The 78th Primetime Emmy Awards saw a number of firsts: A first-time host, a first-time Emmy winner and the first to win two lead acting Emmys in a night. These notable achievements were coupled with moments of remembrance for legendary actors and creators, like Dolly Parton, Rob Reiner and Catherine O’Hara, among many others.
With Mariska Hargitay at the helm, the show ran at a quick pace without feeling rushed, giving room to winners to say their thanks in acceptance speeches while still having moments of fun in between. Here, our writers discuss some of the best moments of the ceremony. — Maira Garcia
Best moment of overdue recognition: Rhea Seehorn
Rhea Seehorn finally won an acting Emmy, an accolade that was long overdue.
(Robert Gauthier/Los Angeles Times)
If you appreciate Rhea Seehorn’s complex, subtle acting, her dynamic range and her deadpan humor, then you’ve probably found the Emmys to be maddening over the years. She famously wasn’t nominated for playing poker-faced attorney Kim Wexler on “Better Call Saul” until the show’s two-part final season. And she never won, not even for the raw, heartbreaking work she did in those last episodes. So seeing her win, finally, for her lead turn on “Pluribus” was thrilling, long overdue recognition that, given her history, made you wonder if it would ever come. Awards voters typically don’t appreciate nuanced acting, too often equating “best” with “most.” But Seehorn’s work on “Pluribus” was undeniable. Playing Carol Sturka, a sad woman forced to save the world from happiness and hive mind, Seehorn had the role of a lifetime and ran with it. This Emmy was a long time coming, and you could feel that when she choked up on stage accepting it. Her palpable joy thanking “Pluribus” creator Vince Gilligan, wiping away tears, is one reason why we keep watching the ceremony. — Glenn Whipp
Best double Emmy haul: Matthew Rhys
Matthew Rhys with his double Emmy haul for “The Beast in Me” and “Widow’s Bay.”
(Ronaldo Bolanos/Los Angeles Times)
It was the sort of epic night that might make life vest-wearing mayor Tom Loftis jolt from his boat seat in shock or compel the villainous real estate heir Nile Jarvis to scarf down a whole rotisserie chicken with a glint in his eye — Matthew Rhys, the actor who brought both characters to life on screen, won two Emmys during Monday’s ceremony.
In doing so, he achieved a feat no actor has accomplished in 78 editions of the Emmy Awards: he won two lead acting Emmys in the same night. He was recognized for lead actor in a limited series for his turn in Netflix’s psychological thriller “The Beast in Me,” where he played Nile equal parts charming and terrifying. Later, he took the stage to accept the lead comedy actor prize for his optimistic but skeptical take on a mayor of a small, haunted island town in Apple TV’s horror comedy “Widow’s Bay.”
Rhys didn’t react like his characters might have — instead, he thanked his homeland: “To the great and good people of Wales… we are a small but mighty nation!”) And he took in the moment being feted by his partner, Keri Russell, who hung on him with pride as he made his way back to the main seating area after his first win.
The double wins add to Rhys’s collection of gold across the acting categories. In 2018, he took home the prize for lead drama actor for “The Americans.” — Yvonne Villarreal
Best reaction to someone else winning: Martin Short
Martin Short, left, with his “Only Murders in the Building” co-star Steve Martin on the red carpet at the Emmys.
(Christina House/Los Angeles Times)
Rhys may have taken home lead actor Emmys for limited series and comedy series, but the award for best reaction belongs to Martin Short.
During Rhys’ acceptance speech for lead actor in a comedy, the camera briefly panned to Short, who was nominated for “Only Murders in the Building,” just in time to catch him ripping paper into pieces — presumably his speech — and throwing it on the floor in anger and disbelief.
It lasted only a few seconds, but Short took advantage of the moment.
The timing. The commitment. The expressive performance. Short’s full comedic arsenal was on display before the camera moved on. It was the kind of quick visual gag that was easy to miss, and plenty of people probably did. But for those who caught it, I hope it was worth the spit-take. I am certainly glad I had a napkin at hand.
Short may have lost the Emmy, but his comedic timing remains undefeated. Stay funny, Short. — Anthony Solorzano
Best emotional moment that emptied our tissue box: Michael J. Fox
Michael J. Fox received the Bob Hope Humanitarian Award for his work and advocacy on Parkinson’s disease.
(Robert Gauthier/Los Angeles Times)
In an Emmys telecast full of genuine emotion — Reba McEntire’s musical celebration of Dolly Parton, a heartbreaking In Memoriam segment that ended with Jamie Lee Curtis’ personal tribute to Rob Reiner — the most moving moments were claimed by Michael J. Fox, receiving the Bob Hope Humanitarian award.
Fox’s decades-long battle with Parkinson‘s disease, and for those who suffer from it, is well known, as is his refusal to let it define him or his career — he received his 19th Emmy nomination this year, for guest actor in “Shrinking.” But when he first came out on stage, in a wheelchair and classic black, he spoke first about his admiration for Bob Hope, a man whose tireless support of soldiers “and military families like mine” illuminated, for Fox, the necessity of showing up for others. “When it starts to get tough, you show up, you help, and if you add a little joy while you’re doing it, that’s so you know it’s even better.”
The utter silence of that room as he spoke, the admiration on all those famous faces said it all. Fox remains as he has long been — funny, sincere, wildly talented and one of the most courageous people many of us will ever know. — Mary McNamara
Best self-depricating host: Mariska Hargitay
Mariska Hargitay didn’t take herself too seriously as host, cracking a number of silly jokes throughout the night.
(Robert Gauthier/Los Angeles Times)
Host Mariska Hargitay was refreshingly lewd and charmingly self-deprecating as the first female host of the Emmys in 15 years.
By not taking herself too seriously, she set a laid-back tone for a high pressure show that for many nominees feels like a life or death moment.
Winning is not everything, Hargitay regularly reminded the crowd, with bits that grounded actors’ experience, like a clip from a 1984 B-horror film she starred in called, “Ghoulies,” which, as she explained to everyone, is a film, “where a monster pops out of a toilet.”
“Jamie Lee Curtis isn’t the only scream queen around here,” Hargitay quipped.
That joke came after an ongoing series of goofy, blue wisecracks, including one about “Law & Order” producer Dick Wolf, saying his real name was “Richard Penis;” that her “SVU” character, Olivia Benson, was “America’s sweetheart sex cop;” that aging fans who once loved and watched “Hannah Montana” would soon need “Hannah Mammogramas;” and an aside about her packed work schedule, noting that “Margo may have money troubles, but Mariska’s doing just fine.”
She ended the night with a mic drop by introducing Woody Harrelson and Matthew McConaughey as “my two favorite flavors of vape.” — Jessica Gelt
Best changes to a host’s hair: Hargitay and her hairstylist
A sampling of Mariska Hargitay’s hairstyles at the Emmy Awards.
(Robert Gauthier/Los Angeles Times)
Beach waves, bombshell, Targaryen-inspired twists, luscious locks and a tousled bob. Mariska Hargitay changed her hairstyle so many times throughout the Emmy Awards it was hard to keep track. One can only imagine the quick work happening backstage to get her hair coiffed amid costume changes. And one can only hope there was a wig wall somewhere inspired by Catherine O’Hara’s Moira Rose. The bombshell blowout was reportedly a tribute to her late mother, ‘50s starlet Jayne Mansfield — Hargitay took home two Emmys earlier this month for a documentary she directed about her. Her quick-turn tresses were yet another example of the first-time host’s infectious enthusiasm. — Brittany Levine Beckman
Best presenter who should host the next awards show: John Mulaney
John Mulaney introduced the award for lead actor in a drama series, but not before sending up men.
(Robert Gauthier/Los Angeles Times)
I’ll say it: I’m not sure how I feel about John Mulaney. I’ve waffled over the years. I used to love his work, then I found it tired, then I fell off the bandwagon altogether. So believe me when I tell you: I wasn’t sure how I’d feel about him presenting lead actor in a drama series. I wasn’t primed to like his speech. And yet.
He won me — I’m not necessarily a certified Mulaney hater, but certainly not a full-blooded Mulaney lover — over with a truly funny arpeggio of riffs about the mediocrity we accept from men and male actors. I was trepidatious, as was the live audience. (“This award is for the guys. Just men being men,” is a scary start.)
But then Mulaney rounded the curve with a tongue-in-cheek reference to the “Bluey” dad controversy and I sat up straighter. If the line, “some of the men in this category do method acting, and some do regular, less annoying acting” didn’t get me, then “they can play anything, these nominees, not just doctors — they can play a cop or an FBI agent or a secret agent, and then that’s it, no other examples,” certainly did. Don’t get me started on the DJ Khaled quote (I loved it).
Let this man host an awards show, as he is clearly trying to do. I recognize the game, and I respect it.
Also: a very honorable mention to Meg Stalter dressed as a literal Emmy statue. Meg, you are the only method actor I respect. — Laura Zornosa
Best Targaryen family reunion: Emma D’Arcy and Emilia Clarke
Emma D’Arcy and Emilia Clarke nodded to “Game of Thrones” before presenting the award for lead actress in a limited series or television movie .
(Robert Gauthier/Los Angeles Times)
One of the last things I ever expected to see on an awards show in 2026 is the Mother of Dragons speaking in High Valyrian on stage. So “Game of Thrones” star Emilia Clarke hitting the stage with “House of the Dragon’s” Emma D’Arcy to present the award for lead actress in a limited series or television movie was a pleasant surprise.
“In the ‘Game of Thrones’ universe, Emilia is my great-great-great-great-really-great granddaughter,” D’Arcy said. “And in honor of our shared Targaryen lineage, Emilia is going to address you in High Valyrian — our mother tongue — and I will translate.”
Clarke earned four Emmy nominations during “Game of Thrones’” run for portraying Daenerys Targaryen, one of the last surviving members of the family that long reigned over Westeros. D’Arcy, meanwhile, plays Rhaenyra Targaryen in “House of the Dragons,” which is set at a time when there are so many Targaryens that a war of succession became inevitable.
The Targaryen team-up was my favorite but it wasn’t the only name-based collaboration of the night. An earlier segment saw Olivia Benson, the fan-favorite “Law & Order: SVU” character played by Hargitay, share the screen with another Olivia Benson — Taylor Swift’s cat that is named after her. The cat made a surprise cameo along with the mega pop star in a pre-recorded segment about the likelihood of Swift appearing at the Emmys. — Tracy Brown
Best invitation to dinner at their house: Marcello Hernández
Marcello Hernández presented an award, but not before presenting some dinner invitations to a few people in the crowd.
(Robert Gauthier/Los Angeles Times)
When I saw “SNL’s” Marcello Hernández would be presenting at the Emmys, I knew it would be a special moment, and he didn’t let me down. The actor, who presented the award for directing for a comedy series, promptly made himself at home, shouting out, “Donde ‘tan los Latinos?” He then took the opportunity to say hello to a few fellow actors in the room.
“Very quickly, I would like to say hello to Harrison Ford,” he said, looking at the actor sitting in the audience, who gave an exasperated look and waved. “You are a legend and a real inspiration to me and I would like to invite you to have dinner at my house.”
The room erupted in laughter, but he wasn’t finished. He then extended an invitation to Zendaya and her partner, Tom Holland: “I want to say hi to Zendaya, you’re a beast and you’re amazing. And I saw you and I wanted to play it cool, and I decided I can’t do that. So I would like to invite you and Spider-Man to have dinner at my house.”
Then he proceeded to invite Oscar Isaac, the Guatemalan actor who utilizes his given name professionally, suggesting they might be related. “You are so good in ‘Beef’ and you are also Hernández, like I am. So we could be cousins, you never know. And I will see you at Christmas, I will cook you whatever you want.”
Lastly, he said a hello to Matthew McConaughey, and quoted his Cuban tía, who told him if he works very hard, he can hang out with “Matthew McCon-i-purse.” It was a light-hearted speech that spoke to anyone who suddenly finds themselves in a room wondering how they got there. — M.G.
Fans watching the new series of SNL UK were floored by the very first sketch
The show began with a sketch about Harry and Meghan(Image: Sky)
Comedy fans had the same response to a new season of SNL UK.
Viewers tuning into the new series hailed the show’s ‘genius move’ for the show’s return. It comes as the sketch show UK version of the hit American series, returned following an impressive stint earlier in the year.
There was initial cynicism over whether or not it would actually work, let alone be a success. However, it was renewed for a follow up ahead of its season finale.
This week saw Academy Award‑nominated actor and global icon Jeff Goldblum take on duties of the guest host. Goldblum is instantly recognisable for performances in Jurassic Park and Wicked. He was joined by acclaimed Irish singer‑songwriter and Brit Award nominee CMAT as the musical guest.
The show takes on a number of well known features from its American counterparts. This includes an opening monologue, topical sketches and the Weekend Update feature.
Season two’s premiere began with a cold open about the Royals. In particular, the show poked fun about Harry and Meghan, following the news of their move back to the UK.
Star Jack Shep, who wowed fans by taking on the role of Princess Diana in the previous season, appeared this time playing Harry. They also poked fun at Meghan’s Netflix series, as she told the King that she had brought some ice that she ‘made herself’.
Shep as Harry replied: “She hires the best cooks.” And later he tells his ‘father’ that his money has run out saying “it was only $60 million.”
But what really impressed viewers watching along at home was when cast member George Fouracres entered as Prime Minister Andy Burnham. Last time out, the actor also appeared as the PM, which back then was Sir Keir Starmer.
Fouracres joked that he was “better than the last one” and would not stop until there was a “Number 10 in every street in the UK”. Fans absolutely loved Fouracres performance with many sharing their reactions on social media.
One person admitted: “I’m weeping for joy at how good Fouracres as Burnham is: channelling John Simm.” Someone else replied: “So happy #SNLUK ‘s Andy Burnham is George Fouracres, he was a perfect Starmer and he’s a perfect Mr Normal too!”
Another added: “George Fouracres as Burnham is incredible.” While one fan claimed: “George Fouracres playing Starmer and now Burnham is a genius move.”
Sharing a similar view, someone else replied: “I’ve been waiting patiently for this George Fouracres Andy Burnham impression and I’m not disappointed.”
SNL UK airs Saturdays at 10pm on Sky One and streaming on NOW.
Daisy Chain Fields arrived on a sweltering summer Saturday, plopped in the middle of Irvine’s suede hills, inside Orange County lines. The festival, hosted by Olivia Rodrigo at the Great Park, was a spiritual successor to Sarah McLachlan’s Lilith Fair of the late ‘90s, born out of frustration with promoters and radio stations that refused to play two female artists in a row.
Like McLachlan’s event, Daisy Chain Fields boasted an all-female lineup, featuring some of the most coveted names in the contemporary music scene. The festival also gave a nod to some of the industry’s women pioneers, such as Bikini Kill and Garbage.
Anticipation for the festival was high after Rodrigo unveiled it in late June, with tickets selling out just 30 minutes after release. This translated directly onto the grounds, which were swarmed by 45,000 attendees, comprising teenage girls, moms, dads and everyone in between.
The event raised $10 million to benefit 10 girl- and women-focused nonprofit organizations, all of which made an appearance on stage before each artist’s set. Each musician on the lineup performed for free.
Festivalgoers walk past the Great Park Balloon.
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1.Festival goers pose for pictures in front of a daisy backdrop.2.Nara Brown from Costa Mesa ties together a flower headpiece.
As the sun went down and Rodrigo took the stage, she announced that proceeds had been 100% matched by billionaire and philanthropist Melinda French Gates, bringing total donations to $20 million.
The Times was on site to witness the festival in all its glory, amid astounding 94 degree heat and an unwavering, tangible electricity among fans. Here is our recap of the best moments from the festival. —Julius Miller
Livies get loud on the Metrolink The 2 p.m. Metrolink train from Union Station in L.A. to Orange County was absolutely mobbed with Livies (a.k.a. Olivia Rodrigo fans) on Saturday. For such a car-brained region, it was sweet to see public transit packed with young fans in festival regalia, making the grind to Irvine more sane and green. Let’s have this vibe for every major SoCal festival (including the car-free Ocean Way next month). Yet, for new train fans, a gentle reminder: one spirited round of singing “Get Him Back!” as you’re climbing onboard? Endearing, a delight for all. Keeping it up for an hour, next to civilian commuters who looked ready to climb onto the tracks themselves by Buena Park? Maybe save that for the pit. —August Brown
Festivalgoers sing as Olivia Rodrigo performs during Daisy Chain Fields.
Devon Again performs during Daisy Chain Fields.
Devon Again felt so lucky that she gets to know you
25-year-old alt-pop princess Devon Again was a last-minute addition to the Daisy Chain Fields bill, replacing global girl group Katseye, who pulled out of the festival on Thursday due to a member’s ankle injury. Luckily, Devon Again, a personal friend of Rodrigo who will open for her tour starting in November, was there to answer Rodrigo’s call with a resounding “Duh, b—! Obviously I want to do it!” as she relayed to the Saturday afternoon crowd. Though Katseye’s presence was felt — members Lara Raj, Megan Skiendiel and Yoonchae Jeong took the stage to introduce nonprofit partner Baby2Baby before the set, and Devon Again’s drummer wore a Katseye shirt in tribute — Devon Again’s self-confessed impostor syndrome was misplaced. With a rollicking mix of high-energy country twang, twisty ballads and production-heavy pop hits bolstered by her crisp belt, she made the stage her own. —Eloise Rollins-Fife
Die Spitz dives into a great early set
The set began with a five-minute delay due to technical issues, during which bassist Kate Halter — impressively — performed several handstands to pass the time. By 1:45 p.m., the band was ready to go, with frontwoman Ellie Livingston kicking off the performance. Draped in a torn white skirt and black fishnet gloves to complement, she wailed “I hate when girls die.”
Die Spitz’s set felt like the epitome of what Daisy Chain was all about. The band members took turns strutting around stage and acknowledging, “I know it’s f— hot!” But that didn’t stop the crowd from forming mosh pits on the left and right side of the yellow Marigold stage. At one point, Livingston even jumped in herself, to the despair of security and the delight of fans. —JM
Eleanor “Ellie” Livingston of Die Spitz performs during Daisy Chain Fields.
Santigold’s set was worth fighting for
Santigold’s eclectic, genre-defying sound may be a hallmark of the “indie sleaze” era, but her standout midday Daisy Chain set proved she has plenty of staying power in 2026. Dressed in all white and flanked by a pair of straight-faced dancers in futuristic sunglasses, the 49-year-old artist performed back-to-back hits like “Run the Road” and “L.E.S. Artistes” to a crowd ready to dance the pain away. She even brought a handful of fans onstage — mostly, adorably, children — for a follow-along dance contest during “Unstoppable,” with a winner determined by cheers. Wrapping up the set with “Disparate Youth,” Santigold reminded the audience to keep believing in “a life worth fighting for.” –ERF
Santigold transports the crowd to the early aughts era of indie sleaze during Daisy Chain Fields.
Bikini Kill double dares Daisy Chain crowd to keep fighting the power
“This government hates us and wants us dead,” proclaimed punk icon and Bikini Kill frontwoman Kathleen Hanna: a critical guiding light for Olivia Rodrigo’s feminist consciousness, as well as that of thousands of Daisy Chain attendees on Saturday. Since the band’s inception in 1990, the OG riot grrrls of Bikini Kill made social justice the centripetal force of their furor — long before Daisy Chain Fields, and even its late ‘90s predecessor Lilith Fair. Powered by Tobi Vail on drums (and occasional vocals), Kathy Wilcox on bass and Sara Landeau on guitar, the electric Hanna buffered classic songs like “Double Dare Ya” and “Feels Blind” with parables from her own revolutionary life — much of which she spent fighting back against objectification from men. Dudes in Saturday’s crowd got a special directive: “You guys gotta talk to your friends [about misogyny],” said Hanna. “[Women] are not gonna stop this on our own!” Sealed with a kiss and delivered with a snarl, the band closed its rip-roaring set with the anthemic battle cry of “Rebel Girl,” and were flanked onstage by a few lucky young fans. —Suzy Exposito
Bikini Kill’s Kathleen Hanna preaches a message of anti-misogyny to the crowd during Daisy Chain Fields.
Mitski brought melodrama and musical magic
Whether you’ve been rocking with Mitski since the “Lush” days or discovered her music via pandemic-era Tik Tok, when industrial ballads like “Washing Machine Heart” unexpectedly popped off, there’s no denying her captivating stage presence — not to mention her stunning vocals. Longtime fans may have wished for a few more of the hits (no “Your Best American Girl” after the recent “Puberty 2” 10th anniversary re-release was a surprise), but indie music’s favorite sad-woman still brought her A-game to the Dandelion Stage, incorporating her signature “Butoh” performance style — a form of avant-garde Japanese dance-theatre — underscored by a backdrop of 1940s melodramas. During her set she implored Rodrigo to make the festival an annual tradition. “When do you get to be the first anything anymore?” she said. “For the rest of our lives, we could be like, ‘I’m OG DCF.” – ERF
Mitski performs during Daisy Chain Fields.
The Breeders deliver ‘Last Splash’ classics
Hand it to Kim Deal: As one of the OGs on the bill at Daisy Chain Fields, the Breeders frontwoman used her band’s performance to shout out an even earlier pathbreaker by wearing an old Shirley Chisholm campaign T-shirt featuring the first Black congresswoman’s slogan of “Unbought and unbossed.” Deal and her bandmates (including her twin sister Kelley) drew deeply from their classic 1993 “Last Splash” LP, loping through the country-ish “Drivin’ on 9,” chugging on a fuzzed-out “Saints” and pricking up Gen Z ears with the perennially TikTok’d “Cannonball.” — Mikael Wood
The Breeders play songs from their 1993 classic album “Last Splash” during Daisy Chain Fields.
Doechii does it for the girls
Under the hot afternoon sun, Grammy award-winning rapper Doechii celebrated all things girls in her typical over-the-top fashion. She and her dancers arrived onstage painted in hot pink, the swamp princess’ hair fashioned into high pigtails. A dance breakdown to a hardcore take on Beyoncé’s “Run the World (Girls)” introduced the set, and though she fed fans by performing some of her most popular singles — a version of “Anxiety” that morphed into a cover of the original sample “Somebody I Used to Know” by Goyte, “Alter Ego” and tracks like “Nissan Altima” and “Boiled Peanuts” from her 2024 album “Alligator Bites Never Heal” — she also reminded festivalgoers of the influential Black women artists who came before her — Lauryn Hill, Queen Latifah, Beyoncé — by mixing their iconic songs into hers. Glowing magenta, she twirled above what looked to be a rising river, a physical representation of the swirling, engulfing thoughts that anxiety can provoke as she performed the song by the same name. And just to ensure there was zero confusion, the Florida rapper ended her set by simply stating: “We do this for the girls, we do this for the gays and we do this for trans women.” —Danielle Dorsey
Doechii performs during Daisy Chain Fields.
Doechii
Garbage gives grunge power to Gen Z
With its blend of serrated alt-rock guitars and sleek machine rhythms, Garbage always sounded a little ahead of its time when the band broke out in the post-grunge mid-’90s. But as frontwoman Shirley Manson evoked an age of digital surveillance and pharmacological dependence in “I Think I’m Paranoid” — one of the era’s great snarling pop singles — what you realized is that history had finally caught up with the band. — MW
Shirley Manson, lead singer of Garbage, performs during Daisy Chain Fields.
Chappell Roan reigns with a hit-heavy set
It’s funny to think that Chappell Roan has only really been in the American music scene for the past six years, with just one studio album to her name.
Roan appeared from the back of stage, revealing her leather, periwinkle stewardess outfit and red mod bob — an apparent nod to Luc Besson’s 1997 film “The Fifth Element.” Naturally, the crowd roared as she dove bob-first into “Super Graphic Ultra Modern Girl.” She’d occasionally crouch down to take a sip from her water bottle, which matched her ensemble.
Roan looked especially happy to be there, happily performing for free and her set did not disappoint.
“Only the hits today,” she said, smiling. “Only the hits.” —JM
Festivalgoers dance in the “MicroRave.”
Not for Radio crank up the volume
Just after sundown, the Marías’ enigmatic leading lady, María Zardoya, emerged to perform songs from her nocturne solo project, Not for Radio. Circled by a verdant reproduction of an enchanted forest, and dressed in a black swan-like two-piece by Ann Demeulemeester, Zardoya held the audience captive with her purring soprano and vampy stare. But make no mistake: by dialing up their otherwise elegant chamber pop with a little extra crunch and distortion, the players of Not for Radio came ready to rock out with the Daisy Chain crowd. It was during a performance of the new track “Comet,” which has only been recorded live thus far, that Zardoya bewitched fans into head-banging along with her. —SE
Olivia Rodrigo does duets with her idols
Sarah McLachlan, left, and Olivia Rodrigo perform during Daisy Chain Fields.
Rodrigo’s enduring virtue as a pop star is being a great fan first. The job requires commanding attention and devotion for yourself, but she’s never been shy about situating herself in the long arc of women who came before (and after) her, or just being moon-eyed to live inside her favorite songs with her heroes onstage. For her Daisy Chain Fields closing set, she dueted with generations of women that shaped her sense of what’s possible in music — Stevie Nicks for a gorgeous “Landslide,” and a surprise Alanis Morissette cameo for “Ironic” that felt like girl-gang karaoke night at its finest. She joined Lilith Fair founder Sarah McLachlan — a specific inspiration for this festival — for “Building a Mystery” and a deeply tender “Angel.” Even Rodrigo’s backing band, full of absolutely shredding women instrumentalists, played beside her on equal footing for exquisitely tasteful, post-punky revisions of songs across her three albums. The boys in the crowd got a brief chance to growl in the lead on “Expectations,” but here they were just allies — the headline act was Rodrigo’s talent framed as a gift received from other women, and given again to the young fans on the field. —AB
BBC Breakfast viewers were left distracted from the headlines by a major new format change.
Ben Thompson and Sally Nugent hosted Monday’s BBC Breakfast (Image: BBC)
BBC Breakfast viewers noticed a major change moments into the programme.
BBC Breakfast returned on Monday, August 24, with Ben Thompson joining Sally Nugent as he stepped in for Jon Kay.
Headlines of the day focused on the Middlesbrough crash on Saturday that left seven people, including two police officers, dead, as well as the return of the Premier League, with a tribute to Kevin Keegan during Newcastle’s match against Liverpool.
However, viewers were left distracted by a BBC Breakfast format change, with the graphics on screen given a major revamp.
Instead of the red timebox and headlines running at the bottom of the screen, the studio background graphics are in blue, while the taglines at the bottom of the screen are now also in a red to blue gradient, and highlighting what is coming up in the show.
“Can’t the producers decide on ONE colour for graphics?” one person fumed. Another said: “These captions are annoying, get rid, if I want captions I will turn the subtitles on.”
“Why have they tried to make the graphics look like a mobile phone? They look ridiculous,” a third seethed. Another replied: “That’s what I thought. And I don’t like it.”
Someone else said: “I can’t concentrate on two things at once so I’m either trying to read that extremely small text or watching the news report.”
“Someone been at the crayons.. what’s with the colour scheme?” yet another said, as someone else wrote: “So weird.”
Another viewer said they “hated” the change, as one person added: “Might just as well watch ITV now they’ve put this s**t on the screen and dumb down completely.”
Someone else called it “really rubbish”, as another fumed: “Ffs – get rid of these annoying captions! They are very distracting & totally unnecessary!”
One added: “#bbcbreakfast have obviously misjudged the demographic of their early morning viewers with this new format.”
This comes after the BBC Breakfast team celebrated National Television Award nominations, during an edition of the show last week.
As two nominations include heartfelt documentaries from the BBC Breakfast team, Jon shared how “honoured” they were.
Meanwhile, BBC Breakfast’s rivals Good Morning Britain have been nominated in the Daytime category alongside James Martin’s Saturday Morning, Loose Women, Scam Interceptors and This Morning.
BBC Breakfast airs daily from 6am on BBC One and iPlayer.
