making

The brutal episode will plunge viewers into another chilling investigation

A chilling new episode of a harrowing true crime documentary will be released tonight.

Viewers are once again plunged into a race against time as Forensics: The Real CSI’s brand new series continues, giving fans an unprecedented insight into a local police force. Focusing on the forensic evidence gathered in the search for justice, the documentary, now in its sixth series, has been branded the perfect watch for fans of true crime.

Plunging viewers into complex investigations and searches within the West Midlands Police Force, another brand new episode is set to air tonight (March 15) at 9pm on BBC2 with yet another chilling case.

Tonight’s instalment will investigate a harrowing phone call where one teenage girl calls 999 to say her friend has been attacked as his life hangs in the balance.

A BBC synopsis reads: “It’s the early hours of the morning when a frantic teenage girl calls 999 to say that her friend has been attacked and stabbed in a car park. Police rush to the scene, where they find a 16-year-old boy with a life-threatening stab wound to his stomach.

“While his life hangs in the balance, the case is escalated to West Midlands Police’s homicide team, and forensic investigators get to work. They discover two discarded weapons at the scene – a kitchen knife and a machete.”

The episode will also be available to stream on BBC iPlayer shortly after broadcast, with other instalments also available to stream online.

Titled Ambush in the Car Park, the upcoming episode marks the third instalment within the new series, with viewers having to wait every week for new episodes to be released.

Previously, viewers have witnessed a brutal attack in a public phone box with investigators searching for evidence, as well as a young boy who was fatally stabbed on his way home from school with police suspecting a 14 year old, but needing forensic proof.

Viewers claimed the new series has broadcast the “worst” episodes yet, with one saying last week’s instalment was “absolutely shocking”.

Another described the latest series as “unbelievable” as a third said they were “speechless”. A fourth added: “Made me feel sick.”

Spanning across six seasons, the BBC documentary has been branded as the “best ever”, becoming a firm favourite amongst true crime fans.

Taking to TikTok, one true crime fan said the upcoming series was a must watch, adding: “I love this show… they’re really interesting. Some of them are quite brutal what you see.”

One person commented: “Real CSI is my most favourite programme I’ve watched every single series.” Another wrote: “Been waiting so long for a new series.” A third added: “Forensics is one of the best documentaries.”

Forensics: The Real CSI airs tonight at 9pm on BBC Two. For the latest showbiz, TV, movie and streaming news, go to the new **Everything Gossip** website.

When it comes to high school lacrosse, Loyola has one of its best teams this season and that’s reflected in the margins of victories this past week — 29-0 over Sierra Canyon and 28-1 over Crespi.

“It’s very unusual,” coach Jimmy Borell said of the few goals allowed.

Much of the credit goes to the defense and to Andrew Goldman, a junior who handles face-offs. He’s at 92.4% winning face-offs for the 5-1 Cubs, whose only loss came to San Francisco’s St. Ignatius 12-11.

The top goal scorer has been Tripp King, the reigning Southern Section player of the year and North Carolina commit. He has 22 goals and 17 assists Senior Chase Hellie (Tufts commit) and Everett Rolph have been leading the defense, making things easy for goaltenders Will Russo and Garrett Flynn.

Loyola is set to take a trip to Florida and the University of Notre Dame to play top East Coast teams starting Saturday.

This is a daily look at the positive happenings in high school sports. To submit any news, please email eric.sondheimer@latimes.com.

JEFFERSON CITY, Mo. — While the U.S. Senate remains deadlocked over President Trump’s call for strict citizenship voting requirements, Republicans in some states are pressing ahead with their own measures that could require documentary proof of citizenship to join or remain on the voter rolls.

Proof-of-citizenship legislation won final approval this week in South Dakota and Utah, already has passed one chamber in Florida and received a committee hearing in Missouri. In Michigan, supporters of voter citizenship documentation submitted 750,000 petition signatures this week in a bid to get a constitutional amendment on the November ballot.

Federal law already prohibits noncitizens from voting in U.S. elections, with violators subject to fines, imprisonment and potential deportation.

When people register to vote, they affirm under penalty of perjury that they are U.S. citizens. But Trump contends that’s not enough. He wants prospective voters to show proof of their citizenship.

Democrats and voting rights advocates say the Republican measures amount to voter suppression, as they may prevent many eligible voters from casting ballots. Similar laws have been overturned by courts as an unconstitutional burden on voting rights.

What would the federal legislation do?

The federal Safeguard American Voter Eligibility Act, or SAVE America Act, would require documentary proof of U.S. citizenship to register to vote. That could be satisfied with such things as a U.S. passport, citizen naturalization certificate or a combination of a birth certificate and government-issued photo identification.

The federal bill also would require a photo identification to cast a ballot, which some states already mandate. The Republican-led House approved the legislation last month on a mostly party-line vote, but it has stalled in the Senate under a filibuster threat from Democrats.

South Dakota and Utah

Legislation passed in South Dakota and Utah would create a two-tier voting system. People who provide documentation of their citizenship could vote in all elections. Those who don’t could vote only in federal elections for president, U.S. Senate and U.S. House.

The bifurcated voting system is modeled after Arizona, where tens of thousands of voters who have not provided proof of citizenship can cast ballots only in federal elections. Arizona implemented its system after the U.S. Supreme Court ruled in 2013 that the state could not require citizenship documentation for federal elections.

The bills in South Dakota and Utah would take effect upon a governor’s signature, meaning they could be in place for newly registered voters ahead of the November elections.

Utah’s bill also directs election officials to use an online service from U.S. Immigration and Customs Enforcement to check the citizenship status of existing voters. Those flagged would be sent notices asking for proof of citizenship to remain eligible to vote in all elections.

Florida and Michigan

Neither the Michigan initiative nor legislation passed by the Florida House would require people to submit proof of citizenship when registering to vote. Instead, the measures would create a behind-the-scenes review that could result in some people being asked for citizenship documentation.

Under the Michigan measure, the secretary of state would review driver’s license records, juror records and federal Homeland Security and Social Security data to determine whether registered voters are citizens. Those flagged would be removed from the voter rolls if they cannot provide proof of citizenship.

The Florida legislation would require election officials to verify the citizenship of all registered voters using the state’s driver’s license database. Anyone whose citizenship could not be verified would be required to submit documentary proof.

Why are some pushing for proof of citizenship?

Trump and some fellow Republicans have complained for years about noncitizens voting in U.S. elections, although evidence of doing so is rare. The few cases found are not nearly enough to affect an election result, studies have shown, and those caught face severe penalty.

In 2024, a student from China was charged with perjury and attempted illegal voting after registering to vote by showing a University of Michigan student ID and signing a document asserting he was a U.S. citizen. He later contacted a local clerk’s office requesting to get his ballot back, and ultimately fled the country.

The case provided part of the impetus for the Michigan ballot initiative, said Paul Jacob, chairman of Americans for Citizen Voting, which is backing the measure.

“We want a system we can have confidence in,” Jacob said. “The way you avoid big problems in elections is to fix the small problems when they rise up and present themselves.”

Voting rights advocates’ concerns

Constitutional amendments limiting voting to “only citizens” have won widespread support when placed on state ballots. But voting rights advocates note that requiring documentary proof can get complicated.

During a recent debate in the Florida House, Democratic state Rep. Ashley Gantt recounted how her aunt was born in a South Carolina home at a time when some hospitals didn’t accept Black patients. As a result, she has no birth certificate and has had difficulty trying to demonstrate her citizenship, Gantt said.

A proof-of-citizenship law “would stop many thousands — if not more — U.S. citizens from voting in Florida,” said Michelle Kanter Cohen, policy director and senior counsel at the nonprofit Fair Elections Center. “It requires documentation that a lot of eligible citizens don’t have, or don’t have access to.”

Nationwide, about 21 million people — 9% of voting-age citizens — lack documentary proof of citizenship or cannot easily obtain it, according to a 2024 report by the Center for Democracy and Civic Engagement at the University of Maryland.

Other states

Legal challenges are common when states pass proof-of-citizenship requirements for voters.

After Kansas adopted a proof-of-citizenship law 15 years ago, more than 31,000 U.S. citizens ended up getting blocked from registering to vote. Federal courts declared the Kansas law an unconstitutional burden on voting rights, and it hasn’t been enforced since 2018.

Two years ago, New Hampshire and Louisiana both passed proof-of-citizenship laws, prompting lawsuits. New Hampshire’s law went to trial last month and is awaiting a ruling. Louisiana’s election commissioner acknowledged in a December court filing that the requirement has not been enforced.

A nonprofit group also filed a legal challenge to a Wyoming proof-of-citizenship law passed last year. But a federal court dismissed that case while ruling the group lacked standing to sue.

Lieb writes for the Associated Press.

It starts with the exclamation point, right there in the title. “The Bride!” is a wild, willfully over-the-top double-barreled reinvigoration of 1935’s “Bride of Frankenstein” that is always doing something a little extra in telling its unpredictable story of identity and the reclamation of the self.

“I probably can’t definitively explain it,” says writer-director Maggie Gyllenhaal about that punctuation. “I think I first just put it there and wondered when someone was going to tell me to take it away. And nobody ever did.”

Set in a dreamscape 1930s — imagine a steampunk-meets-art-deco version of “Bonnie and Clyde” — the film features a title performance by Jessie Buckley in three roles, sometimes in conversation with each other. First, there’s Ida, a Chicago party girl who is killed when she becomes an inconvenience to powerful men. Then there’s “Frankenstein” author Mary Shelley, taking possession of another person’s body and voice.

Finally, there’s the Bride herself, the rebellious, reanimated corpse of Ida brought back to life as a companion to a creature here known as Frank (Christian Bale). The duo sets off on a lovers-on-the-run-style crime spree that captures national attention.

On a February Los Angeles morning, Gyllenhaal moves briskly across the lobby of a low-key-chic hotel, barely breaking stride to ask that, instead of a discreet celeb-friendly indoor corner table, perhaps our interview could take place on an outdoor patio. She would like to take in a bit more California sunshine before returning home to wintry Brooklyn.

Dressed in a baggy suit that is both sharp and casual, Gyllenhaal doesn’t come across as particularly fussy but, rather, as someone certain of what she wants, even if what she wants is to explore the messiness of uncertainty, pushing the edges for herself and her collaborators.

Jessie Buckley in the movie “The Bride!”

(Warner Bros. Pictures)

Take, for example, that exclamation point. What might at first seem a bit of preciousness, and which even Gyllenhaal initially makes seem a bit of a throwaway, reveals itself to have a much deeper meaning.

“It wasn’t that it was careless,” Gyllenhaal says with a calm focus. “If you are Ida or Mary Shelley or many women in the world and you’ve been sort of tamped down and silenced and not able to express everything it is that you wanted or needed to express, it’s like if you’ve had your hand on a geyser. When the geyser finally breaks, it’s going to break with a whole lot of extra energy. And maybe that’s where the exclamation point comes from.”

“The Bride!” is the second feature film as writer and director for Gyllenhaal, 48, following 2021’s “The Lost Daughter.” That movie, a bracing examination of the psychological toll of motherhood, would go on to wide acclaim and awards recognition, including Oscar nominations for actors Buckley and Olivia Colman, as well as for Gyllenhaal’s screenplay (an adaptation of the 2006 novel by Elena Ferrante). Prior to that, Gyllenhaal had been known for emotionally fearless performances in films such as “Secretary,” “The Dark Knight” and “Crazy Heart,” for which she received a supporting actress Oscar nomination.

Deciding how to follow up “The Lost Daughter” wasn’t easy. Gyllenhaal says she went to a party and saw someone with a tattoo on their forearm of Elsa Lancaster‘s intense gaze from “Bride of Frankenstein.” Taken with the image, Gyllenhaal checked out the movie and was surprised to discover Lancaster’s iconic character was only in it for a few minutes. After reading the original novel of “Frankenstein,” she started to wonder whether Mary Shelley had other things on her mind at the time of her debut novel.

“I just had this fantasy,” she says with a slightly conspiratorial air. “I’m not speaking for Mary Shelley, but there must have been some other, naughtier, wilder, more dangerous things that Mary Shelley wanted to say that weren’t said in ‘Frankenstein.’ What else might she have wanted to express?”

Christian Bale and Jessie Buckley in the movie “The Bride!”

(Warner Bros. Pictures)

And so Gyllenhaal set about writing, with her “Lost Daughter” star in mind for the lead, though she initially didn’t tell Buckley. One of Gyllenhaal’s biggest learning curves in directing “The Lost Daughter” was figuring out how to speak to each actor individually to get the most out of them.

“With Jessie, I just spoke to her like I speak to myself,” Gyllenhaal said. “No translation needed.”

Reached via email, the “Hamnet” star evokes a Frida Kahlo painting to convey their closeness.

“We share two beating hearts,” Buckley says. “Maggie has absolutely been instrumental to waking me up to a part of myself I needed to know — and I think vice versa. We share a similar language and curiosity.”

Moving from the intimate scale of “The Lost Daughter” to the expanded scope of “The Bride!” was exciting for them both.

“I loved seeing her in a bigger sandpit,” Buckley says. “From ‘The Lost Daughter’ it was clear that Maggie had something to say as an artist. But where do we grow? What’s the scarier place? What are the questions we might whisper to ourselves? And what happens if we put those whispers into the ether?”

Gyllenhaal’s new film is unafraid to risk being too much. One extravagant party turns into a musical sequence that finds Bale’s creature singing and dancing to “Puttin’ on the Ritz” — a wink to a whole other self-aware frame of reference and Mel Brooks’ satirical 1974 “Young Frankenstein.”

“Sometimes it was too much too much — that’s the line I was trying to walk,” Gyllenhaal says. “I think so many women are told that we’re too much, over and over again, from the moment we get here. And so I’m used to that.

“But I think that scene is sort of about that. It’s about a kind of explosion of life and humanity. So much of the movie is about these people who cannot fit into their box. This is where they celebrate their bigness, their too-muchness, their monstrousness. That’s the monster mash: ‘I am who I am.’”

“Sometimes it was too much too much — that’s the line I was trying to walk,” Gyllenhaal says. “I think so many women are told that we’re too much, over and over again, from the moment we get here. And so I’m used to that.”

(David Urbanke / For The Times)

Making a purposefully idiosyncratic retelling of a classic tale came with its own challenges. “The Bride!” was originally scheduled to be released by Warner Bros. last fall, on the date that would eventually go to “One Battle After Another.” When a rescheduled March 2026 opening was announced, there were reports — “Beware ‘reports,’ ” Gyllenhaal tells me, wryly — of behind-the-scenes clashes between the director and the studio.

Gyllenhaal doesn’t deny that, to find the final version of the movie, she worked closely with Pam Abdy, who, along with Mike De Luca, is co-chair and co-chief executive of Warner Bros. Motion Picture Group. This time the stakes were higher, the filmmaker says, and being left to her own devices, as she had been on “The Lost Daughter,” wasn’t always the best solution.

“If I make a big, hot roller coaster of a movie and remain totally honest in what I’m trying to explore and think about inside it, will people respond? That was my question,” she says. “And then I cut it in a way that was entirely my expression. And I have to say in particular, Pam, who was my point person on this and also has become a friend, she really took me to task on that and said, ‘You want many people to respond and understand this. You have to clarify here and here.’ ”

Though Gyllenhaal admits there were moments of “friction” and that Abdy “has a slightly different agenda than I do,” she now sees the merit in the process. “Something really alive was born, and I think the movie is better for the work that she and I did together,” Gyllenhaal says. “I know that’s an unusual thing to say. I know that you have lots of people saying like, ‘Ah, the studio f— my movie up.’ That is not my experience. It’s really not.”

In a phone interview, Abdy says, “Listen, she tasks me with challenging her, and I task her with challenging us. We’re all in the service of making the best movie we can possibly make for the audience. And we, privately, all of us — studios, directors, filmmakers — we go through a process. It’s unfortunate that certain people choose to assume they know what’s happening in those rooms. But they don’t.”

Abdy describes their collaboration as a healthy and normal one. “You test the movie, you get information, you make adjustments,” she says. “And we needed the time and space to do that.”

Maggie Gyllenhaal, right, on set with Jessie Buckley and Christian Bale while making “The Bride!”

(Warner Bros. Pictures)

The courage Gyllenhaal once exhibited as a performer now seems to be serving her as a filmmaker. The last feature Gyllenhaal appeared in as an actor was 2018’s “The Kindergarten Teacher,” playing an overzealous mentor to a young poetry prodigy. She also appeared in three seasons of the HBO series “The Deuce” from 2017 to 2019, in which she played an adult film performer struggling to move behind the camera into directing.

As to whether she will return to acting, Gyllenhaal says, “I don’t know. I really prefer directing. This is a better job for me.”

Better how? “I felt as an actress, to be honest, like I always would hit up against a wall of how much I was able to participate or express,” she says. “And I thought for a long time, OK, this is the gig, and what I have to do is learn how to protect self-expression, even if that means I just need a tiny bit of space around me where I have the real estate to do what I need to do as an actress.

“And then when I moved into writing and directing, I didn’t have to play that game anymore,” she says. “And also I could create an environment where nobody had to play that game. Anyone could explore and express the things that were interesting to them. It was ultimately up to me to decide if I wanted to use them or not. So why not let people explore and surprise me?”

Gyllenhaal’s “The Bride!” may catch the same current wave of pop-inflected Gothic-style romances as Emerald Fennell’s “Wuthering Heights” and Guillermo del Toro’s “Frankenstein.” A catchphrase that emerges in the film is “brain attack,” the Bride becoming a folk hero to women around the country who emulate her distinctive look: Jean Harlow by way of Courtney Love with an inky smear of makeup across the face.

There is something intuitively catchy about brain attack, even if it’s also a little bewildering.

Gyllenhaal remembers an “aspect of terror” about stepping into a bigger studio release. “So do most things that require that you really grow and learn in order to do them. But I’m interested in terror and so I guess I was playing around with the idea of heart attack, panic attack. And I think in order to really do that, some brain attacks are required.”

Gyllenhaal tells me how a few days earlier she had been wearing a hat with the phrase on it while reading by the hotel pool and three 20-something women, maybe a little day drunk, began asking her about it. Two of them seemed puzzled by the phrase, struggling to parse out its meaning, while the third instinctively got it. She just knew. So Gyllenhaal gave her the hat.

“I guess ‘brain attack’ is a phrase you might have to feel,” Gyllenhaal offers, her mouth widening into a smile.

So too, perhaps, with Gyllenhaal’s telling of “The Bride!” with its visions of reckless abandon and personal reclamation — exclamation point and all. It will become a movie waiting for those who need it.

Jonathan Majors is ready to stage his comeback — by teaming up with the Daily Wire.

The actor is reportedly filming his first movie since being found guilty of assaulting and harassing a former girlfriend in 2023. According to Deadline, production on the untitled action movie from the Daily Wire and Bonfire Legend begins this week in South Carolina.

Written and directed by “Run Hide Fight” filmmaker Kyle Rankin, the movie is described as “in the vein of ’80s and ’90s action movies ‘Red Dawn’ and ‘Toy Soldiers,’ ” per the outlet. In addition to starring in the film, Majors will also serve as an executive producer, the entertainment outlet reported.

“You’re not going to BELIEVE what we’re doing,” right-wing pundit and Daily Wire co-founder Ben Shaprio said in a Thursday post on X sharing the news. On Facebook he claimed, “This movie is going to be WILD.”

Majors was a Hollywood star on the rise when he was arrested on charges of assault, strangulation and harassment in March 2023. The “Creed III” and “Ant-Man and the Wasp: Quantumania” actor was swiftly dropped from projects, his management company and his public relations team. Once poised to be the next central villain in the Marvel Cinematic Universe, he was also dropped by Marvel Studios following his conviction.

Majors avoided jail time and has since married fellow actor Meagan Good after a brief engagement.

In addition to Shapiro, who will be producing for the Daily Wire, Dallas Sonnier will be producing for Bonfire Legend. Neither company has shied away from courting disgraced Hollywood talent trying to revive their careers.

Among the Daily Wire and Bonfire Legends’ previous joint projects is “Terror on the Prairie,” the 2022 western starring Gina Carano. The “Mandalorian” actor was fired by Disney in 2021 for “her social media posts denigrating people based on their cultural and religious identities” that the company called “abhorrent and unacceptable.” (Carano filed a lawsuit against Disney alleging wrongful termination in 2024. The lawsuit was settled in August.)

The Great British Bake Off winner Nadiya Hussain, who rose to fame on the 2015 series, has spoken out about her change of career and experiences of working as a teaching assistant

Winner of the Great British Bake Off Nadiya Hussain has spoken out about the television industry and the difficult choice she made to leave her agent and her manager.

Nadiya, 41, who won the Bake Off in 2015, spoke about the industry just days after it was announced that she was leaving her teaching assistant job, as she continues this next phase of her career.

Speaking about the matter, she discussed the “overwhelming whiteness of TV and publishing” and admitted she was tired of working in what she described as a broken industry.

She told the Guardian: “It’s broken. This last year has been really important for me to realise that, really accept that, actually, I can’t fix a broken industry.”

Nadiya also talked about what 2025 was like for her, and how it gave the renowned baker an opportunity to think about the next decade of her life after admitting that she felt like she had “started to feel like a caricature of myself”.

She added: “It has been really enlightening at the same time. I’ve had the opportunity to sit back and look at how I see the next 10 years…It’s been scary, but I’ve also really enjoyed figuring out what that looks like for me.”

Last year Nadiya released a cookbook titled ‘Rooza’, one containing dishes inspired by important elements of the Islamic world and culture, including Eid and Ramadan. She also created another volume titled ‘Nadiya’s Quick Comforts’.

With her decision to take back control of her career has come new freedoms and new locations, with Nadiya announcing earlier this month that she was leaving her teaching assistant job.

However, in a post on Instagram, Nadiya said she was leaving the role because of the negative impact it was having on her health. Nadiya has a weakened immune system and lives with fibromyalgia, a chronic condition that causes musculoskeletal pain and fatigue, among other symptoms.

In the social media post, Nadiya explained why she had to leave a job she had been in for only three months: “I’ve always wanted to work with children in younger years as a teaching assistant and I applied for a few jobs, which in itself was difficult for lots or reasons.

“I applied and got a job as a TA (teaching assistant) at a primary school and I’ve got to say, apart from raising my own children, it was one of the best jobs I’ve ever done.

“I loved every second of waking up in the morning with a spring in my step for these beautiful children. I just loved every second of doing that job.

“But unfortunately doing a job like that as somebody with a weakened immune system it just played havoc with my health…. I was sick all the time and it got to the point where it was affecting my mental health and I just wasn’t performing, giving my best because I was always sick.”

She added: “But unfortunately with a weakened immune system working as a TA in a primary school was just proving impossible and it was one of the hardest decisions I had to make to step away for it.”

SIR David Beckham shared sweet snaps with daughter Harper at an exclusive ski resort and spoke of “making memories” with his kids amid his family feud with eldest son Brooklyn.

Becks, 50, is in Courchevel, France, with Harper, 14, and it looks like they’ve had a fun-filled week of fine-dining and snowy exploration.

Proud David shared a selection of their photos and wrote: “Creating memories with the kids either together or one on one has always been been important to me. 

“So this week Me and Harper created a few more memories. Love you pretty lady @harperbeckham.”

It comes a day after David came to the aid of a Brit tourist who fell over on the slopes in the French Alps.

A source said: “David saw the woman hit her head and was worried about her.

on gard

David Beckham’s best friend Dave Gardner takes swipe at Brooklyn

SAVED BY BECKS

Beckham becomes knight in shining armour as he helps injured skier at resort

“He took her skis off and made sure she was OK – he was a true gentleman.

“David was incredibly lovely, and so was the ski guide with him.”

Meanwhile, Harper recently reached out to estranged brother Brooklyn on Instagram sparking hopes she could be the one to thaw frosty relations.

She posted pictures showing her with Brooklyn and her other brothers Romeo and Cruz.

In one Valentine’s Day post she wrote, “I love you all so much, words can’t describe it” — while in another she called them “the best big brothers in the whole wide world”.

Harper’s posts were at first seen only by the 93 followers of her private account — but mum Victoria, 51, then reshared them with her 33.5million followers.

Brooklyn, 26, and Harper are not believed to be in touch, despite him reportedly feeling “protective” over her.

He does not follow her on Instagram and it is unclear if he has blocked her.

Last month Brooklyn posted a statement online blasting his parents and claiming brothers Romeo, 23, and Cruz, 20, had been “sent to attack me on social media, before they ultimately blocked me”.

He accused mum Victoria of “hijacking” his wedding day and “embarrassing” him with “inappropriate” dancing.

Brooklyn also sent a legal letter to Victoria and dad David, 50, insisting they contact him only via lawyers.

Harper was not mentioned. It is hoped that she, and other members of the wider family, may be able to ease relations with Brooklyn and his actress wife Nicola Peltz, 31.

Though he seemingly ignored his sister’s messages, sharing only a belated Valentine’s post in tribute to Nicola, in which he vowed to “forever protect and love you”.

KATIE Price has proudly brandished a pregnancy test days after claiming she’s pregnant with her sixth baby.

The Sun exclusively revealed the former glamour model said I Do with businessman Lee Andrews in a plush ceremony in Dubai last month.

Over the weekend, it was revealed the pair made their marriage legal in a second ceremony.

Now Katie, 47, has taken to her bathroom to tease the next steps in their relationship.

Last week she appeared to confirm she is expecting as she claimed “I’m having his baby”.

The parent of five’s new video saw her posing in a white T-Shirt, holding a test with her pink manicured fingers.

AISLE BE BACK

Moment Katie Price & new hubby exchange vows in second wedding ceremony

I DO… AGAIN

Katie Price’s marriage made legal FIVE days ago in 2nd ceremony despite fears

Her huge wedding ring was on full display in the clip, which saw her brush her dark locks over her shoulder and flash a smile to the camera.

Yet she covered up the window box on the test, meaning the verdict could not be seen.

She then said: “Hey guys so all the speculation.

“If you want to see the truth subscribe and you will see the answer”.

She then flashed a pose to end the clip and added a subscription box.

Katie married Lee after two weeks of knowing him.

She then stunned fans by appearing to confirm that she’s expecting his baby just hours after meeting his dad.

In her apparent baby announcement, Katie was also quick to take a swipe at Lee’s ex partner Alana Percival, who he was engaged to last year.

In a shock rant, Katie took to social media and said: “Alana I know rejection doesn’t feel nice and I’m married to Lee Andrews the man you want and will never have again.

“Your constant lies and put downs is clearly showing how bitter you are, go live your life little girl.

Who is Katie Price’s husband Lee Andrews?

KATIE Price tied the knot with Lee Andrews in January 2026. Yet who is he?

• Katie Price has married businessman fiancé Lee Andrews in a whirlwind wedding
• It is the fourth time Katie, 47, has been a bride. She has also been married to Peter Andre, Alex Reid and Kieran Hayler
• Katie and Lee met just after being introduced on social media
• Lee claimed he is a billionaire in a failed clip from his acting career
• He now claims to be a Dubai-based businessman
• Yet The Sun has unmasked him as a fantasist who faked celebrity links using AI-generated photos and recently talked about marrying two other women
• Failed actor is just another title to add to Lee’s questionable CV, after he claimed to have once worked as the Director of Philanthropy at The Prince’s Trust (now The King’s Trust)
• Lee also shared images – since proven to be AI – of him working with Elon Musk and Kim Kardashian
• It’s been revealed shameless Lee told former girlfriends that he had studied at Cambridge University, and has a PhD in biotechnology science
• But The Sun has seen a response from the university explaining it could not find a record of Lee being registered as a student with a date of birth they had provided
• His LinkedIn profile says Lee has been a Member of the Board of Advisors to the Labour Party since 2015
• Lee was also mocked for repeating the exact same wedding proposal on Katie – that he did for another woman just four months ago.

“I know the truth and your now embarrassing yourself, go and have the little respect for yourself that’s left.

“I know all about you and who you are.

“At least I’m the real woman he has found and deserves, but please just enjoy watching us build our empire as I’m having his child.

“I’ll enjoy the ride and big d*** energy now, I’m in the saddle.

“He’s the most beautiful human I know who never took anything from you.”

Katie furiously added: “Now disappear back under that bridge you irrelevant little troll.”

While Lee also appeared to confirm the baby news by sharing a picture of him and Katie and writing: “Perfect couple, soon to be triple.”

Over the weekend, he shared an image seemingly showing him cradling Katie’s tummy with his hand.

Katie was previously issued a warning by Lee’s exes Alana and Crystal Janke, who he dated at the same time last year. 

Last month Alana, 32, and Crystal, 40, told The Sun exclusively how they were hoodwinked by the businessman — branding him a lying swindler who preys on women.

The cast of “Scrubs” knows that the show’s creator, Bill Lawrence, has a habit of building communities with his series, which include “Ted Lasso” and “Shrinking.” But the “Scrubs” crew knows they are the closest.

“Since I work on all those shows, I can say that we’re the tightest-knit group,” says Zach Braff on a video call with his fellow fake doctors Sarah Chalke and Donald Faison. “We vacation together.”

Lawrence, just a day later, has to concede that Braff has a point. “It’s annoying because I have to admit that they are right,” he says. “We’ve stayed the tightest because we all still spend way too much time together.”

And now the gang is back together for a new, nine-episode season of the beloved series premiering Feb. 25 on ABC, and the next day on Hulu. When “Scrubs” debuted in 2001, narrator J.D. (Braff), his best friend Turk (Faison) and on-again, off-again love interest Elliot (Chalke) were interns at Sacred Heart Hospital. Now, J.D. is a concierge doctor, while Turk and Elliot have advanced to leadership positions at Sacred Heart. There’s a new batch of interns, a new cheery hospital representative (Vanessa Bayer) whose job involves making sure no one gets offended, and a new doctor (Joel Kim Booster) who is not too fond of J.D. But there are also other familiar faces including John C. McGinley as J.D.’s begrudging mentor Dr. Cox and Judy Reyes as nurse Carla, who also happens to be Turk’s wife.

“Scrubs” then and now: Sarah Chalke, Zach Braff and Donald Faison in the original series, left, and in the ABC revival. (Chris Haston/NBC) (Brian Bowen Smith/Disney)

In the Season 8 finale — before the show reset with a medical school setting — J.D., always prone to elaborate fantasy sequences, sees a vision of how his life is going to turn out. His reality doesn’t exactly resemble that.

“We say midlife crisis or whatever, but it’s a time of questioning, a time where you take stock of your life,” says showrunner Aseem Batra. “That’s really a cool time to catch up with our characters because when we saw them last, they were in their quarter life.”

Batra herself has followed a similar path to the characters. After working as an assistant at ABC, her first writing gig was on “Scrubs.” Now she’s in a position of authority. “Truly, it was the best job I had and it was my first job and I’m doing it again out of pure love,” she says. (Longtime “Scrubs” writer Tim Hobert was originally announced as co-showrunner but departed the project.)

Lawrence, who serves as executive producer on the new incarnation, can also see a parallel between his path and that of his fictional creations. “I’m only good at writing about stuff that’s at least tangentially part of my life and the idea that of those young goofballs who are the students now being the teachers, it’s very much part of my life right now,” he says.

“Scrubs” creator Bill Lawrence has handed the reins to Aseem Batra, who is the showrunner of the revival. “Truly, it was the best job I had and it was my first job and I’m doing it again out of pure love,” she says.

(Christina House / Los Angeles Times)

Still, Lawrence says the reason the revival of the show was able to work is because of the closeness of the original cast. Faison and Braff are still constantly collaborating whether that’s on a podcast or commercials, and even though she’s decamped from Los Angeles to Canada, Chalke makes a point to keep in touch. On a boisterous Zoom call, we spoke about returning to their beloved characters.

What were your reactions coming back to this world?

Donald Faison: Please. Please. Revive it. Do me that solid and revive it.

Sarah Chalke: I manifested it. A couple years ago, I was like, “Oh, I miss ‘Scrubs.’ I want to do a comedy like ‘Scrubs’ that shoots in Vancouver, and then it all happened.”

Zach Braff: To be honest, I was very surprised when it actually started happening that ABC was going to put it in prime time. I thought it might be something on Hulu. That felt like a giant audience with Hulu the next day and a really big scale and really a belief in the project. That was really exciting.

Why do you think the show’s legacy is so strong that there is that belief?

Braff: I think that it’s Bill’s unique mix of comedy and pathos and emotion and fantasy. It’s such a unique recipe. But in execution, as he did with the first pilot, it was undeniable. It was so groundbreaking at the time. No one had done that in the network space. It was also at a time when there was no streaming. So, the show was on at 9:30 and Bill was trying to push what you could still do on network [television]. That’s why it was a more risqué version of what we’re doing now. I think now the goal was — well, there’s streaming for that. What’s a show that we can have on at 8 that pairs with “Abbott Elementary” that parents can watch with their kids? Maybe some jokes will fly over the kids’ heads, but it’s not trying to compete with what people are doing on streaming.

What do you remember about getting cast? You were all in your 20s.

Faison: I was the oldest one. Still the oldest one. I remember how big of a deal it was. This was the pilot of the season. I remember everybody and their mama was talking about how great the script was and how they wanted to be on the show. I remember my agent telling me, “This is a big one. The creator of the show really likes you. Let’s see what you can do.”

Chalke: I didn’t know this until two days ago. Our casting director came up to set to visit, and she said I was the first person to audition on the first morning of casting. In the character description, it said she moves and talks at a faster pace than normal humans. And in every single job, I’ve been told, “Slow down.” It felt like the luckiest thing; I’ll never forget when Bill called me and said that I got it and I truly couldn’t believe it. And the experience far exceeded any expectation I could have had about what it was going to be.

When I think back on it, what I remember is what that felt like to be at work every day, genuinely laughing so hard to the point where it would get late at night and there was one sound that Zach and Donald could make that would make me laugh.

Sarah Chalke on being cast in “Scrubs”: “I’ll never forget when Bill called me and said that I got it and I truly couldn’t believe it. And the experience far exceeded any expectation I could have had about what it was going to be.”

(Christina House / Los Angeles Times)

What was the sound?

Faison: It’s almost like a fart.

Braff: No, it’s not a fart.

Faison: I’m not trying to make a fart joke. But do you know how when you fart, it always sounds like a question mark. So, that’s the sound.

Braff: Esther, do not use this, please. It’s a high-pitched noise like this [does noise]. We would do it quietly enough that no one would hear we were doing it. And then she would break down laughing and ruin the take and we’d be like, “Sarah, what are you doing? It’s late. We want to go home.”

Zach, what were your initial thoughts about the project?

Braff: I was waiting tables at a French-Vietnamese restaurant called Le Colonial at Beverly and Robertson [in L.A.]. And I had to wear a tunic, which I put into “Garden State.” I’d been auditioning for so many things and not really getting much traction in the sitcom space, but I read this and I thought it was so funny. I was like, “Oh, I think I could really sell this because I find it so funny.”

How did you know the chemistry between the three of you was going to work?

Braff: When we were shooting the pilot, I was just like, “Wow. I really love these people.” I was obsessed with Sarah. I thought Donald was the funniest person I’d ever met. And then Bill was legitimately the funniest person I’ve ever met. I just felt in really good hands.

Chalke: We were all so excited to be there and we’d just hang out and watch the other scenes that we weren’t in. And I remember just being by the monitor, watching everybody else work and just being so blown away.

Braff: We would hang out after we were wrapped, which Sarah still does occasionally. This time Donald came early because there’s this really weird coffee robot in the production office that Donald seems to think is amazing coffee. So, I caught him a few times coming in early for the coffee robot.

Faison: That’s not why I came in early. I was notoriously late and unprepared the first go of “Scrubs.” I heard Tom Hanks talking about how he was a young actor and a very established actor kept forgetting their lines. And the director finally goes, “Ah, come on, come on guys. Three things. Show up early, know the text, have an idea. Let’s take 10,” and walks away. And Tom Hanks goes, “Oh, if that’s what it takes, I can do that s—.” So, I took that to heart and this is the second opportunity.

Braff: I thought it was the coffee robot.

Zach Braff on his co-stars: “When we were shooting the pilot, I was just like, ‘Wow. I really love these people.’ I was obsessed with Sarah. I thought Donald was the funniest person I’d ever met.” (Christina House / Los Angeles Times)

But Sarah would hang out after you wrapped?

Chalke: We are all executive producers on this. Zach is producing and directing and editing and writing and doing all of the things, and that’s been really neat to watch. I legitimately do want to learn. Obviously, there’s a balance of that with also going back into work full-time and having two kids.

Braff: Sarah gave me this whole speech at the top of the show. She’s like, “Hey, I really do want to learn this stuff. I want to sit by your director’s chair. I want to ask you questions. I want to learn to genuinely [executive produce], genuinely direct.” And I was like, “Great.” The first week I was like, “All right. Sarah, we’re going on a big tech scout. It’s probably going to be about…”

Chalke: “In a van for seven hours.”

Braff: I go, “You’re going to learn more on the tech scout than you could in film school.” And she’s like, “No, I won’t be able to do that.” And then by the end of the nine episodes, Sarah was like, “I think my EP thing is morale.”

Faison: I want to piggyback on something Sarah said though. Zach has done a lot, these nine episodes. For this revival, he’s done so much and has worked so hard on this. And that’s made us all feel very safe and secure also because we know we have the No. 1 guy on the call sheet who cares about the show completely putting in 100% to make sure that we’re coming out the gate with something very, very, very, very strong and undeniable for the fans.

What were your conversations about where your characters would be after all these years?

Braff: One of the big conversations we had was we wanted to reground the show because the show got really broad over the years and we wanted to dial it back and go back to where we started, where it exists in a real place. We have the luxury of the fantasies where we can be super silly. And obviously, we dip our toe over the line sometimes and stuff is a little broad. But for the most part, the new show is back to Season 1 and grounded again.

As we all know, especially when you reach 50 years old, a lot of things in life don’t turn out the way you hope they would. And that’s why we opened the show with J.D. living this fantasy that he is this heroic trauma ER guy when in fact he’s fixing toes in the suburbs. Also, I think with regard to me and Donald, [Lawrence] said, “I want them to be silly as those two guys are in real life, but … when they drop in and they’re teachers, they’re really good teachers.”

Donald Faison on returning for the revival: “When we did the table read, I laughed so hard when the first voice-over kicked in, when Zach read the voice-over.”

(Christina House / Los Angeles Times)

Was it easy to fall back into your rhythms?

Faison: When we did the table read, I laughed so hard when the first voice-over kicked in, when Zach read the voice-over.

Braff: The whole room did. It was really funny because no one had heard me do that voice in 20 years.

Chalke: One of the coolest things that helped with the show was Bill would just write to everybody’s strengths or write to their quirks or write to their personalities and weave it in. That happened this season, but it happened all through the first eight years. And so, to a certain extent, the lines blurred sometimes between ourselves and our characters. So, stepping back into them, there’s a reason why it felt so comfortable.

Braff: Sarah is a fast-talking klutz.

Chalke: I am. We met all the interns and Zach said, “So, guys, Chalke’s going to come in every day and something’s going to be broken. Every day there’s going to be a story.” And then I proceeded the very next day, which was the day before filming, to fall and break my finger. So, I did have to come in on the first day and say, “So, I broke my finger.”

How did you break your finger?

Braff: Walking.

Chalke: It’s part of who I am, but it’s also part of who Elliot is.

Braff: I think if we put in the show how really klutzy you are, people would think it’s too much.

Was there anything you were nostalgic for that wasn’t in the new incarnation?

Chalke: Sam Lloyd.

Braff: Sam Lloyd who played the lawyer was such a big part of the show and not only a fan favorite, but our favorite. He was just the funniest, nicest man. And Bill calls people like Sam Lloyd “comedy assassins.” They come in and they have one line and you’re laughing. And he was one of the greats.

Faison: It’s not the same “Scrubs.” And I kind of miss a little bit of that. There are so many new stories to tell. And you get nostalgic when you see the stuff that we’re doing in it, but I do sometimes miss some of the stories that we told in the past. It’s like capturing lightning in the bottle again, and I feel like we did it. I really do hope we have that opportunity again. I really do hope that this isn’t just nine. But it’s important for the audience to know that we’re definitely older. That’s just real talk. I’m not a 26-year-old man anymore. I’m 50.