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POP superstar Lady Gaga is set to release a concert film about her record breaking Mayhem Ball.

The Sun can reveal the Abracadabra hitmaker, 39, has secretly enlisted British director Sam Wrench to help bring her vision to life.

The special is set to be filmed over Lady Gaga’s four nights at the Kia Forum in Los Angeles this week.

While no release date is set, the film is expected to be released later this year after being snapped up by streaming bosses following a fierce bidding war.

Sam is no stranger to concert documentaries, having previously worked with Taylor Swift on her 2023 Eras Tour film.

Not only was the film released on Disney+ but it also was rolled out across cinemas – breaking box office records in the process.

Most recently Sam teamed up with Christina Aguilera for her festive special;  Christmas in Paris.

It’s not the first time Gaga and Sam have worked together.

They previously teamed up on Gaga’s 2024 Chromaica Ball HBO special which documented her 2022 stadium tour of the same name.

A source said: “Gaga has poured her heart and soul into The Mayhem Ball.

“She is so proud of everyone who has helped make the tour what it is and is keen to give it the full concert film treatment.

“Not only is it arguably her most elaborate show of all time, it’s also reminded the world that almost two decades into her career she is still at the top of her game.”

The insider added: “Gaga and Sam have a close working relationship so bringing him on board was a no brainer.

“The show will be filmed across her four dates in Los Angeles and is pencilled in for release late 2026.”

The Sun understands Sam is joining the creative team headed up by the superstar.

He will sit alongside Gaga’s fiance Michael Polansky, 42, and her choreographer Parris Goebel, 34, who are also helping creatively manage the project.

Michael is now an integral part of the Poker Face singer’s inner circle.

He was listed as an Executive Producer alongside Gaga on Mayhem – as well as landing a number of writing credits including on the record’s lead single Disease.

Gaga previously said: “Michael was in the studio every day with me.
“He oversaw the whole process of making the record, completing it, helping me shape the sound of the record creatively.

“It was an amazing thing to do with your partner, because when I start to doubt myself, there is nobody that’s going to call me on it better than he is”.

Kicking off in July last year, The Mayhem Ball is one of Gaga’s biggest ever tours, seeing her play 87 dates across four continents.

Last September and October Gaga played four sold out shows at London’s O2 before a further two dates at Manchester’s Co-op Live.

By the time she takes her final bow at Madison Square Garden in April, she will have played to over 1.3million fans.

The concert film comes off the back of an already packed 2026 for Gaga.

Despite only being weeks into the year the singer has already filmed a concert special for Apple Music, performed at the Grammys and the Super Bowl and wrapped up the Asian leg of The Mayhem Ball.

Next week she will go head to head with some of the biggest artists in the world at the 2026 Brit Awards.

While she is unable to attend the ceremony due to playing a show in Texas on the same date, she is up for two of the biggest gongs of the night.

Gaga is nominated for International Artist of the Year and International Song of the Year thanks to her Bruno Mars collaboration Die With A Smile

It marks the first time in over a decade she has been nominated.

After the fake video of Tom Cruise and Brad Pitt fighting went viral, a surge of AI-generated content from Seedance 2.0 flooded the internet.

Some fans were using the new AI video generator, backed by ByteDance, to refashion the finales for shows like “Game of Thrones” and “Stranger Things.” Others created battle scenes between iconic superheroes like Wolverine and Superman or between a Transformer and Godzilla.

As these Seedance videos amassed millions of views on social media, industry guilds like SAG-AFTRA and the Motion Picture Assn. have criticized the AI platform that was launched last week. Now, many major Hollywood studios are threatening to take legal action against ByteDance, the same Chinese parent that oversees TikTok.

Netflix, Warner Bros. Discovery, Paramount and Disney have all sent individual cease and desist letters, detailing the unauthorized reproduction of each of the studios’ copyrighted intellectual property.

Netflix and Warner Bros. Discovery were the latest studios to send cease and desists letter to ByteDance on Tuesday.

Netflix calls Seedance “a high-speed privacy engine” and says that they “will not stand by and watch ByteDance treat our valued IP as free, public domain clip art,” as stated in the letter. The streamer also cites the illegal use of sets derived from “Squid Game,” costumes from “Bridgerton” and character design from “KPop Demon Hunters.”

Warner Bros. Discovery looks to repurposed content, including characters from the “Harry Potter” and “Lord of the Rings” franchises, as well as superheroes like Batman, as “ blatant infringement” by ByteDance. The studio argues that it’s clear that their AI technology was trained on Warner Bros. copyrighted material “without authorization.”

“But the users are not the ones at the root cause of the infringement; they are merely building on the foundation of infringement already laid by ByteDance as Seedance comes pre-loaded with Warner Bros. Discovery’s copyrighted characters,” wrote the studios’ legal executive vice president Wayne Smith. “That was a deliberate design choice by ByteDance.”

Disney and Paramount were the first of the studios to call out ByteDance, sending their letters last Friday and Saturday. Disney accuses ByteDance of loading its Seedance service “with a pirated library of Disney’s copyrighted characters from Star Wars, Marvel, and other Disney franchises.”

“Over Disney’s well-publicized objections, ByteDance is hijacking Disney’s characters by reproducing, distributing, and creating derivative works featuring those characters. ByteDance’s virtual smash-and-grab of Disney’s IP is willful, pervasive, and totally unacceptable,” Disney’s attorney David Singer wrote, per Axios.

Paramount’s cease and desist letter was reviewed by The Times and makes similar assertions about ByteDance’s unapproved use of copyrighted material.

ByteDance has since pledged to implement more safeguards to protect copyrighted material in response to these letters.

“ByteDance respects intellectual property rights and we have heard the concerns regarding Seedance 2.0,” a company spokesperson said in a statement shared with CNBC. “We are taking steps to strengthen current safeguards as we work to prevent the unauthorized use of intellectual property and likeness by users.”

But with or without the safeguards, Dan Purcell, chief executive of Midnight Labs, an AI-powered company that specializes in IP protection for high-value entertainment, said these letters might be a bit of a delayed reaction from the studios.

“Once synthetic content is generated, it spreads instantly and at a massive scale. By the time lawyers engage, the damage is done,” said Purcell in a statement. “The only path forward is strict licensing, real-time enforcement, and consequences that actually hurt. Reactive letters won’t fix this. The industry needs to move at the speed of AI — not the speed of litigation.”

A must-watch new documentary series has just hit Netflix and it’s a must-watch for foodies

Netflix has just released a compelling documentary series that follows a globally renowned TV chef as he tackles the most formidable challenge of his professional life.

The fresh six-part series launched today (Wednesday, 18th February) is essential viewing this week for food lovers.

Not only will it leave you salivating over Michelin Star-calibre cuisine but it also provides unprecedented access to one of Britain’s most cherished culinary icons.

Being Gordon Ramsay tracks the Kitchen Nightmares star’s latest audacious venture: launching five distinctive dining experiences atop 22 Bishopsgate, amongst London’s loftiest skyscrapers.

Throughout the thrilling behind-the-scenes look at the pioneering food and beverage enterprise, audiences will also discover Gordon’s domestic life with his wife Tana and their six children, reports the Express.

The London-based celebrity, who also maintains properties in Cornwall and Los Angeles, divides his time between treasured moments with his family and the gruelling demands of his career both domestically and internationally.

Admirers of the celebrated chef will experience poignant scenes as Gordon farewells his daughter Tilly to culinary school and reconnects with his youngest children following weeks of separation, alongside touching and frequently amusing exchanges with the chef and his wife as they playfully quarrel during the taxing new undertaking and reflect on their formative years together.

Netflix’s synopsis for the six-episode series guarantees a “pulse-racing” experience as “pressures mount” on the A-list chef.

Audiences will also be moved by his candid conversations about “fame and parental guilt” before Gordon “turns up the heat” in the nail-biting finale.

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‘Dearest gentle reader’, as the fourth season of Bridgerton follows second son Benedict love story, there’s a way to watch this fairytale-like season for less.

Sky is giving away a free Netflix subscription with its new Sky Stream TV bundles, including the £15 Essential TV plan. This lets customers watch live and on-demand TV content without a satellite dish or aerial and includes the new season of Bridgerton.

Within hours of its release, subscribers have already been championing Being Gordon Ramsay as they flock to watch the must-see new docuseries in their thousands.

One fan characterised the series as “Pressure. Passion. Perfection” on X, whilst another shared: “gordon ramsay chaos? i’m already hooked.”

Another posted: “Gordon going all-in on five restaurants at once with £20M of his own cash? This is gonna be absolute chaos… and I’m 100% here for it Already hitting play tonight.”

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“I will be there!” another user vowed, and someone else concurred: “Oh I will be sat!”

The series has also garnered favourable reviews from critics thus far, with The Telegraph labelling it “stressful” yet “surprisingly enjoyable”, adding it “puts the Beckhams to shame”.

Are you craving mouthwatering exclusive insight into the life of Britain’s leading chef? Netflix has certainly delivered this week.

Being Gordon Ramsay is available to stream on Netflix.

All nine seasons now have a new streaming home making it easier for fans to rediscover

An underrated sitcom that some claim is even ‘better than Malcolm in the Middle’ was just added to Netflix.

All seasons of The Middle are now available to stream on the platform from today (February 18). It actually shares a very similar premise and set up to the comedy series it is compared to but some find it superior if not as well recognised.

There’s no better time for fans to find out for themselves as The Middle finds a new streaming home, as we all wait for the upcoming revival of Malcom in the Middle coming later in the year.

According to the synopsis of The Middle, the series follows the Heck family. At the head of the clan is middle-age, middle-class, middle-America mom Frankie Heck who uses a sense of humour to try to steer her family through life’s ups and downs as she tackles her career goals.

Her unflappable husband, Mike, is a manager at the local quarry. Oldest son Axl is an obstinate young man; awkward daughter Sue cannot seem to find her niche, despite much enthusiasm in her attempts and youngest son Brick is an unusual child whose best friend is his backpack.

The cast is lead by sitcom legends including Patricia Heaton, who won two Emmys during her time as Debra Barone on Everybody Loves Raymond. She is joined by Neil Flynn, who plays her on screen husband and is recognisable as the Janitor on Scrubs.

A debate on Reddit discusses whether The Middle was a better show than Malcolm in the Middle with opinion fairly split. One replied simply: “I love both shows but The Middle is my favourite show.”

While someone else claimed: “Malcom In The Middle fell off around season 4, while The Middle had consistent, solid quality for the entirety of the show. They are also nothing alike, they are only similar in the fact they are both about a middle class family.”

Either way, most fans agree that The Middle is worth streaming on its own merit. With some critics even agreeing that it is ‘one of TV’s most underrated comedies’.

As one fan agreed: “An underrated show of brilliance. The Middle is a superb show that has sadly never really gained the wider acclaim it deserves, though it has a very loyal fan base, and that’s just as important. This show wouldn’t have lasted half as long if it wasn’t for the casting of the kids, who steal episodes with their portrayals. We have seen them grow up, and it’s been a joy.”

While one fan added: “What I love about this show is that it’s not just any easy shallow cheap written comedy show. There are a lot of gags and ‘inside’ jokes that return throughout the series, which I like because it shows the writers put effort into it, and make the show funnier watching it as a regular, it’s great!

“Also, they are not a picture perfect family what a lot of shows are about, but at the heart of it all they do love each other, this feels more ‘real’. From my point of view this show is very underrated, I highly recommend it!”

Someone else actually claimed another sitcom was the reason it was so overlooked. They said: “This show should have been much bigger than it was. It was definitely overshadowed by Modern Family.”

The Middle is streaming on Netflix and ITVX. For the latest showbiz, TV, movie and streaming news, go to the new **Everything Gossip** website.

A prequel to one of the most acclaimed sci-fi films of all time has just been added to Netflix and fans are already eating it up

A sci-fi film directed by Ridley Scott that’s been praised by fans as a “masterpiece” is available to stream now in the UK. Prometheus (2012) is the fifth instalment in the iconic Alien franchise, and follows scientists who uncover startling clues that humanity may have been created by an ancient alien race, and journey to a remote world to investigate.

However, in their quest to solve the mystery they stumble upon a terrifying discovery that could spell the end of the human race. The psychological thriller boasts an all-star ensemble cast, including Noomi Rapace, Michael Fassbender, Guy Pearce, Idris Elba, Logan Marshall-Green, and Charlize Theron.

The film acts as a prequel to the first film in the franchise, Alien (1979) which was also helmed by Scott, and generated a number of successful sequels directed by Hollywood titans including James Cameron and David Fincher, as well as a cross-over franchise, Alien vs. Predator.

Mere hours after its release on the platform and it has already reached the number two spot on Netflix’s top 10 films.

One fan, writing on Rotten Tomatoes, called Prometheus a “masterpiece”. “This movie expands the Alien world and lore,” they added.

“The acting is top notch. The sci-fi horror element is incredible. Very existential. Watch it with commentary,” reports the Express.

Another described simply as the “Best movie of all time”.

Not everyone was impressed by the prequel, with one writing whilst Prometheus “looks phenomenal” its “strong visuals cannot hide weak writing”.

“The dialogue feels stiff and unnatural, making it hard to connect with the characters.”

Another commented: “It’s frustrating how amazing this film could’ve been. Solid cast, beautifully shot, original story. Scott should’ve either made a film about our creators or an Alien prequel; instead the two elements get too muddled together and neither gets full service.”

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However, others believed it matched the high benchmark established by the franchise’s stronger entries.

One remarked: “This was a perfectly cast movie. It gave excellent insight into the origins of the Alien lore. Excellently tied in with the existing movies. Not too many Aliens ripping people apart but plenty of action. Truly a great movie.”

Another rejected criticism of the picture, claiming it’s “gripping, thought provoking, visually stunning and entertaining from start to finish”.

A third branded it an “incredible and impactful film that deserves to be seen multiple times”.

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‘Dearest gentle reader’, as the fourth season of Bridgerton follows second son Benedict love story, there’s a way to watch this fairytale-like season for less.

Sky is giving away a free Netflix subscription with its new Sky Stream TV bundles, including the £15 Essential TV plan. This lets customers watch live and on-demand TV content without a satellite dish or aerial and includes the new season of Bridgerton.

A fourth described it as “massively underrated in the Alienverse”, boasting a “strong script, amazing cast”, and visual effects that are “on point”.

The film carries a 15 certificate and features strong violence, gore, alongside threat and horror – so viewer discretion is recommended.

Prometheus arrived on Netflix in the UK on Monday (February 16). It’s also accessible to stream on Disney+, and available to rent or purchase on various platforms, including Apple TV, Amazon Prime Video, and Sky Store.

Warner Bros. Discovery is cracking open the door to allow spurned bidder, Paramount Skydance, to make its case — but Warner’s board still maintains its preference for Netflix’s competing proposal.

Warner’s move to reopen talks comes after weeks of pressure from Paramount, which submitted an enhanced offer to buy Warner last week. Paramount’s willingness to increase its offer late in the auction attracted the attention of some Warner investors.

On Tuesday, Warner Bros. Discovery responded with a letter to Paramount Chairman David Ellison and others on Paramount’s board, giving the group seven days to “clarify your proposal.”

“We seek your best and final proposal,” Warner board members wrote. Warner set a Feb. 23 deadline for Paramount to comply.

The closely watched sale of the century-old Warner Bros., known for “Batman,” “The Big Bang Theory,” “Casablanca,” and HBO, the home of “Game of Thrones” and “Succession,” is expected to reshape Hollywood.

The flurry of activity comes as Warner Bros. Discovery and Netflix are seeking to enter the home stretch of the auction. Warner separately issued its proxy and set a special March 20 meeting of its shareholders to decide the company’s fate.

Warner Bros. Discovery is recommending that its stockholders approve the $82.7-billion Netflix deal.

“We continue to believe the Netflix merger is in the best interests of WBD shareholders due to the tremendous value it provides, our clear path to achieve regulatory approval and the transaction’s protections for shareholders against downside risk,” Warner Chairman Samuel A. Di Piazza, Jr., said in a Tuesday statement.

Still, the maneuver essentially reopens the talks.

Warner Bros. is creating an opportunity for Paramount to sway Warner board members, which could perhaps prompt Netflix to raise its $27.75 a share offer for Warner’s Burbank-based studios, vast library of programming, HBO and streaming service HBO Max.

Netflix is not interested in buying Warner Bros. Discovery’s basic cable channels, including CNN, TBS, HGTV and Animal Planet, which are set to be spun off to a stand-alone company later this year.

In contrast, Paramount wants to buy the entire company and has offered more than $30 a share.

Last week, Paramount sweetened its bid for Warner, adding a $2.8-billion “break fee” that Warner would have to pay Netflix if the company pulled the plug on that deal. Paramount also said it would pay Warner investors a “ticking fee” of 25 cents a share for every quarter after Jan. 1 that the deal does not close.

“While we have tried to be as constructive as possible in formulating these solutions, several of these items would benefit from collaborative discussion to finalize,” Paramount said last week as it angled for a chance to make its case. “We will work with you to refine these solutions to ensure they address any and all of your concerns.”

Netflix agreed to give Warner Bros. Discovery a temporary waiver from its merger agreement to allow Warner Bros. Discovery to reengage with Paramount, which lost the bidding war on Dec. 4.

“We granted WBD a narrow seven-day waiver of certain obligations under our merger agreement to allow them to engage with PSKY to fully and finally resolve this matter,” Netflix said Tuesday in a statement. “This does not change the fact that we have the only signed, board-recommended
agreement with WBD, and ours is the only certain path to delivering value to WBD’s stockholders.”

Netflix has matching rights for any improved Paramount offer. The company renewed its confidence in its deal and its prospect to win regulatory approval.

“PSKY has repeatedly mischaracterized the regulatory review process by suggesting its proposal will sail through, misleading WBD stockholders about the real risk of their regulatory challenges around the world,” Netflix said in its statement. “WBD stockholders should not be misled into thinking that PSKY has an easier or faster path to regulatory approval – it does not.”

Warner Bros. Discovery acknowledged that Paramount’s recent modification “addresses some of the concerns that WBD had identified several months ago,” according to the letter to Paramount.

But Warner Bros. Discovery added Paramount’s offer “still contains many of the unfavorable terms and conditions that were in the draft agreements … and twice unanimously rejected by our Board,” Warner Bros. Discovery said.

Warner’s board told Paramount it will “welcome the opportunity to engage” during the seven-day negotiation period.

Paramount has been pursuing the prized assets since last September.

“Every step of the way, we have provided PSKY with clear direction on the deficiencies in their offers and opportunities to address them,” Warner Chief Executive David Zaslav said in a statement. “We are engaging with PSKY now to determine whether they can deliver an actionable, binding proposal that provides superior value and certainty for WBD shareholders.”

This BBC Three drama based on Sally Rooney’s bestselling novel is coming to Netflix soon

A beloved BBC drama adapted from a bestselling novel that readers have described as “perfect” is arriving on Netflix by the end of this week.

Boasting a stellar cast of familiar faces from the UK, Ireland and the USA, the eight-part series originally debuted in 2022.

Adapted from Sally Rooney’s debut novel, Conversations With Friends didn’t quite achieve the cultural phenomenon status of its BBC predecessor, Normal People, which captivated audiences during the Covid-19 lockdown of 2020.

Nevertheless, despite garnering mixed reviews upon release, there are numerous fans who believe the drama about two young best friends who become entangled with an older, successful couple has aged remarkably well and merits viewing.

Alison Oliver (Wuthering Heights) and Sasha Lane (Loki) portray Frances and Bobbi, alongside Sex Education’s Jemima Kirke and Hamnet’s Joe Alwyn as Melissa and Nick, whose lives grow increasingly intertwined, reports the Express.

One five-star review on Goodreads praised the novel as “stupidly good” and “perfect from start to finish”.

Another user concurred, describing the novel as a “perfect representation of life: it’s messy and unpredictable, and we are all just trying to find our footing”.

The live-action adaptation for BBC Three and Hulu is praised as a faithful portrayal of the novel’s events and themes, meaning Normal People fans are certainly in for a treat if they choose to dive in or revisit the series several years after its release. It will be landing on Netflix in its entirety this Sunday, 22nd February.

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Sky is giving away a free Netflix subscription with its new Sky Stream TV bundles, including the £15 Essential TV plan.

This lets members watch live and on-demand TV content without a satellite dish or aerial and includes hit shows like Bridgerton.

One viewer remarked upon its release: “Conversations With Friends the TV adaptation is a phenomenal success and I loved every moment of it. I may even re-watch.”

Meanwhile, an IMDb user described the series as “perfect”, hinting the television adaptation might even eclipse the original novel: “These are the kind of shows I love that don’t come around often. The actors were so interesting, different, and artistic. The backdrop of Dublin with its slightly melancholic and gritty feel captured me straight away.

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“I read the book some while ago, which I really enjoyed but the storyline didn’t overly stay with me. The show brought the story to life with its intelligent conversation, character flaws and nuances.

“I found the filming to be sparing and gorgeous- it created this nostalgic feeling. Such a simple storyline with no in-your-face twist or shocking reveal. It’s more human, subtle and visceral. I haven’t watched Normal People yet but this has made me look forward to watching it.”

Conversations With Friends is available to stream on Netflix from Sunday, 22nd February.

Ardal O’Hanlon is famed for Father Ted, My Hero, and, of course, Death in Paradise as DI Jack Mooney

Netflix fans have been “hooked” by this “hilarious” new series which quietly stars a Death in Paradise icon.

Since leaving his days at Saint Marie behind as the lovable DI Jack Mooney, Irish star Ardal O’Hanlon has featured in Derry Girls, The Woman in the Wall, Extraordinary and Sherlock and Daughter, just to name a few.

Now, BBC Death in Paradise fans have stumbled upon his latest venture with Netflix’s newly released Irish comedy-drama How to Get to Heaven from Belfast.

Released last week, the eight-part comedy revolves around friends Saoirse (played by Roisin Gallagher), Robyn (Sinead Keenan) and Dara (Caoilfhionn Dunne) who learn that their troubled friend Greta (Natasha O’Keefe) has mysteriously died.

O’Hanlon is behind the wacky and upbeat Seamus, the manager of the local seaside hotel where the three women stay as they investigate their friend’s death.

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‘Dearest gentle reader’, as the fourth season of Bridgerton follows second son Benedict love story, there’s a way to watch this fairytale-like season for less.

Sky is giving away a free Netflix subscription with its new Sky Stream TV bundles, including the £15 Essential TV plan. This lets customers watch live and on-demand TV content without a satellite dish or aerial and includes the new season of Bridgerton.

Netflix fans haven’t been able to stop singing O’Hanlon’s praises with one fan describing him as an “absolute icon” in How to Get to Heaven from Belfast.

Another said: “Loved him on Death in Paradise. He was my favourite”, while a third labelled the star as “absolutely superb”.

O’Hanlon headed up Death in Paradise for three years as DI Jack Mooney before he chose to leave Saint Marie and return to London with his daughter Siobhan Mooney (Grace Stone).

He finally came to the realisation that he had been running away from grief after losing his wife so Jack chose to finally face up to reality and start over again.

Death in Paradise went on to replace O’Hanlon with Ralf Little as DI Neville Parker, followed by the latest detective Mervin Wilson, portrayed by actor Don Gilet.

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How to Get to Heaven from Belfast is currently the number one watch on Netflix with the comedic thriller brought to life by the creative team behind the hit series Derry Girls.

Creator Lisa McGee told Tudum: “This is the show I’ve always wanted to make; a mash‑up of my two favourite genres, mystery and comedy.

“We want to keep you guessing and keep you laughing. I can’t wait for you to meet Saoirse, Robyn and Dara, and go on this wild, weird adventure with them – an Irish odyssey – full of twists, turns, and arguments about eyelash extensions.”

How to Get to Heaven from Belfast is available to watch on Netflix.

STRANGER Things star Maya Hawke has married her long-term boyfriend in a surprise wedding on Valentine’s Day.

The actress, 27, tied the knot with musician Christian Lee Hutson in New York City on Saturday.

Maya’s famous Hollywood star parents, Ethan Hawke and Uma Thurman were among the famous faces in attendance.

Her Stranger Things co-stars Finn Wolfhard, Natalia Dyer, Joe Keery, Sadie Sink, Caleb McLaughlin, Gaten Matarazzo, Gaten Matarazzo and Charlie Heaton attended the big day.

Photos showed Maya looking stunning in a classic sleeveless white gown paired with a veil over her head and a long trail.

Maya wore her hair in a chic updo and completed her look with subtle makeup.

Her father appeared full of pride as he walked alongside his daughter on the streets of New York while holding her bouquet of flowers.

Other snaps showed the happy couple taking photos outside the venue, while Maya’s bridal team helped rearrange her dress.

Maya and singer Christian were first romantically linked in 2023.

The pair frequently worked together on music projects. and even collaborated on Maya’s second studio album Chaos Angel in 2024.

Maya also appeared on Christian’s album Paradise Pop. 10 and joined him for a few stops on tour early 2025.

“Christian has been so encouraging to me as a musician, helping me to make the transition from a being a poet in a band to sort of being a musician,” Maya told Variety in June 2024.

In 2023, Maya and Christian were first spotted sharing a kiss in New York City.

They were seen strolling through the city and stopped at a jewellery store.

The couple went on to make their relationship red carpet official on April 2025, at the opening night of Broadway’s John Proctor Is the Villain.

Maya attended the event in support of her co-star Sadie Sink, who was starring in the play.

The pair were good friends for four years before they took things to the next level.

Maya previously said she ‘cannot recommend dating a friend enough’.

“It’s the best,” she said.

“They know you, they understand that you are a person and a human being who has dated other people … not just a piece of paper for them to project their image of a perfect girlfriend onto.”

In a smoothly run show peppered with sharp humor but, for the most part, a dearth of pointed political commentary — save for one unscripted expression of anti-ICE sentiment from “The White Lotus” star Natasha Rothwell — the 2026 Film Independent Spirit Awards celebrated its 41st edition on Sunday in Hollywood.

The ceremony has long served as a counterpoint to the Oscars: looser, more unpredictable, typically mounted in a beach tent by the Santa Monica Pier. For over three decades, it was held the Saturday afternoon right before the Academy Awards.

But this year, due to coastal planning for the 2028 Los Angeles Olympics, the Spirit Awards relocated to the Hollywood Palladium (where they were last held in 1994), a venue decked out in the show’s signature blue and pink signage and decor — a pivot that proved effective.

“We don’t have a permit,” cracked host Ego Nwodim, riffing on scrappy independent tactics in her monologue. Her athletic hosting duties had her doing everything from cornering attending celebs such as Kirsten Dunst and Jesse Plemons via a “sexual tension cam” to picking up her falafel order at the main entrance on Sunset Boulevard.

Last year’s event played more like a coronation for a widely favored front-runner, Sean Baker‘s “Anora.” That film would go on to sweep at the Oscars a little over a week later. The mood today was more tenuous, the industry crowd mulling in the lobby with cocktails, discussing the tail end of awards season and the controversy coming out of the Berlin Film Festival concerning politically cautious juror statements.

The movies that would be honored here, by contrast, were bolder than the Spirits usually go, resulting in a truly independent raft of winners. Rose Byrne won the lead actor prize (the Spirits have gone gender-neutral since 2022) for her commanding, ruinous turn in “If I Legs I’d Kick You.” Accepting the award, Byrne half-joked, “This character of Linda really could only exist in an independent film — she’s fierce and she’s gracious and she’s a middle-aged woman.”

Other awardees included the subtly wrought academia drama “Sorry, Baby,” honored for director Eva Victor‘s screenplay and its supporting actor Naomi Ackie; the star-stalking thriller “Lurker,” which took both the first feature and first screenplay awards; and Brazil’s “The Secret Agent,” claiming the prize for international film.

The afternoon’s big winner was “Train Dreams,” the little movie that could, one that emerged 13 months ago at Sundance 2025 and is now proving itself to be one of Netflix’s sturdiest Oscar contenders. It took prizes for best feature, director and cinematography, the kind of haul that suggests real momentum.

A complete list of today’s Spirit winners

FILM CATEGORIES

Best Feature
“Train Dreams” (Netflix)
Producers: Michael Heimler, Will Janowitz, Marissa McMahon, Ashley Schlaifer, Teddy Schwarzman

Director
Clint Bentley, “Train Dreams” (Netflix)

Screenplay
Eva Victor, “Sorry, Baby” (A24)

First Feature
“Lurker” (Mubi)
Director: Alex Russell
Producers: Galen Core, Archie Madekwe, Marc Marrie, Charlie McDowell, Francesco Melzi D’Eril, Duncan Montgomery, Alex Orlovsky, Olmo Schnabel, Jack Selby

First Screenplay
Alex Russell, “Lurker” (Mubi)

John Cassavetes Award
For the best feature made under $1,000,000
“Esta Isla (This Island)”
Writers/Directors/Producers: Cristian Carretero, Lorraine Jones Molina
Writer: Kisha Tikina Burgos

Breakthrough Performance
Kayo Martin, “The Plague” (Independent Film Company)

Supporting Performance
Naomi Ackie, “Sorry, Baby” (A24)

Lead Performance
Rose Byrne, “If I Had Legs I’d Kick You” (A24)

Robert Altman Award
For a film’s director, casting director and ensemble cast
“The Long Walk” (Lionsgate)
Director: Francis Lawrence
Casting Director: Rich Delia
Ensemble Cast: Judy Greer, Mark Hamill, Cooper Hoffman, David Jonsson, Tut Nyuot, Joshua Odjick, Charlie Plummer, Ben Wang, Garrett Wareing

Cinematography
Adolpho Veloso, “Train Dreams” (Netflix)

Editing
Sofía Subercaseaux, “The Testament of Ann Lee” (Searchlight Pictures)

International Film
“The Secret Agent” (Neon)
Director: Kleber Mendonça Filho

Documentary
“The Perfect Neighbor” (Netflix)
Director/Producer: Geeta Gandbhir
Producers: Sam Bisbee, Nikon Kwantu, Alisa Payne

Someone to Watch
Given to a talented filmmaker not yet widely recognized
Tatti Ribeiro, “Valentina”

Truer Than Fiction
Given to an emerging director of nonfiction features
Rajee Samarasinghe, “Your Touch Makes Others Invisible”

Producers Award
For an emerging producer of quality independent films with limited resources
Tony Yang

TELEVISION CATEGORIES

New Scripted Series
“Adolescence” (Netflix)
Creators/Executive Producers: Jack Thorne, Stephen Graham
Executive Producers: Philip Barantini, Brad Pitt, Dede Gardner, Jeremy Kleiner, Nina Wolarsky, Hannah Walters, Mark Herbert, Emily Feller
Co-Executive Producers: Carina Sposato, Niall Shamma, Peter Balm

New Non-Scripted or Documentary Series
“Pee-wee as Himself” (HBO Max)
Executive Producers: Matt Wolf, Emma Tillinger Koskoff, Ronald Bronstein, Eli Bush, Benny Safdie, Josh Safdie, Paul Reubens, Candace Tomarken, Kyle Martin, Nancy Abraham, Lisa Heller, Sara Rodriguez

Breakthrough Performance in a New Scripted Series
Owen Cooper, “Adolescence” (Netflix)

Supporting Performance in a New Scripted Series
Erin Doherty, “Adolescence” (Netflix)

Lead Performance in a New Scripted Series
Stephen Graham, “Adolescence” (Netflix)

Ensemble Cast in a New Scripted Series
“Chief of War” (Apple TV)
Ensemble Cast: Charlie Brumbly, Luciane Buchanan, Cliff Curtis, Brandon Finn, Moses Goods, Te Ao o Hinepehinga, Benjamin Hoetjes, Siua Ikale’o, Keala Kahuanui-Paleka, Mainei Kinimaka, Kaina Makua, Jason Momoa, Temuera Morrison, Te Kohe Tuhaka, James Udom

Disney has struck a multiyear deal with the United Kingdom’s leading entertainment aggregator, Sky.

The agreement announced Wednesday will fully incorporate Disney+ streaming content into Sky’s platform. Disney+ Standard with Ads will be included in eligible Sky TV packages starting next month. The deal also introduces a new linear movie channel for Sky’s paid-TV network called Disney Cinema.

It’s the first time U.K. subscribers will have access to Disney+, HBO Max, Netflix and Hayu (a reality TV streaming service) all in one subscription under the Sky brand. The subscription costs around £24 a month (roughly $33).

“We’ve grown Disney+ in the U.K. into our largest market across Europe over the past six years, and Sky is the perfect partner for our next wave of growth in the U.K. and Ireland,” said Karl Holmes, Disney+ general manager. “This agreement gives millions of Sky customers a simple, seamless way to enjoy all the great stories that Disney+ offers, and opens up a substantial new audience for content creators and advertisers.”

As part of Disney’s move to expand its reach in the U.K., Sky customers will be able to access the studio’s classic films like “Lilo & Stitch,” Marvel movies and well-loved TV shows like “Grey’s Anatomy” and “The Simpsons.”

The partnership is the latest in Disney’s effort to further globalize its streaming service. The company previously reached deals with Germany’s ZDF, Spain’s Atresmedia and Saudi media conglomerate MBC Group and UAE firm Anghami, so its content will be available in countries across the Middle East.

Disney+ isn’t the only streamer attempting to expand its global reach. In recent months, Netflix inked a deal with French broadcaster TF1, which will launch this summer. HBO Max also planted a flag in Germany and Italy — a move previously blocked by Sky.

Under the new leadership of recently appointed chief executive Josh D’Amaro, it’s expected that Disney will continue to invest in local language content and increase international subscriptions. After recording billions of dollars in losses, Disney’s streaming services, which include Hulu and ESPN+, reached profitability in 2024. The company said it hopes to reach 10% operating margins in its entertainment streaming business.

Times staff writer Samantha Masunaga contributed to this report.

How to Get to Heaven from Belfast is a dark comedy thriller series topping Netflix charts, and here’s everything you need to know about the actor who plays Liam

How to Get to Heaven from Belfast fans are only just realising where they have seen Darragh Hand before.

How to Get to Heaven from Belfast is already making waves on Netflix, with the dark comedy thriller featuring an impressive cast.

The brainchild of Derry Girls writer Lisa McGee, the series follows three friends as they delve into the mysterious death of a former classmate.

Their own tumultuous personal lives prove to be obstacles as they encounter a host of intriguing characters during their journey across Ireland. Fans are just now recognising one of the stars from previous roles.

Emerging star Darragh Hand portrays Liam, a Garda police officer who comes to the trio’s aid when they find themselves stranded on a road.

Liam plays a pivotal role in the investigation that forms the crux of the plot, and here’s everything you need to know about the actor’s past roles.

Darragh Hand is an Irish-Jamaican actor who has featured in big-name shows like Netflix’s Heartstopper and ITV’s detective series, Grace.

His television debut was as Kai Davis in the BBC’s long-standing drama, Silent Witness. He then landed the role of Leo in the third season of Grace.

Viewers might recognise him as Michael Holden from the third season of Netflix’s romantic drama, Heartstopper.

In his cameo in Radio Silence, Michael came across as geeky and awkward for an athlete, owing to his height and his thick-framed glasses.

The actor has also made his mark in theatre, with acclaimed performances in Dear England, Richard III, and The Land of Lost Content.

In conversation with Bustle, the 27 year old Olivier-nominated performer from Croydon discussed his Heartstopper role and what viewers can anticipate from the forthcoming film.

He revealed: “The fans of that show are some of the most loyal, dedicated fans I’ve ever experienced. It means so much to them as an audience, so I don’t know if there’s much I can give away.

“But it is the final instalment, so we will be saying goodbye to these characters, which is sad and beautiful – especially for a lot of the other cast [members who have] grown up with this show.”

He continued: “I will always be so grateful for Heartstopper because it introduced me into the TV/film realm in the best way possible. Even down to the comics – my character, Michael Holden, looks a bit different from how I look.

“And I would see people online absolutely crushing any narrative of, like, Oh, this is not how he looked in the comics. This is not how his hair was in the comics. They really vouched for me.

“They genuinely had my back, which was a bizarre but lovely thing. For that to be my introduction was beautiful.”

How to Get to Heaven from Belfast is on Netflix

**For the latest showbiz, TV, movie and streaming news, go to the new Everything Gossip website**

Single on Valentine’s Day? Skip the predictable romance films and celebrate with these nostalgic, feel-good movies to lift your spirits

Valentine’s Day has come round once more, and if you’re not getting caught up in all the soppy, romantic nonsense, there’s loads of other ways you can spend your evening. If you’re staying in and swerving all the loved-up couples out there, telly is an excellent means of escape.

Valentine’s Day needn’t revolve around romance, after all. If you’ve had your fill of formulaic, predictable romantic flicks, here are some brilliant alternatives that’ll rekindle your appreciation for those nearest and dearest.

So whether you fancy a giggle on your own or with mates, ditch those rom-coms for some feel-good nostalgia this Valentine’s Day.

Angus, Thongs & Perfect Snogging (2008)

For anyone wanting to grasp what life was like as a British teenage girl in the late noughties, Angus, Thongs & Perfect Snogging hits frighteningly close to home. At some stage, we’ve all caught ourselves relating to Georgia’s worldview, however misguided it might be, reports the Express.

Adapted from Louise Rennison’s bestselling book series, we follow 14-year-old Georgia Nicholson (Georgia Groome) as she tries to navigate adolescence whilst pining after the new lad in town – a breakthrough performance from Aaron Taylor-Johnson. Throughout her mission to bag a boyfriend and organise a spectacular 15th birthday bash at a nightclub, we witness the inner workings of the teenage brain manifesting in reality through some absolutely hilarious and toe-curling antics.

Shaving off an eyebrow? Absolutely. Faking the disappearance of a beloved moggy for sympathy? Naturally. A massive pair of granny pants? Without question.

Whilst this flick might centre on Georgia’s romantic pursuits, beneath the surface lies a tender coming-of-age tale exploring insecurity, platonic bonds, and that distinctly teenage sensation that everything is utterly catastrophic. Plus, it boasts what’s arguably one of cinema’s finest original songs, guaranteed to transport you straight back to those nostalgic days.

Planning to mark Valentine’s Day with your mates this year? Nobody’s turning down this gem. Angus, Thongs & Perfect Snogging proved a defining British picture for younger audiences back then, and continues to supply countless cultural touchstones we reference today.

In fact, Georgia Groome recently resurrected that legendary olive outfit for a cameo appearance in the reveal video for Maisie Peters’ latest album ‘Florescence’. Nearly two decades on and that immortal line still echoes: “Boys don’t like girls for funniness”.

The film is available to stream on Netflix, Amazon Prime and Apple TV.

Wild Child (2008)

The year 2008 was evidently peak teen cinema. On one side sits Angus, Thongs & Perfect Snogging, offering a relatively authentic portrayal of adolescent life for girls during the noughties, whilst on the other stands Emma Roberts ‘ Wild Child.

What do you do with a spoilt, glamorous Malibu Barbie teenager who leaps off cliffs into the ocean? Simple – pack them off to an all-girls boarding school deep in the English countryside.

A genuine fish out of water, Emma Roberts’ Poppy Moore couldn’t be more different from the seemingly prudish, eccentric pupils she encounters at Abbey Mount. It’s quite the exaggerated portrayal of boarding school life, but that’s rather the point – to knock the protagonist down a peg or two.

Gradually, the crisp English climate begins breaking down Poppy’s defences as she develops authentic bonds with her roommates – Kate (Kimberley Nixon), Josie (Linzey Cocker), Kiki (Sophie Wu), and Jennifer “Drippy” Logan (Juno Temple). Naturally there’s a love interest (Alex Pettyfer) and a sworn enemy (Georgia King) determined to see her fail, though that’s really beside the point when there’s such entertaining mischief afoot.

Beneath the rebellious and entitled façade lies genuine warmth, drawn out through the connections she forges. Ultimately, Poppy emerges transformed – having discovered a missing piece of herself through real mates who embrace her for who she truly is, whilst wreaking havoc around campus. Whilst Wild Child might not be the most universally relatable picture, there’s something in all of us that yearns for that kind of school adventure.

The film also marks one of Natasha Richardson’s final performances (as headmistress Mrs Kingsley) prior to her tragic passing in 2009.

Wild Child is available to stream on Netflix.

The Breakfast Club (1985)

This film boasts what’s arguably one of cinema’s most iconic closing sequences and exit tracks. The Breakfast Club, a coming-of-age comedy-drama, follows a group of outsiders whiling away the hours together during an all-day Saturday detention.

Each teenager belongs to a different social circle within the school, and their paths would ordinarily never cross in daily life. They’re set the task of penning a thousand-word essay on “who you think you are” by their notoriously harsh vice principal (Paul Gleason).

Alongside the usual rebellious teenage shenanigans and storylines, the film explores the realities lurking beneath the stereotypes presented on screen. It tackles themes including peer pressure, abuse, neglect, troubled relationships, and suicide in a manner that resonates with its audience, rendering the characters relatable to viewers.

Despite their contrasts, the group discover they’re all grappling with comparable struggles and form connections with one another. It serves as a reminder that surface appearances can be deceiving.

Whilst the group suspect their newly-formed bonds will dissolve once detention wraps up, they acknowledge they’ll view their classmates through fresh eyes going forward. As the film reaches its conclusion, we hear their moving message to their vice principal, declaring: “Each one of us is a brain, an athlete, a basket case, a princess, and a criminal.

“Does that answer your question? Sincerely yours, the Breakfast Club.”

Cue Judd Nelson’s fist raise and Simple Minds’ ‘Don’t You Forget About Me’.

The Breakfast Club can be watched via Netflix, Amazon Prime and NOW TV.

Romy and Michele’s High School Reunion (1997)

There’s something about a 90s comedy that hits all of the right spots, something the 2020s can learn from. The film follows underachieving best friends Romy (Mira Sorvino) and Michele ( Lisa Kudrow ) who decide to reinvent themselves with fake careers to impress their former classmates at their ten-year high school reunion.

The film kicks off with the drama of the girls’ prom in 1987, where they find themselves targeted by bullying from the high school cheerleader clique. Some stroppy behaviour leads the girls to do the classic slow dance together.

Fast forward, the duo don’t appear to have achieved much success since leaving school, stuck in dead-end jobs – or jobless – living a life lacking in some sort of purpose. They’re fine, totally fine.

It’s the invitation from one of their high school tormentors to their high school reunion that makes them pull their socks up, but only in the pretence sense. It’s your typical American movie that takes you on a journey, both literally and figuratively.

Following a catastrophic falling out over their friendship, the pair go their separate ways after their drive cross-country to the reunion. Or do they?

The film is madcap, light-hearted, and chock-full of clichés, but sometimes that’s just the ticket. Let’s face it, we all need a good giggle now and then, and anything featuring Lisa Kudrow is guaranteed to leave you in fits of laughter.

You can catch this film on Disney+.

Frances Ha (2012)

Whilst we’re accustomed to seeing Greta Gerwig behind the lens, she’s equally at home in front of it. The film stars Gerwig as a struggling dancer in New York, grappling with the rollercoaster ride of her twenties alongside her best mate, Sophie (Mickey Sumner).

They say your twenties are meant to be the time of your life, but in truth, you’re still figuring out who you are and where you fit into the world. We can all identify with the unpredictability of existence; flitting from one flat to another, settling for jobs you don’t really fancy, and witnessing friendships fade as they form new relationships.

Life in the Big Apple can be complex and unsettling, regardless of which side of the Atlantic you hail from. The trials and tribulations of everyday life can weigh heavily, with Frances battling to make her mark on New York.

The film masterfully blends comedy, drama and emotion to paint an authentic picture of struggling twenty-somethings.

In 2025, Frances Ha secured the 90th spot on The New York Times’ list of “The 100 Best Movies of the 21st Century”. Writing for Harper’s Bazaar, Yasmin Omar noted: “Frances Ha has become a cult classic thanks to its relatable portrait of the bewildering life stage that is young adulthood.”

Frances Ha is available on Netflix, Amazon Prime and Apple TV.

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The Night Agent season 3 trailer has left fans feeling disappointed.

The Night Agent fans have expressed their concern after the season three trailer featured a glaring absence.

Netflix’s popular spy thriller series The Night Agent is set to return on February 19 with its third season, once again starring Gabriel Basso as Peter Sutherland. This time around, Peter faces one of his most perilous missions yet as he works to uncover the truth behind a string of terrorist attacks.

The third instalment sees the return of several main cast members, including Fola Evans-Akingbola as Secret Service agent Chelsea Arrington and Amanda Warren as Catherine Weaver, Peter’s handler in Night Action. The new season also introduces Genesis Rodriguez as journalist Isabel and Stephen Moyer as an assassin known as The Father.

Netflix released a trailer in January which showed Peter seeking Isabel’s assistance in discovering who orchestrated the devastating events. Whilst grappling with his own internal struggles, he must contend with threats from ‘broker’ Jacob Monroe (Louis Herthum) as well as the enigmatic new assassin.

Whilst many fans were thrilled about the show’s return, a significant number have expressed concerns due to the absence of one key character. Luciane Buchanan, who played Rose Larkin, confirmed she would not be reprising her role following the show’s second season.

In the critically lauded season two finale, her character declared she was prepared to step back from her romantic entanglement with Peter, seeking the opportunity to embrace an ordinary existence free from danger. Viewers noticed her conspicuous absence from the season three trailer, prompting an outpouring of reactions in the comments section.

@BatrinaCoarPearsall expressed: “Peter and Rose’s trauma-bond is what makes this show so good.” @sherlina observed: “I feel like Rose and Peter’s bond and story were one of the main things setting this show different from other spy thrillers but now it seems like just any other spy themed shows with action but not really a story to tell.”

@tiu_forever6521 remarked: “Kinda looks like any other spy thriller without the Rose/Peter heart of it all at the core. Damn.” @ZayDaGoat1806 noted: “Without Rose it doesn’t feel the same people saying they couldn’t do her justice in this season but she’s more useful than a reporter.”

@MissFawlty lamented: “Miss Rose already! She was the show’s emotional core. Hope they bring her back big time if the show is renewed for season 4.” @Burner-g4e concluded: “What worked in season 1 was Peter’s personal motivations and determination and the relationship with Rose. Without that, this is just like every other action series. From this trailer, I feel like I’ve seen this a million times before. They’ve strayed so far from what made the show a success.”

However, fans are buzzing with anticipation for the show’s return, with @heptavian expressing: “Finally my favourite Netflix agents are back!” and @yoshikigrg8 chiming in: “Yes. I’m so glad this is happening. Really love this series.”

In September 2025, actress Buchanan confirmed she wouldn’t be making a comeback, revealing to Deadline during an interview about her series Chief of War: “As much as that show has been so amazing, especially for my career – being a lead on a U.S. show from little New Zealand was such a whirlwind.

“The writers decided that they wanted to follow Peter and his journey based on what happened at the end of season two. And so, we don’t get to see what happens to Rose, but I think it’s a really exciting time for the show, and who knows, it’s not a goodbye forever.”

Reflecting on the moment she received the news, she shared: “They [the creators] called me not so long after season two, and they were like, we’ve been trying to find a way to bring her in, but we want to do her character justice and not make her a sub-character.

“I totally respected that decision and agreed. I was like, if it makes sense to a story, I’ll do that. If it doesn’t, let’s not force that.”

The Night Agent season 3 is coming to Netflix on February 19

Andy Gilpin returns to his hometown and finds it has become the somewhat unlikely hottest thing in travel

It’s 1.24pm on Friday afternoon and while most pubs around the UK at this time would be empty, The Turf is full. There are regulars, a retirement party and a vociferous pool game.

There’s also Wayne Cram, from Boston (that’s Massachusetts, not Lincolnshire), supping pints with Max from Wrexham, who’s just come in for a swift half after a hospital appointment. These two would normally never meet, especially here, but they’ve been brought together by one thing – Wrexham FC.

Almost attached to the historic Racecourse Ground, The Turf is one of the main stars of the Welcome to Wrexham show that’s got people flocking to this unassuming and in some ways run-down North Wales city. It follows the fortunes of a football club bought by Ryan ‘Deadpool’ Reynolds and Rob ‘It’s Always Sunny’ McElhenney.

And people have fallen in love with the show. New research says Wrexham is the UK’s newest holiday hotspot for 2026 – with bookings surging an astonishing 184% compared to 2025.

But why and what leads the likes of Wayne to travel 3,200 miles to a place that used to be famous for a giant slag heap and a massive industrial estate?

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

READ MORE: I met the King of Benidorm – he knows where to find 87p pints and best beachesREAD MORE: I went to opening of major new Wetherspoons – everyone says the same thing

“I’m like the Richard Dreyfuss character in Close Encounters of the Third Kind” explains Wayne. “I was looking for something. I was probably making models of the Racecourse Ground out of mashed potato. I didn’t know what I was looking for, but when I came here, I found it.”

Wayne has been over to see Wrexham five times – six if you count the 10 hours he drove to watch them play in Philadelphia. The first time he ‘kept under the radar’ and didn’t interact much.

Now, you can’t shut him up about Phil Parkinson’s 3-5-2, the recent transfer window and if the club have enough for four promotions in a row.

“I don’t know what the show’s demographic was, but I am it,” he adds. “I keep getting pulled here.”

The Turf’s landlord Wayne Jones is also about grafting, pulling pints, carrying boxes and chatting to regulars. While he’s a star of the show, he doesn’t particularly like the limelight, but will happily pose for selfies for people from all over the world. It’s what has got his pub so busy.

One of the people playing pool is Bryan Still. A former Wrexham Supporters Trust board member, he now runs tours of Wrexham in his minibus, taking eager foreigners to the places that feature and the people who star in them.

Bryan is one of those people who has a story or quip about everything and everyone. We jump into his taxi as he drives into town, pointing out interesting landmarks on the way. We go to the Wrexham Lager Brewery, now 95% owned by Ryan, Rob and their investing partners, the Allyn family.

We visit the historic St Giles Church, one of the seven wonders of Wales, where the founder of Yale University, Elihu Yale, is buried, as well as various murals around the city dedicated to heroes of the club.

We also pay a visit to Rob Clarke, owner of Mad4Movies in the Butchers Market and another regular in the show. Wayne chats to him, before an Aussie fella can’t wait and jumps in, much to the Bostonian’s amusement.

It’s good-natured fun, but it’s not all good news in Wrexham County Borough. While the Turf is full, the high street is empty. Rob’s shop is well visited, but other stalls in the market are struggling for footfall. Shop owners don’t believe the council is doing enough to get people spending in the city – whatever the benefits of the documentary are.

Back at the Turf, Wayne Jones is still busy, but he stops to talk about Flo’s ‘world famous’ baps on the counter at £2 a pop.

“They’re world famous because Rob McElhenney had one once,” says Wayne, before giving us some intel on Millwall fans’ whereabouts and carrying on the graft.

Scoot, lead singer of the Declan Swans who’s song ‘It’s Always Sunny in Wrexham’ is a soundtrack to the show (think this ‘less than a mile from the centre of town’) is talking to a German fella. Bassist from the band Mark Jones is milling around after finishing his shift. A Yorkshire-based reporter charged with covering the club has just walked in and Boston Wayne is holding court with all of them.

Everyone here seems to have a link to either the club, the documentary or both. Even me. I do the voice-over for the show.

My hometown is in the spotlight of the world, and I, Wayne(s), Bryan, Scott, and so many others want to show it off. And you may get embroiled in a chat about the merits of 3-5-2 and a world-famous bap in the bargain.

You get the slap heap for free.

Book it

For inspiration and where to stay and what to do in and around Wrexham, visit the Welsh tourist board.

Friends fans were left stunned when Netflix announced the beloved sitcom would be axed in December, but the series will return to UK screens in March

Netflix subscribers were left unimpressed after the streaming platform confirmed it would be dropping sitcom Friends from its catalogue in December.

The beloved series, which originally broadcast on NBC from 1994 to 2004, had been available on the platform since 2018, with all ten seasons ready to watch.

Following its departure from the streaming giant on December 30, UK audiences of the iconic 1990s series won’t have to wait long before it returns to their television screens.

Friends, starring Jennifer Aniston, Lisa Kudrow, Courtney Cox, Matt Le Blanc, David Schwimmer and Matthew Perry, follows the lives of six mates living in New York.

It boasts a staggering 236 episodes, offering fans more than 88 hours of content. At the time, Netflix fans shared the reaction to the show getting removed as one user vented on X: “You cannot take Friends off Netflix. Every night without fail I watch it.”

Echoing these sentiments, a fourth added: ‘How can Netflix be taking Friends off in the UK? Literally the ONLY thing I go onto Netflix everyday for, I watch it non stop back to back, my absolute comfort show, may as well cancel my subscription.’

A fifth concluded: “Genuinely heartbroken Friends is being taken off of Netflix. Best TV show of all time.”

However it’s not all bad as all ten seasons will shortly be available to stream on HBO Max, which launches in the UK on March 26 – having operated stateside since 2020.

The platform, which also streams other popular series including Game of Thrones and Succession, will be accessible in the UK and Ireland from just £4.99.

Beyond Friends, the streaming service will also feature programmes produced by HBO, Warner Bros, DC Studios and Max Originals.

The return of Euphoria, House of the Dragon and The Comeback, alongside the forthcoming Harry Potter TV series, and DC Studios series Lanterns, will all be available on the platform.

Oscar-nominated films Sinners and One Battle Another, which appeared in cinemas last year, will also be offered. HBO-produced shows have previously been available to stream in the UK through Sky and NOW – However, from 26 March onwards, content produced by HBO will be exclusive to HBO Max subscribers.

The two companies have reached an agreement that enables members to bundle both NOW and HBO Max subscriptions together, a change that all NOW Entertainment subscribers will be automatically transitioned to.

This arrangement ensures that HBO Max will be available for streaming in over 10 million households on its launch day.

Friends will be available to stream on HBO Max on its launch on March 26

**For the latest showbiz, TV, movie and streaming news, go to the new ** Everything Gossip ** website**

Paramount Skydance has sweetened its bid for Warner Bros. Discovery, adding a $2.8 billion “break fee” for Netflix and a payment to shareholders set to increase for every quarter after January 1, 2027 that the transaction does not close.

However, it’s not clear the latest move will do much to sway Warner Bros. Discovery’s board, which has endorsed a rival bid from Netflix.

The David Ellison-led company sent notice Tuesday of its revised offer to the Warner Bros. Discovery board, adding that it was open to further negotiation.

“While we have tried to be as constructive as possible in formulating these solutions, several of these items would benefit from collaborative discussion to finalize,” the letter states. “If granted a short window of engagement, we will work with you to refine these solutions to ensure they address any and all of your concerns.”

Paramount’s all-cash offer still stands at $30 a share. In addition to the termination payment and so-called “ticking fee” for shareholders of 25 cents per share — which the company said would total about $650 million in cash value each quarter — Paramount also said it would “eliminate” Warner’s $1.5 billion financing cost associated with its debt exchange offer.

The company also said it would “provide flexibility” for Warner to refinance its existing $15 billion bridge loan.

Ellison said the new additions to Paramount’s bid “underscore our strong and unwavering commitment to delivering the full value [Warner Bros. Discovery] shareholders deserve for their investment.”

“We are making meaningful enhancements — backing this offer with billions of dollars, providing shareholders with certainty in value, a clear regulatory path, and protection against market volatility,” he said in a statement.

Warner confirmed it received Paramount’s new offer and said in a statement Tuesday that it would “carefully review and consider” the revised bid.

However, the Warner board is “not modifying its recommendation” on its agreement to sell its studios, HBO and HBO Max to Netflix, and advised shareholders not to take “any action at this time” on Paramount’s tender offer to shareholders.

It has been a roller coaster week for theme parks boss Josh D’Amaro, who was named the next chief executive of Walt Disney Co. last week.

Once he officially takes the helm of the Mouse House in mid-March, he must tackle several key areas to chart the future of the 102-year-old media and entertainment giant.

For one, he’ll need to bolster Disney’s pipeline of content. As the saying goes, “content is king.”

The Burbank company already has a strong stable of franchises and stories that power its entertainment and streaming businesses, theme parks, merchandise and cruise ships, but Disney will need to keep building on that.

Strong sequels like last year’s “Zootopia 2” and live-action adaptations such as “Lilo & Stitch” — both of which grossed more than $1 billion in worldwide box office revenue — show that good stories can keep paying dividends in new ways, Moffett Nathanson senior research analyst Robert Fishman wrote in a note to clients last week.

On the bright side: This year’s film lineup has several historically strong franchise contenders, including Disney and Pixar’s “Toy Story 5,” Lucasfilm’s “Star Wars: The Mandalorian and Grogu” and Marvel Studios’ “Avengers: Doomsday.” (Marvel, however, has struggled in recent years to pump out consistent hits at the box office.)

But Disney also needs to develop new stories — which has been more of a struggle.

Disney and Pixar’s “Elio” misfired at the box office last year, as original animated movies have had a harder time bringing in the massive audiences they once did because of the drop-off in theater attendance since the pandemic.

That puts more pressure on Disney and Pixar’s upcoming “Hoppers,” an original animated film out in March. The film has gotten strong early traction in online trailer views, Fishman wrote.

The content investment also extends to scripted series, which Fishman noted are a “critical component of success and cannot become an afterthought to theatrical.” He singled out Disney-owned FX as a “prestige outlet” that can contribute to both television and streaming lineups. The network has had a number of successes, including 2024’s “Shogun,” which was one of my favorites.

D’Amaro likely will get help on the content side from soon-to-be president and chief creative officer Dana Walden, a longtime television executive who is respected in Hollywood and well-versed in the entertainment knowledge he lacks.

D’Amaro’s area of expertise is Disney’s experiences sector, which includes the theme parks, cruise line, merchandise and Aulani resort and spa in Hawaii and brings in the lion’s share of operating income for the company. In the fiscal first quarter of this year, the experiences business hauled in a record $10 billion in revenue.

The challenge there will be maintaining Disney’s market dominance in the theme park space while continuing to invest to drive growth and managing attendance in the face of ongoing competition from arch rival Universal Studios.

On the investment front, Disney is all in. The experiences business is in the midst of a 10-year, $60-billion expansion project that would add new themed lands to parks around the world, including at Anaheim’s Disneyland Resort. The company also is building a park in Abu Dhabi and added new cruise ships.

In the near term, however, are concerns about “international visitation headwinds” at Disney’s U.S. parks. The company signaled in its most recent earnings call that those foreign visitor trends could contribute to “modest” operating income growth for the experiences division in the fiscal second quarter, along with pre-launch costs for a new cruise ship and an upcoming “Frozen” land in Disneyland Paris.

To keep attendance rates up, the company shifted its marketing and promotional focus to a more domestic audience, said Hugh Johnston, senior executive vice president and chief financial officer, on the earnings call. But stock analysts — and D’Amaro — undoubtedly will be keeping an eye on international attendance rates and what that will mean for the theme parks going forward.

The part of the company with the potential to drive the most growth, analysts say, is its streaming business.

After recording billions of dollars in losses, Disney’s streaming services, which included Disney+, Hulu and ESPN+, finally reached profitability in 2024. The company’s next goal is to reach 10% operating margins in its entertainment streaming business comprised of Disney+ and Hulu — a milestone that would give investors confidence in its vision.

To get there, continued investment in local language content will be a key priority to increase international subscriptions, as well as bolstering the tech that powers the platforms and provides recommendations.

In short, D’Amaro faces a choice.

“Some investors are thinking, ‘Will he choose to be the same? Or can he start a new era?’” asked Laurent Yoon, senior analyst at Bernstein.

At least one former Disney CEO has weighed in.

“My advice to Josh is continue Bob Iger’s strategy that creativity will handle profits, always protect the brand, and keep close the words of Walt Disney: ‘We love to entertain kings and queens, but the vital thing to remember is this — every guest receives the VIP treatment,’” Michael Eisner posted on social media last week.

But D’Amaro’s own words provide an idea of what he’s thinking. At a global town hall meeting with Disney employees last week, D’Amaro spoke about the company’s legacy — and its path forward.

“We are 100 years old, but we’re 100 years young as well, willing to embrace new technology, new creators and new markets,” he said. “That willingness to change and take risks is what keeps the brand going, and it’s something I intend to continue to push on.”

Stuff We Wrote

Film shoots

Number of the week

Post-apocalyptic horror film “Iron Lung” has grossed $34.3 million in worldwide box office revenue, a remarkable number given the film’s reported $3 million production budget and self-distribution route.

Written, directed and executive produced by YouTuber Mark Fischbach, who goes by the online alias of Markiplier and also stars in the film, “Iron Lung” follows the story of a convict who sails a blood ocean in a submarine. The movie had a $17.8-million opening during the weekend of Jan. 30, placing it right behind Disney’s 20th Century Studios’ “Send Help,” which grossed about $19.1 million in its debut. “Iron Lung” picked up an additional $6 million this past weekend.

Its success reignited the debate about self-distribution and the theatrical draw of content creators.

What I’m watching

Since the Olympics started last week, I’ve been all in on figure skating, a sport I’ve watched since I was a kid who marveled at the artistry and athleticism of stars like Kristi Yamaguchi, Scott Hamilton, Brian Boitano and Michelle Kwan.

So I was supremely interested in this piece by my colleague Thuc Nhi Nguyen about the strength of the U.S. Olympic figure skating team this year, and the camaraderie between U.S. women Amber Glenn, Alysa Liu and Isabeau Levito.

Unfamiliar is a six-episode espionage thriller which is already climbing the Netflix charts.

Unfamiliar follows two married former spies unable to escape their killer past.

Unfamiliar has just arrived on Netflix and the series, which is just one of many hit Netflix thrillers, centres around a couple, Simon and Meret Schäfer (played by Felix Kramer and Susanne Wolff) who run a safe house in Berlin.

They lead a seemingly idyllic life until ghosts from their past come knocking. With their cover blown, they are forced to face the lies they told those closest to them.

The thriller, which has already received rave reviews, sees Meret and Simon celebrating their daughter Nina’s (Maja Bons) 16th birthday, when they become suspicious of a mysterious man who asks for their help.

The person who sent the man to them is Josef Koleev (Samuel Finzi), a high-ranking Russian military intelligence officer suspected of espionage.

While the series is set in Germany, fans are keen to find out if the series is dubbed and here is all you need to know.

Unfamiliar was dubbed by Sound & Vision Studios and before it was released, Netflix confirmed the German spy series would provide subtitles and dubbing options in multiple languages.

This means viewers are able to select their preferred language and the show includes English subtitles so UK audiences can follow the story.

The series has already received positive feedback from fans who took to IMDb reviews to share their thoughts, with some awarding it 10 out of 10 stars.

Fiegehen commented: “10 for all the right reasons. Excellent plot and acting. Understated dramatic sequences far from the over-cooked American style. Clever special ops and spy aspects bringing MI6, BND and Spetnaz together.

“Expectations are challenged by exceptional and unexpected outcomes. Not your usual drama action piece.”

NuoS-91 hailed it “smart, tense and suspenseful”, adding: “When I saw the rating was below 7.0 I almost skipped the show. Glad I didn’t!

“This is the best suspense series on Netflix in the past few months. I really enjoyed the storytelling and character building, aside from the fantastic action scenes.

“Every character was there for a reason and there was no wasted details. Not sure how anyone can call this ‘boring’. Give it a try if you like suspenseful dramas!”

EinarssonO shared: “I couldn’t stop. I watched all the episodes straight through until 2:30am. So much better than the usual Hollywood-glam-makeup-productions.

“It may be a bit irrelevant but I also liked that the series was in German. It’s been almost 50 years since I studied German in school and I surprised myself by understanding quite a bit.”

Unfamiliar is on Netflix now

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