vortex that is Patti Smith’s talent and ambition on fire. The pace of the memoir accelerates. An alchemy infuses each chance encounter. Opportunities abound. Everywhere she turns there are talented photographers, poets, playwrights and musicians encouraging and supporting her. She writes poetry and finds a soulmate in Robert Mapplethorpe. She meets Sam Shepard, who features her poem in a play he’s writing. She meets William Burroughs, performs a reading with Allen Ginsberg. She forms a musical partnership with Lenny Kaye, and begins performing her poetry, with the 19th century French poet Arthur Rimbaud as her spiritual inspiration.

Smith’s story unfolds as a bohemian fairy tale. Luck is with her, bolstered by a fierce conviction in her own bespoke vision. “There was no plan, no design,” she writes of that time, “just an organic upheaval that took me from the written to the spoken word.” Bob Dylan becomes a mentor. Her fame grows enormous with the 1975 release of “Horses” and the international touring that followed, yet she retains the bearing of an ascetic. She writes: “We hadn’t made our record to garner fame and fortune. We made it for the art rats known and unknown, the marginalized, the shunned, the disowned.”

Smith’s rock star trajectory is diverted by her love affair with Fred Sonic Smith, for whom she ditches her career at its height, against the advice of many of those closest to her. But as with every decision she’s ever made, she can’t be dissuaded. In this intimate portion of the book, we receive glimpses of two passionate artists hibernating, in love. They marry, have two children, and cultivate an eccentric version of domestic bliss. But harsh reality intervenes and the losses begin to accumulate. One after the other, Smith loses the men she loves most — Robert, then Fred, then her beloved brother, Todd. These losses haunt the memoir; she grapples with them by returning to the stage with a fierce new hunger.

The book’s final pages reveal Smith continuing to grieve, mourning the loss of other loved ones — her parents, Susan Sontag, Sam Shepard. I wish I could simply reprint those pages here — they moved me deeply. At 78, she reflects on the process of “shedding” — which she describes as one of life’s most difficult tasks. “We plunge back into the abyss we labored to exit and find ourselves within another turn of the wheel,” she writes. “And then having found the fortitude to do so, we begin the excruciating yet exquisite process of letting go.”

“All must fall away,” she concludes. “The precious bits of cloth folded away in a small trunk like an abandoned trousseau, the books of my life, the medals in their cases.” What will she retain? “But I will keep my wedding ring,” she writes, “and my children’s love.”

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

Unto every generation, and fraction thereof, a sitcom is born, in which the young people of the moment state their case, self-mockingly. FX recently gave us a State of New York Youth in “Adults,” and here we are now, closer to home with “I Love L.A.,” premiering Sunday on HBO, the network of “Girls” (your guide to the 20-teens), still the most prestigious slot on linear television.

As a native of this fair city, who will never call downtown “DTLA” — let alone #DTLA — I miss the days when the rest of the country wanted nothing to do with us. (Real conversation from my life: Person: “Where are you from?” Me: “Los Angeles.” Person: “I’m sorry”). I can get a little cranky when it comes to the gentrihipsterfication of the city by succeeding hordes of newly minted Angelenos. (The place-name dropping in “I Love L.A.” includes Canyon Coffee, Courage Bagels, Jumbo’s Clown Room, Crossroads School and Erewhon.) I’m just putting my cards on the table here, as I approach characters whose generational concerns are distinct from mine, even as they belong to a venerable screen tradition, that of Making It in Hollywood, which runs back to the silent era. (The heroine of those pictures, stardom escaping her, would invariably return to the small-town boy who loved her. No more!)

Created by and starring Rachel Sennott (“Bottoms”), “I Love L.A.” takes its title from a Randy Newman song written well before Sennott or any of her co-stars were born. (To tell us where we are, as regards both HBO and the location, the series opens with a sex scene in an earthquake.) As in many such shows, there is a coterie of easily distinguishable friends at its center. Sennott plays Maia, turning 27 and in town for two years, working as an assistant to talent/brand manager Alyssa (the wonderful Leighton Meester, from “Gossip Girl,” that 2007 chronicle of youth manners) and hungry for promotion. Back into her life comes Tallulah (Odessa A’zion, the daughter of Pamela Adlon, whose throatiness she has inherited), a New York City It Girl — does any other city have It Girls in 2025? — whose It-ness has lately gone bust, as has Tallulah herself, now broke and rootless. She is one of those exhausting whirlwind personalities one might take to be on drugs, except that there are people who really do run at that speed, without speed — Holly Go-Heavily.

Also starring in the series are Jordan Firstman, left, True Whitaker and Odessa A’zion.

(Kenny Laubbacher / HBO)

Charlie (Jordan Firstman) is a stylist whose career depends on flattery and performative flamboyance. (“What’s the point of being nice,” he wonders, “if no one that can help me sees it?”) Alani (True Whitaker) is the daughter of a successful film director who has presumably paid for her very nice house, with its view of the Silver Lake Reservoir, and whatever she needs. (She has a title at his company even she admits is fake.) Since she wants for nothing, she’s the least stressful presence here, invested in spiritual folderol in a way that isn’t annoying. Attached to the quartet, but not really of it, is Maia’s supportive boyfriend, Dylan (Josh Hutcherson), a grade-school teacher and the only character I came close to identifying with. Do the kids still call them “normies”? Or did they ever, really?

That I find some of these people more trying than charming doesn’t prevent “I Love L.A.” from being a show I actually quite like. (The ratio of charm to annoyance may be flipped for some viewers, of course; different strokes, as we used to say back in the 1900s.) If anything, it’s a testament to Sennott and company having done their jobs well; the production is tight, the dialogue crisp, the photography rich — nothing here seems the least bit accidental. The cast is on point playing people who in real life they may not resemble at all. (My own, surely naive, much contradicted assumption is that all actors are nice.)

Desperation, in comedy, is pathetic but not tragic; indeed, it’s a pillar of the form. Maia, Tallulah and Charlie are to various degrees ruled by a need to be accepted by the successful and famous in the hope of becoming famous and successful themselves. (Alani is already set, and Dylan is almost a hippie, philosophically.) At the same time, the successful and famous come in for the harshest lampooning, including Elijah Wood, in an against-type scene reminiscent of Ricky Gervais’ “Extras.” On the other hand, Charlie’s unexpected friendship with a Christian singer he mistakes for gay is quite sweet; comedy being what it is, one half-expects the character to be taken down. Miraculously, it never happens. You can take that as a recommendation.

NEW YORK — When Lindsey Vonn retired from Alpine skiing in 2019, she walked away from the sport as one of the most successful skiers in history. Six years later she’s coming back, with her sights set on competing in a fifth Winter Olympics in February in Cortina d’Ampezzo, Italy.

But regardless of how that comeback ends, Vonn isn’t worried about it detracting from what she’s already accomplished.

“This is different because I had nothing to prove,” said Vonn, 41, who climbed a World Cup podium for the first time since 2019 when she finished second at the super-G season finals in Sun Valley, Idaho, last March.

“I don’t think anyone remembers Michael Jordan’s comeback. I don’t think that’s part of his legacy at all,” she continued. “I’ve already succeeded. I’ve already won. I was on the podium. I have the record for the oldest medalist in World Cup by seven years [she set the previous record in 2019]. I feel like this journey has been incredible.”

American Lindsey Vonn poses in 2019 with medals she has won throughout her career in the finish area at the alpine ski world championships in Are, Sweden.

(Marco Trovati / Associated Press)

Vonn has three Olympic medals, but she won her only gold 15 years ago. She’s won eight World Championship medals, but just one since 2017; her last gold came in 2009. But the comeback isn’t so much about rekindling that past as it is about shoring up the present.

“I closed my career, and I definitely would like to close that chapter in maybe a better way than I did in 2019,” said Vonn, who was speaking Tuesday at the U.S. Olympic Committee’s Media Summit in Manhattan. “I feel like I am happy, free. I’m doing it because I love it. I’m not doing to prove anything to anyone.”

Vonn missed the 2014 Winter Games with a right knee injury, an injury that led to her retirement in 2019. But after partial knee-replacement surgery last year, she decided she wasn’t done with skiing yet.

“After the replacement, I knew things were really different,” she said. “My body felt so good, and I just kind of kept pushing myself further and further to see what I was capable of. Skiing and racing seemed like the logical next step.”

American Lindsey Vonn skis during a women’s super-G run at the World Cup finals on March 23 in Sun Valley, Idaho.

(Robert F. Bukaty / Associated Press)

She’s a different skiier than she was when first started competing internationally two decades ago, she said.

“I have a lot more perspective now, having been away from the sport for six years,” she said. “That just allows me to compete in a different way and I think that gives me an advantage actually.

“Downhill skiing has a lot to do with with accumulated knowledge. And I’ve obviously accumulated a lot of knowledge, because I’ve raced for a very long time.”

Vonn, whose comeback landed her on the cover of this week’s Time magazine, said she’s in the best shape of her career. But she still must earn enough points on this winter’s World Cup circuit to qualify for the Olympics.

She said she probably wouldn’t have considered racing at a top level again if next February’s Games weren’t schedule for Cortina, where’s won a record 12 career World Cup races. She also recorded her first of 138 World Cup podiums in Cortina in 2004.

“My goal has always been Cortina again. It’s such a special place for me,” she said.

American Lindsey Vonn speeds down the course during an alpine ski women’s World Cup downhill race in Kvitfjell, Norway, on Feb. 28.

(Gabriele Facciotti / Associated Press)

“I didn’t want to set that as a goal, because I didn’t know if I would even be able to compete, let alone qualify or finish the season. Once I trained more and I got in better shape, I said to myself that this is an attainable goal. I can do this.”

And if she can’t, that won’t detract from the fact that she tried. Or from what she’s already accomplished.

“I’m at peace with where I am in my life,” she said. “I don’t need to be ski racing, but I definitely love to ski race and have nothing to prove. So I don’t feel like I have a lot of pressure, even though my dad says it’s the most pressure I’ve ever had in my whole life.”

US president muses about a third term in office despite the constitution barring him from doing so.

United States President Donald Trump has ruled out running for vice president in the 2028 election but said he “would love” to serve a third term in office.

The comments on Monday came despite the US Constitution barring anyone from being elected to the country’s presidency for a third time.

Trump, who first served as president from 2017 to 2021, began his second term in January.

The 79-year-old has repeatedly flirted with the idea of serving beyond the constitutionally mandated two terms, joking about it at rallies and teasing supporters with “Trump 2028” hats.

Some allies have taken those signals seriously, suggesting that they are exploring legal or political pathways to make it happen.

Some have said that one way around the prohibition would be for Trump to run as vice president, while another candidate stood for election as president and resigned, letting Trump again assume the presidency.

Asked whether he would run for vice president in November 2028, Trump told reporters on board Air Force One on Monday that he “would be allowed to do that”.

But, he added, he would not go down that route.

“I wouldn’t do that. I think it’s too cute. Yeah, I would rule that out because it’s too cute. I think the people wouldn’t like that. It’s too cute. It’s not – it wouldn’t be right.”

Scholars, however, say Trump is barred from running for vice president, too, because he is not eligible to be president. The 12th Amendment to the US Constitution reads, “No person constitutionally ineligible to the office of President shall be eligible to that of Vice-President of the United States.”

Referring to the possibility of a third term as president on Monday, Trump said: “I would love to do it. I have my best numbers ever.”

When pressed by a reporter whether he was not ruling out a third term, he said, “Am I not ruling it out? I mean, you’ll have to tell me.”

Asked about whether he would be willing to fight in court over the legality of another presidential bid, Trump responded, “I haven’t really thought about it.”

The US president also said that Vice President JD Vance and Secretary of State Marco Rubio were “great people” who could seek the presidency in 2028.

“I think if they ever formed a group, it’d be unstoppable,” he said. “I really do. I believe that.”

Trump made the comments on board the Air Force One as he flew from Malaysia to Japan.

He attended the Association of Southeast Asian Nations (ASEAN) summit in Kuala Lumpur over the weekend and, following a stopover in Tokyo, will fly to South Korea to attend the Asia-Pacific Economic Cooperation (APEC) forum.

He will be meeting with several world leaders in South Korea, including Chinese President Xi Jinping.

A popular Australian radio show has been axed following a much-discussed controversy involving Keith Urban, in which he hung up on the programme amid an interview

A popular Australian radio show has been axed following a much-discussed controversy involving Keith Urban. The Aussie musician, 57, made an appearance on Australian Radio Network (ARN)’s Hayley & Max In The Morning, which has been hosted by Max Burford and Hayley Pearson for just under a year.

The interview took place just weeks before it was revealed that he and Nicole Kidman had called time on their near-20 year marriage, and that the Hollywood actress had filed for divorce herself. It all seemed to be going well until he was asked about Nicole’s sex scenes with Zac Efron in their film A Family Affair

He was asked: “What does Keith Urban think when he sees his beautiful wife with beautiful younger men like Zac Efron, having these beautiful love scenes on TV?” Keith’s only response was to end the interview then and there. A member of the crew was heard saying he and his team didn’t like the line of questioning and pulled the chat.

READ MORE: Keith Urban ‘drops Nicole Kidman-inspired song from tour’ amid shock divorceREAD MORE: Keith Urban and Nicole Kidman’s extreme custody plan for children with unique arrangements

Less than six months after the viral moment took place, the radio broadcaster announced that the Mix102.3 show would air for the final time on December 12. A representative said: “In 2026, the station will launch a new live and local breakfast show as part of a refreshed whole station strategy focused on bolder content and bigger moments that really set the station apart.”

It comes just days after the news that Brisbane breakfast show Robin, Kip & Corey Oates had also been axed by the network. The rep also thanked the on-air team for their “hard work, creativity and commitment to the Brisbane audience” during their time in production.

According to an email seen by Mediaweek, the network ‘can’t reveal details just yet’ of what is to come for the broadcaster. Following the controversial moment with Keith, Max Burford, the radio show’s host, then remarked that he thought they were ‘vibing’ with the country music star and wondered if Keith now disliked them.

He added: “I thought we were vibing with Keith. Do we have beef with Keith Urban now?”

His co-host, Hayley Pearson, added that she thought their line of questioning would make Keith “hate” them: “He hates us. I knew that was going to happen.” Keith’s angry response to questions about his wife’s films came just after their 19th wedding anniversary.

The couple, who married in Sydney in 2006 after meeting at a Los Angeles event in 2005, have two daughters, aged 17 and 14. The divorce documents include a detailed parenting plan, with Kidman set to be the primary residential parent for 306 days of the year. Urban will have the remaining 59. The filing states both girls will remain in Nashville, where they’ve lived their whole lives.

“The mother and father will behave with each other and each child so as to provide a loving, stable, consistent and nurturing relationship with the child even though they are divorced,” the agreement reads.

“They will not speak badly of each other or the members of the family of the other parent. They will encourage each child to continue to love the other parent and be comfortable in both families.”

Reports claim that neither will seek child or spousal support, with the filing noting both earn over $100,000 per month. Assets, including royalties and copyrights, will be split equally, with each keeping what is in their name.

The parenting agreement was signed by Urban on August 29 and by Kidman on September 6 – suggesting the split had been planned well before it became public. Under Tennessee law, the divorce will take at least 90 days to be finalised.

This was Urban’s first marriage and Kidman’s second. She was previously married to Tom Cruise, with whom she has two older children. Just last year, at a Netflix premiere, Kidman told the Associated Press, “You’re heading for trouble if you consider yourselves the perfect couple. I’m not a believer in perfect.”

Earlier that year, Urban emotionally paid tribute to Kidman at the AFI Life Achievement Award ceremony, saying, “Four months into our marriage, I’m in rehab for three months. Nic pushed through every negative voice, I’m sure even some of her own, and she chose love. And here we are 18 years later.”

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SEOUL, Oct. 27 (UPI) — U.S. President Donald Trump said Monday he “would love” to meet North Korean leader Kim Jong Un while traveling in Asia this week, adding that he would be willing to extend his trip in South Korea if Kim agrees to talks.

Speaking to reporters aboard Air Force One en route from Malaysia to Japan, Trump said he had not been in direct contact with Kim but remained open to another meeting.

“I haven’t said anything, but I’d love to meet with him if he’d like to meet,” Trump told reporters. “I got along great with Kim Jong Un. I liked him. He liked me. If he wants to meet, I’ll be in South Korea.”

Trump is scheduled to travel from Japan to South Korea on Wednesday, where he will meet South Korean President Lee Jae Myung and Chinese President Xi Jinping on the sidelines of the Asia-Pacific Economic Cooperation summit. The meeting with Xi is expected Thursday before Trump’s return to Washington.

When asked whether he would prolong his itinerary to allow time for a potential encounter with Kim, Trump left the possibility open.

“Well, I hadn’t thought of it, but I think the answer would be yeah, I would do that,” he said. “[South Korea]’s our last stop, so it would be pretty easy to do.”

Pressed on what Washington could offer Pyongyang in negotiations, Trump pointed to sanctions as the main bargaining chip. Since 2006, the U.N. Security Council, along with the United States and other nations, has sanctioned North Korea for its nuclear weapons development.

“We have sanctions — that’s pretty big to start off with,” Trump said. “I would say that’s about as big as you get.”

Last month, Kim signaled a willingness to resume diplomacy with Washington but warned that any discussion of giving up his regime’s nuclear arsenal would be off the table.

“If the United States abandons its vain obsession with denuclearization, acknowledges reality and desires genuine peaceful coexistence with us, there is no reason why we should not sit down with the United States,” Kim said in a speech before North Korea’s parliament.

“I personally still have fond memories of President Trump,” he added.

Trump met Kim three times during his first term — in Singapore in 2018, in Hanoi in 2019 and briefly at the Demilitarized Zone later that year. Their talks collapsed amid disagreements on sanctions relief and steps toward denuclearization.

While speculation about a meeting continues to swirl, a senior South Korean official said Monday that any encounter between Trump and Kim this week is “very unlikely.”

“There are talks the two could meet, but I believe that possibility is very unlikely,” Third Deputy National Security Adviser Oh Hyun-joo told foreign media in Seoul.

David Ball of Soft Cell, whose delectably sleazy synth-pop arrangement drove that English duo’s 1981 hit “Tainted Love” to the top of the U.K. singles chart, died Wednesday. He was 66.

The producer’s death was announced in a post on Soft Cell’s website, which didn’t state a cause but said that Ball died at his home in London. On Facebook, the duo’s singer, Marc Almond, wrote that Ball’s health “had been in slow decline over recent years” due to an unspecified illness.

“It is hard to write this, let alone process it, as Dave was in such a great place emotionally,” Almond said on Soft Cell’s site. “He was focused and so happy with the new album that we literally completed only a few days ago. It’s so sad as 2026 was all set to be such an uplifting year for him, and I take some solace from the fact that he heard the finished record and felt that it was a great piece of work.”

Ball and Almond performed as Soft Cell at last month’s Rewind Festival in England; the LP they’d just wrapped is set to be titled “Danceteria” after the New York City nightclub that became an incubator of new wave and synth-pop in the early ’80s.

Soft Cell was an “experimental electro band [writing] weird little pop tunes about consumerism,” as Almond told the Guardian in 2017, when the duo decided to record a cover of “Tainted Love,” which the soul singer Gloria Jones had introduced to little success in 1964.

Ball devised his take on the song using his “dodgy old Korg synths” as well as a state-of-the-art Synclavier that cost more than £100,000, according to the Guardian. Soft Cell’s cover felt “twisted and strange,” Ball said, which suited the “weird couple: Marc, this gay bloke in makeup, and me, a big guy who looked like a minder.”

With Almond’s panting vocal over Ball’s sexy yet sinister production, “Tainted Love” hit No. 1 in the U.K. the same year as the Human League’s “Don’t You Want Me” and “Prince Charming” by Adam & the Ants. In the U.S., “Tainted Love” peaked at No. 8 on Billboard’s Hot 100 in 1982.

Today the song has been streamed more than 1 billion times on Spotify, kept alive in part by Rihanna’s prominent sample of “Tainted Love” in her 2006 hit “SOS.”

Ball was born May 3, 1959, in Chester, England, and grew up in an adoptive family in Blackpool. He and Almond formed Soft Cell in 1979 after meeting as students at Leeds Polytechnic, where Almond was known for a performance art piece in which “he’d be naked in front of a full-length mirror, smearing himself with cat food and shagging himself,” Ball told the Guardian.

The duo released its debut album, “Non-Stop Erotic Cabaret,” in 1981, then followed it with two more LPs before splitting in 1984. “Few groups took as much pleasure in perversity,” said Rolling Stone, which called “Non-Stop Erotic Cabaret” a “conceptual salute to the sex industry.” In 2022, Pitchfork said the duo’s debut offered “a snapshot of pre-AIDS queer life at its heady peak.”

After Soft Cell’s breakup, Ball collaborated with Genesis P-Orridge of Throbbing Gristle and formed a dance group called the Grid with the producer Richard Norris; he also worked in the studio with the likes of Kylie Minogue, the Pet Shop Boys and David Bowie.

Soft Cell reunited in 2001 and again in 2018; the statement on the band’s website said “Danceteria” would come out in early 2026. According to the statement, Ball’s survivors include four children.

Nakita Devi, a breath therapist at Limitless Living, has explained why she loves Bristol so much in the week that the city was named one of Lonely Planet’s places to visit in 2026

A resident of a UK city newly tipped as one of the best in the world to visit loves it, but would make one change if she could.

This week Bristol was included in Lonely Planet’s best places to visit list for 2026. This comes a few short months after it was named as one of Time Out’s best places in the world.

High praise indeed. And praise which Nakita Devi, a breath therapist at Limitless Living, feels is well deserved. She told The Mirror why she loves Bristol so much and what brought her back to the city.

“There’s a real blend here of history, culture, community, and events. The level of innovation and creativity almost feels tangible. I also love feeling a general sense of togetherness and trust that exists here – perhaps rare for a city,” she explained.

“I’ve lived in various other places and countries over the years, but Bristol is home because there are many people here committed to making life better for everyone; whether that’s through art and music, politics and education, social justice and inclusion, or family festivals and sober spaces. It really feels incredibly diverse, with something for everyone, more than anywhere else I’ve been.”

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When it comes to her recommendations for the best places to eat, drink and visit in Bristol, the 37-year-old was teeming with ideas.

“There are so many! Stokes Croft and Gloucester Road have a whole host of independent cafés, restaurants, and bakeries. King Street is also one of my favourites for bars and pubs with its history and cobbled stones. For dinner, personally I love Indian so Rock Salt and Nutmeg are two of my top recommendations,” the born-and-raised Bristolian said.

“I love the many open green spaces that are so accessible! Brandon Hill, Ashton Court, Blaise Castle, and Leigh Woods are just a few of my favourites for a wander any time of the year.”

However, as with all places, Bristol is not perfect (although some in the city might argue it is.)

Nakita has one small note for Bristol. “It can sometimes feel quite intense. I particularly notice it when I return after being away. There’s an aliveness or electricity here that can feel overwhelming at times. Additionally, with such a constant range of events to choose from, it’s easy to want to do it all instead of prioritising rest,” she said.

Nakita shared her views on the city in the week that Bristol was named as a must-visit destination for 2026 by Lonely Planet, thanks to its vibrant street art scene. The city is the only one in the UK to feature on the travel guide’s worldwide Best In Travel list for next year.

“Bristol’s street art scene makes for a fantastic inclusion in Best in Travel, Lonely Planet’s annual celebration of essential journeys and experiences for the coming year,” said Tom Hall, vice president of Lonely Planet.

“We’re delighted to shine a light on one of the UK’s most exciting cities, showcasing the talents of local artists. Exploring the colourful, creative murals dotted around the city is the perfect first step in getting to the heart of Bristol.”

The city reportedly boasts over 250 street artworks at various locations. ‘Our Common Ground’, a large new piece covering part of the Centre, was revealed in September, although it received a somewhat mixed response.

Banksy, perhaps the world’s most famous street artist and a native of Bristol, contributes significantly to the city’s reputation. Kathryn Davis, Chief Executive of tourism body Visit West, expressed her delight that Bristol had made it into Lonely Planet’s 2026 edition, highlighting the significant financial contribution the local arts scene brings to the city and wider region, reports Bristol Live.

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“Our ever-evolving outdoor gallery draws thousands of visitors from around the world each year, contributing millions of pounds to the local visitor economy,” she stated.

“Visitors not only stay in hotels and join tours, but they also contribute significantly to the visitor economy at large… Crucially, this impact extends beyond the city centre, helping to drive economic benefits across the wider city.”

According to Visit West, tourism is worth £2.6bn to the combined economy of Bristol, Bath and North East Somerset, South Gloucestershire and North Somerset. Around 45,000 people work in the ‘visitor economy’ of the region.

“We are thrilled that Lonely Planet has named Bristol in its Best in Travel 2026 for our city’s street art,” Ms Davis added. “We look forward to welcoming many more visitors this next year and beyond, to discover the humorous, playful, political and subversive street art in and around the city.”

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Tom Hanks is one of several celebrities who have fallen for the charm of Muskoka in Ontario, Canada, a region filled with thousands of lakes and tens of thousands of craggy islands

When you consider Hollywood getaways, you might envision classic destinations like Italy’s Portofino, Monte Carlo, or the Hamptons, but Tom Hanks appears to have discovered the ideal spot for a tranquil retreat, well away from bustling beaches and heaving resorts.

Boasting thousands of lakes and countless rugged islands, the relatively unknown Muskoka region in Ontario, Canada, has attracted the star for serene and scenic breaks before the masses discover it.

It’s a realm of tranquil azure waters, small wooded islets, and timber boathouses that feels worlds apart from Hollywood and mirrors the Lake District but amplified, minus the coach parties and with far superior weather.

Merely two hours from Toronto, Muskoka spans an enormous area of central Ontario, peppered with over 1,500 lakes and encircled by coniferous woodlands.

It’s frequently dubbed “the Hamptons of the North”, owing to its blend of wilderness splendour and waterside opulence, reports the Express.

The ambience here is considerably more relaxed than what you’d experience in that exclusive New Jersey enclave.

You’re far more apt to spot families paddling canoes or toasting marshmallows beside a bonfire than moored, ostentatious vessels with champagne flowing.

Tom Hanks is amongst numerous celebrities who’ve been captivated by the region’s allure.

Sources claim he owns a home on Lake Muskoka itself, one of the area’s most renowned locations, where he spends considerable time between shoots. Muskoka, a tranquil region in Canada, is rumoured to be the summer retreat of choice for many celebrities, including Harry Styles, the Beckhams, Justin Bieber, and even Steven Spielberg, all seeking respite from their hectic lives.

The area is defined by three main lakes: Lake Muskoka, Lake Rosseau, and Lake Joseph, each with its own unique charm. Lake Rosseau is renowned for its elegant cottages and grand holiday homes, while Lake Muskoka offers a more laid-back vibe, ideal for canoeing, paddleboarding or simply watching the sunset from the dock.

For those who love the great outdoors, Muskoka is a dream come true. Walking trails line the banks of the lakes, and there are plenty of places to rent a canoe or mountain bike.

With nearly 30,000 little islands scattered across the region, you can easily spend a day exploring and feel like you’ve truly escaped.

Despite its current status as a hidden gem, Muskoka has been a celebrity favourite for over a century. The iconic Bigwin Resort hosted big names such as Clark Gable and Ernest Hemingway back in the 1930s.

Steve Haid, a luxury waterfront estate agent, perfectly encapsulated the allure of Muskoka when he told Forbes: “To describe Muskoka is like trying to put into words a beautiful dream you just had.

“It’s best that you experience it rather than hear about it; beautiful lakes, unique boat houses, and a variety of cottage-style lake houses from different eras, it’s something out of a storybook really.”

ICONIC musician Dave Ball has died aged 66.

The synth player and producer was one half of popular band Soft Cell.

Representatives for the musician said he “passed away peacefully in his sleep at his London home on Wednesday”.

Dave’s cause of death has not yet been given.

His partner in Soft Cell, Marc Almond, paid tribute, writing: “He was a wonderfully brilliant musical genius.

“Thank you Dave for being an immense part of my life and for the music you gave me.

“I wouldn’t be where I am without you”.

Forming in the late 1970s, Ball and Almond were pioneers of the synth pop sound which would become popular in the 1980s.

The duo were best known for songs such as their cover of Gloria Jones’s Tainted Love, Say Hello, Wave Goodbye and Torch.