Netflix

A MOVIE star from a hit 80s box office smash looks so different from his hunky role.

At 79 years of age, the actor headed out on a walk in Los Angeles last week while looking unrecognizable from his heyday when he wore his hair in brown curls.

Sporting a full head of white hair – which is a far cry from his curls when he took on his starring role – the acting sensation looked casual as he walked his dog in some laidback attire.

The actor, who starred in Flashdance back in the 1980s, rocked a navy blue fleece with some denim shorts, blue socks and a pair of loafers.

Concealing his identity with a pair of sunglasses, the movie star smiled as he walked his dog around LA.

He starred opposite Jennifer Beals in 1983 before taking on roles in The O.C., Yellowstone, and many more. 

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Have you guessed who he is?

It’s Michael Nouri who played the iconic role of hunky Nick Hurley in Flashdance.

But despite his huge role in the box office smash hit, Michael has revealed his career stalled after his next movie Sea Trial was shelved indefinitely.

Speaking out on the Still Here podcast last year, Michael said: “After Flashdance, that was the time to strike while the iron was hot.”

He went on: “Billy Friedkin got in touch with me and told me he wanted me to be in his new movie with Barbara Hershey.

“It was called Sea Trial, and it was going to be done at 20th Century Fox, and Fox wanted to turn around and that movie was shelved, so the momentum from Flashdance was dissipated.”

After his career stalled, he landed a role in Bay City Blues alongside Basic Instinct star Sharon Stone. 

“But while I was in Tokyo promoting Flashdance I got a call from my agent who said that Steven Bochco was interested in having me be in a series of his called Bay City Blues, and Bay City Blues lasted for 13 episodes,” he explained. 

Michael went on: “It had an unknown, wonderful actors, including an unknown actor named Sharon Stone.

“So my point is that the momentum, the huge momentum, that Flashdance created, just you want to keep the momentum going.

“Hopefully, when you have one big hit, you want to follow it up with something else, something equally good or better, just to keep you out there.

“And that did not happen.

“So I went from Bay City Blues to a succession of TV shows, independent movies, and so on, but nothing of the magnitude of Flashdance.”

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Though he has had little success with finding another huge role like in Flashdance, he has still been successful.

He has starred in The Proposal, The Watcher and NCIS, as well as Kim Kardashian’s recent Hulu hit All’s Fair.

Faith Dunn, clad in a green tracksuit, entered the cavernous room full of bunk beds with hundreds of contestants in the highly competitive second season of “Squid Game: The Challenge.” The home health nurse — a huge fan of the popular Korean dystopian series — was Player 361.

Dunn, 29, flew to England for the first time in January to take part in the reality competition series filmed at Shinfield Studios near Reading.

“‘Squid Game’ is the best series I’ve ever watched,” said Dunn, who lives in Springfield, Ore. “They’re really going the extra mile, letting us try this in person. I was extremely excited to go.”

Dunn, along with 455 other contestants, competed to win $4.56 million in prize money in games inspired by “Squid Game.”

The nine-episode second season, which premiered this week, is just the latest example of Netflix’s foray into the world of reality competition shows that cater to the rabid fan base of its most popular programs.

The streaming giant has announced several new reality competitions this year including “The Golden Ticket,” inspired by the world of “Charlie and the Chocolate Factory,” and a reality contest based on the mystery game “Clue.” There are also plans to adapt the cutthroat real estate board game “Monopoly” into a reality series.

Another game show in the works has the working title “Win the Mall.” Billed as the next generation of “Supermarket Sweep” and “The Price Is Right,” the new show will test the knowledge of consumers, Netflix told The Times.

“We look for unique worlds,” said Jeff Gaspin, Netflix’s vice president of unscripted series. “How can we do something that we haven’t seen many times before?”

In all, Netflix has commissioned 34 reality competition seasons this year, according to Ampere Analysis, a market research firm. That represents 9% of TV show seasons ordered — the highest percentage that Ampere has seen since it started tracking Netflix shows commissioned globally in 2020, the firm said.

“They’re expanding the universe of big-budget, high-profile, high-concept reality series because their research tells them that’s what the audience wants,” said Tom Nunan, a former studio and network executive.

It helps to have a hit. “Squid Game: The Challenge” was inspired by Netflix’s most popular show, “Squid Game,” which garnered 265.2 million views globally in its first season in its first 91 days on Netflix in 2021, according to the streamer’s data. That fandom carried over to the reality competition spinoff that launched in 2023. More than 95% of Netflix customers who watched “Squid Game: The Challenge” also watched “Squid Game,” according to Netflix.

“It was so huge globally … finding a show that resonates in just about every territory is rare,” Gaspin said. “So translating it to a reality format seemed like a no-brainer.”

Unlike big-budget fantasy or sci-fi series, reality competition shows usually have lower budgets and many of them are filmed abroad, primarily in the UK and Canada, to take advantage of lucrative financial incentives.

Gaspin declined to disclose the budget for “Squid Game: The Challenge,” but he said the first season’s budget was substantially above $10 million.

“It is by far one of our biggest competition reality shows, and the budget supports that,” said Gaspin, a former executive at NBC Universal Television Entertainment.

The series was filmed on six soundstages in its second season. A large rotating platform was built to depict “mingle,” a game where players must gather a certain number of people in a room under a deadline in order to survive to the next round. Ninety cameras were used to track their movements.

Players also went head to head in teams of five, with their legs tied together, as they raced on a track to complete various challenges, including building a house of cards fast enough to avoid elimination.

Netflix has been taking steps to diversify its business into new areas, such as video games and even mall locations where it can create immersive experiences with fans. Next week the Los Gatos, Calif., company will launch Netflix House in the Philadelphia area where people can go to buy Netflix-themed merchandise or pay for experiences based on Netflix programs.

Unlike other TV networks, which have faced steep budget cuts, Netflix has deep pockets to try new types of programming.

“The fear factor is lower at Netflix than it is anywhere else,” Nunan said. “In other words, they seem much more confident in themselves and then taking a swing with things.”

That’s why Jimmy Fox, head of unscripted development and sales at Fremantle’s U.S. operations, took “Win the Mall” to Netflix.

“Most networks you pitch a highly ambitious show to, they will immediately try to bring you down to earth and strip your idea down to the most basic premise,” Fox said. “At Netflix, you pitch them an ambitious idea, they will stare you in the eye and ask how, together, can we make this even bigger?”

Netflix expanded its push into reality TV in 2018 with the launch of cooking competition shows like “Nailed It!” and “Sugar Rush.”

Since then, the company has developed popular franchises including reality dating shows such as “Love Is Blind,” and created fandoms over reality contestants like Harry Jowsey from “Too Hot to Handle,” who will launch his own show similar to ABC’s “The Bachelor” next year.

Dunn, the “Squid Game: The Challenge” contestant, got the opportunity to apply for the second season of the reality show after she had won a “Squid Game” experience event in Los Angeles.

To prepare for the show, she re-watched “Squid Game: The Challenge” Season 1 and documentaries related to body language and communication.

“I couldn’t believe I had this opportunity of a lifetime and I became obsessed with ‘Squid Game,’” Dunn said. “I got a puppy afterwards, and his name is Squid.”

DESPERATE Housewives star Eva Longoria puts on a sterling performance as she glitters in a silver gown at an awards do.

The actress, 50, was among celebrities at the charity gala at the Four Seasons George V Hotel in Paris.

She called the hotel her “home away from home”.

She was joined by Global Gift founder Maria Bravo and model Cindy Bruna, who won an award.

Eva is in talks for her next big role, alongside George Clooney, 64, in Netflix’s new series, Call My Agent.

Eva’s upcoming film Christmas Karma, is out here on November 14 and directed by Kenyan-born female director Gurin-der Chadha.

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When Mexican-American Eva heard about the film, she wanted in.what excited Eva most was working with Culture Club singer Boy George.

Boy George plays the Ghost of Christmas Future alongside American Kinky Boots star Billy Porter as the Ghost of Christmas Present.

She adds of filming with the I’m A Celebrity Star, real name George O’Dowd: “He’s amazing, he was so kind. He was kind of nervous, I think.

“All I wanted to do was get stories out of him.”

Indeed, Boy George is far from the only Eighties British music act Eva is mad for.

“Were The Police English?” she asks. Er, yes. Then she adds, “Other favourite band — Duran Duran”, and “Ooh, Dexys Midnight Runners . . . ”

HER face is her fortune, but Sydney Sweeney told co-stars not to hold back from punching it during her new boxing biopic.

The scenes for her role as US fighter Christy Martin may have been carefully choreographed, but they were so ferocious she suffered a bloodied nose and concussion.

The 28-year-old actress said: “The girls and all the fights you see are real. When I walked in and I met with everyone, I said, ‘I want you to hit me. And I want you to hit me hard. And can I hit you?’.

“So when you watch all those fights, we’re actually hitting each other. We were knocking each other out, we were getting bloody noses. I got concussion. We were actually fighting.”

Sydney added of co-star Katy O’Brian, who plays ring rival Lisa Holewyne: “Katy is a badass. I mean, she is strong.

“Katy’s only request was, ‘Please don’t break my nose’.”

Sydney’s childhood in Idaho saw her “kickboxing and grappling” from the age of nine to 19, which helped with the fight scenes.

But her astonishing physical transformation — putting on more than 2st of muscle over three months — was hard-earned, with up to five hours of training a day and countless protein shakes chugged.

She said: “I built my own ‘Rocky’ gym in my grandma’s shed and I trained back home in Idaho.

“I worked with my weight trainer in the morning and night, and then I had a boxing coach I worked with every day for two to three hours.

“I put on 35 pounds during that time.”

The movie, called Christy, which opens in cinemas on November 28, tells the story of WBC female super welterweight champion Christy, now 57, who was a trailblazer in the 1990s and put women’s boxing on the map.

But her biggest battle was behind closed doors, as her marriage to her older manager Jim Martin descended into violence.

When she tried to leave him in 2010, he shot and stabbed her. He was found guilty of attempted murder and died in prison last year.

But for Sydney, it was the strained scenes between Christy and her mum that she found the hardest to film.

She said: “Everything that happens within the house towards the end of the story of her life in the film weighed on me emotionally. But the one I had the hardest time doing and just ­processing was when she asked for her mum’s help.

“I have such amazing parents and I can go to them for anything. And I couldn’t imagine how hard it was for Christy and for others that deal with that as well.

“And it broke my heart while I was making that scene.”

As soon as Sydney heard Christy’s story, she told her team she had to have a part.

She said: “When I first read the script, I was completely blown away that I didn’t know who this woman was. She is one of the most inspiring women I’ve met in my life.”

For her part, Sydney’s grit and ­determination to succeed began at the age of ten, when she made a “five-year business plan presentation” to persuade her parents to let her try to become a movie star.

When they realised she was serious at 13, they made 38-hour round trips for auditions before relocating to Los Angeles to give her a ­better shot at stardom.

Sydney said: “It’s not easy. I didn’t get a project that helped open more doors until I was, like, 19, 20. And you get told ‘no’ endlessly by everyone.”

Sadly, her parents’ decision to relocate was a catalyst for them going bankrupt and they divorced in 2016.

But that setback only served to fuel Sydney’s drive.

She worked as a cleaner and babysitter before her break came in 2018, with roles in three big TV shows — The Handmaid’s Tale, Sharp Objects and Everything Sucks!.

A year later, she was cast as Cassie Howard in global hit Euphoria, and The White Lotus followed in 2021.

‘Really scary’

Movie hits also came with 2019’s Once Upon A Time In Hollywood, 2023’s Anyone But You and last year’s Madame Web and Immaculate.

In her love life, she has been linked to 44-year-old US record executive Scooter Braun, who she met at Amazon boss Jeff Bezos’ wedding to Lauren Sanchez in the summer.

But she has insisted: “I’m single.”

She was previously engaged to movie producer Jonathan Davino, but they split in March.

For now, she’s firmly focused on her career as it goes stratospheric.

Speculation has also been rife that, with Amazon now owning the James Bond franchise, Bezos wanted her to be a Bond Girl in the next movie.

She responded that it would depend on the script and that she would have “more fun” playing 007.

She said of her upcoming roles: “Of course I have projects that I’m working on and I’m developing and I can’t wait to do. It’s kind of like this crazy rollercoaster.

“You’re never sure if it’s going to go up or down or upside down.”

Her path to success, Sydney admits, has been a battle at times.

I was so nervous. It’s so weird when you’re playing somebody and then you meet them.

Sydney Sweeney

She said: “I know what it feels like to be underestimated, to have people define you before you have a chance to define yourself.

“I know what it feels like to have to prove that you deserve to be here, to be seen, to be taken seriously.”

During filming of the boxing biopic, Christy herself turned up every day on set with her Pomeranian emotional support dog Champ.

And Sydney has since formed a friendship with her, with the pair going to a Nascar event in Phoenix together last week.

It is a leap forward from their first meeting.

Sydney recalled: “I was so nervous. It’s so weird when you’re playing somebody and then you meet them.

“You’re like, ‘Do you like me? Are you going to like what I do?’. It’s really scary.”

And the star admits the role has made her see life differently.

She said: “I think Christy has changed me. I’m a huge believer in separating yourself as much as possible from your character.

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“So that the moment they call ‘action’ and ‘cut’, you’re in and you’re out. And I go home and I’m Syd.

“But with Christy, I felt like I became the most free and powerful version of myself afterwards.”

Celebrity real estate agent Chrishell Stause is moving on from Netflix’s “Selling Sunset” after nine seasons on the hit reality TV series.

Stause revealed to Bustle in a story published Friday that she is quitting the popular show, telling the outlet that not even “Jesus Christ himself” or the show’s producing team could persuade her to return. “I’ve gotten to a place where I don’t need the show financially,” the 44-year-old reality star and former “All My Children” actor told Bustle.

“I’m lucky to have other forms of employment, because it’s no longer good for my mental health,” she said.

“Selling Sunset” debuted on Netflix in 2019 and stars the female agents, including Stause, at the Sunset Strip office of the Oppenheim Group, a luxury real estate agency. Over the years, with Stause part of the main cast, the series has documented some of her professional wins and losses as well as her personal struggles, notably her divorce from “This Is Us” actor Justin Hartley in 2019. That divorce was finalized in 2021 and Stause has since remarried to Australian musician G Flip.

As Stause announced her exit to Bustle, she discussed her issues with other members of the “Selling Sunset” circle, namely co-star Emma Hernan and her boyfriend, Blake Davis. She also expressed disapproval with the series’ editing. Netflix did not comment to Bustle about Stause’s comments, but she wished the “Selling” franchise well in its future installments.

“I have no ill will toward the show. The show has given me so many opportunities, and I don’t want to be bitter about it, even though I’m leaving not in the way that I would’ve loved,” she said.

Stause, who appeared earlier this year in NBC’s celebrity competition show “The Traitors,” also talked about growing her family with G Flip and diversifying her friend groups: “I just really love being around accepting, beautiful-hearted people.”

The actor-reality star closes her “Selling Sunset” chapter two days after Netflix aired its Season 9 reunion episode. On Instagram, Stause acknowledged that “the season ended on a bit of a sour note,” but expressed gratitude to the Netflix series and its fans.

“It introduced me to you guys — and I am deeply thankful for your support. There were lots of fun memories I am going to focus on from here on out and you will see me again so it’s not goodbye,” she said Friday in an Instagram story. “Just goodbye for now.”

PREDATOR: BADLANDS

(12A) 107mins

★★★☆☆

WHAT happens when the hunter becomes the hunted? That’s the question in this latest outing for the marauding monster franchise.

And for the first time it’s a Predator and not a person who is our protagonist.

This fundamental plot twist takes the action into pure sci-fi territory, too.

While Badlands still has a cat-and-mouse chase at its core, director Dan Trachtenberg disposes of the previous man versus masked extraterrestrials that glued together all predecessors.

And not a single human lifeform features in this script.

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Forget Predator’s 1980s roots, which saw Arnold Schwarzenegger battling other-worldly beings in the jungle.

Decent curveball

Here an epic 22-minute opening explainer sees our lead Predator — young Dek (Dimitrius Schuster-Koloamatangi) — witness the murder of his brother Kwei by their Yautja father.

Cast out from his clan he takes flight to a far-flung planet with the intention of hunting down and slaying the gigantic apex hunter known as the Kalisk.

As well as this mutinous adversary, poisonous plants that can paralyse and lethal grass made of razor blades, here Dek also encounters Thia (Elle Fanning) — a Weyland-Yutani android left hanging from a tree after the Kalisk cut off her legs.

This becomes Dek’s cyborg-in-crime as they help each other across the Badlands with the aim of taking out their mutual target.

Thia’s spoken sentences after an awful lot of subtitled (uncannily Dutch-sounding) Yautja language are a welcome relief.

There’s an unexpected amount of humour too, mostly centred on an additional cute critter travelling companion called Bud.

But amusing segues aside, the idea that everyone is doggedly hunting something does still stand.

The Kalisk and Thia’s evil android twin Tessa are intent on trying to capture Dek, which enables all the heavyweight stand-off set pieces you could hope for.

The graphics are consistently excellent and there’s a decent curveball at the end to leave the door to the next instalment open.

Predator fans may feel dissatisfied by just how far-removed Badlands has travelled from the original.

But doing so does pave the way for some unadulterated futuristic action that can be enjoyed entirely on its own merits, and by a whole new audience.

ANEMONE

(15) 126 mins

★★☆☆☆

DANIEL DAY-LEWIS makes his big-screen return after seven years in this movie directed by his son Ronan.

On paper, that reunion sounds moving. In practice, the film feels heavy, distant and difficult to connect with.

It’s set in the late 1980s on a grey northern coast, and the movie commits fully to that gloom, as every scene reminds of the weight of past burdens the characters still carry.

Day-Lewis plays Ray, a recluse who has cut himself off from almost everyone.

His estranged brother (Sean Bean), seeks to bridge the gap, bringing with him long-buried resentment and unfinished conversations.

The performances themselves are strong, especially from Day-Lewis, who can still command a screen with the smallest gesture.

But the script – written by the actor and his director son – rarely gives the audience room to breathe.

Silence stretches on, metaphors pile up, and the film’s symbolism grows so thick it begins to feel jarring.

There are flashes of genius – a confrontation here, a quiet confession there – but the slow, sombre bits in between offer little or no reward.

The film wants to be profound about pain passed between generations, yet its emotional impact gets lost in its own seriousness.

LINDA MARRIC

THE CHORAL

(12A) 113mins

★★★★☆

YORKSHIRE royalty, writer Alan Bennett, is the recognisable voice behind the script of this feelgood World War One drama.

Set in his native God’s Own Country and with a stunning scenic backdrop, the movie is laced with Bennett’s trademark dry comedy and explores the hope and the horror of wartime Britain through the members of a local community choir.

Ralph Fiennes – superb as choirmaster Dr Guthrie – is brought in to help raise the roof for the ensemble’s annual performance.

Here he heads up a comforting cast of acting heavyweights including Mill owner Duxbury (Roger Allum), pianist Horner (Robert Emms) and Simon Russell Beale as the composer Elgar.

Initially regarded with suspicion thanks to pre-war years spent living in Germany and his fondness for reading naval pages (aka relationships with men) Dr Guthrie soon galvanises his motley mixed generational gang of voices, all dealing in their own way with consequences of war.

Lofty (Oliver Briscombe) and cheeky-chappy pal Ellis (Taylor Uttley) are about to be conscripted, others are grieving those who will not return.

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Poignant and heart-warming stuff.

LAURA STOTT

Netflix has released a new four-episode series that follows a serial killer who strikes terror in Italy by targeting couples parked in lovers lanes – and viewers have been urged to check it out

Netflix subscribers are being urged to watch a gripping mini-series that will have you hooked from the very first episode. Film enthusiast Eccy Reviews, who shares the latest film and TV recommendations on social media, has told his followers they must watch The Monster of Florence.

The four-part series tells the true story of a “serial killer who strikes terror in Italy by targeting couples parked in lovers lanes, authorities explore a case from 1968 that may be key to identifying The Monster of Florence”. Directed by Leonardo Fasoli and Stefano Sollima, the programme features performances from Francesca Olia, Liliana Bottone, and Marco Bullitta.

Discussing the series, Eccy Reviews said: “You need to stop whatever you’re doing because Netflix just dropped a brand new series and it honestly might be one of the best shows of the year.”.

“It’s based on a true story. Now, trust me when I tell you that the first episode will have you absolutely hooked. It made me binge the entire thing and I honestly can’t recommend it enough.

“It can’t go under the radar. Everyone needs to watch it, everyone needs to talk about it. So make sure to get this show on your watch list and get it watched.”

Responding to his recommendation, one viewer said: “When I say my jaw just kept hitting the floor! This was a lot to take in but I did like it.”

Another commented: “Straight out of a Criminal Minds episode.”

A third wrote: “I always follow your recommendations, I’m starting it now.”

One viewer shared their thoughts on IMDb, stating: “I’d never heard of these murders until I watched this series.

“It’s well-acted and portrays the changing look and feel of the time periods in which it is set – a 20 year time span – through decor, cars, fashions and background music.

“The treatment of women is absolutely disturbing – not just the horrific murders but also the total misogyny and disrespect that they lived under in some family units.

“Apart from the detectives investigating these crimes – and the innocent victims – I don’t think there is one man featured who has any redeemable qualities.

“It was interesting but at times repetitive in that the same event was shown several times, albeit from different people’s perspective.”

Another viewer chimed in with: “This crime thriller is based on true events. After long time finally a solid psycho murder episode from Italy on Netflix.

“I find it is actually on short supply to see good series or movies from Italy on Netflix. The first episode was for me too slow paced and I thought already to stop.

“But the longer I watched it the more interesting the story got. There are many flashbacks to reconstruct the mystery puzzles and help so the audience to understand what was really going on.

“The atmosphere and filming locations have been wonderfully created from the 60s to the 80s.

“The actors played the characters respectably and I think the director did a great job too.

“If you liked the other two psycho killer series on Netflix Jeffrey Dahmer or Ed Gein this is for you. Final vote: 7/10.”

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

JOSH’S TOP DAY WITH SPINAL TAP

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

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

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

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

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

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

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

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

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

MUMMY’S THE WORD, BRENDAN

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

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

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

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

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

YUNG HIT IN TRANS PIC SHOW

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

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

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

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

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

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

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

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

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

ED’S PERFECT PITCH MEANS ALL KIDS CAN LEARN MUSIC

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

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

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

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

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

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

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

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

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

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

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

COAT AND TAYLS

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

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

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

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

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

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

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

CYNTHIA’S IN GOOD MOOD FOR PREMIERE

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

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

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

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

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

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

Netflix on Wednesday touted a surge in popularity for its low-cost streaming plan with ads, as it looks to tap into the lucrative the world of brands.

The streaming giant said it now has more than 190 million monthly active viewers watching ads through a plan that costs $7.99 a month. The lowest cost ad-free plan costs $17.99 a month.

In May, Netflix said it had 94 million monthly active users watching ads through the cheaper plan. That translated to roughly 170 million monthly active viewers, the company said at the time.

However, the Los Gatos, Calif.-based company is now using a different methodology to measure its audience watching ads, making exact comparison’s difficult.

Netflix now defines monthly active viewers as customers who watched at least 1 minute of ads on Netflix per month. It then multiplies that by the estimated average number of people in a household. Previously, Netflix had measured monthly active users based on the number of Netflix profiles watching content with ads.

The streamer said its previous measurement didn’t illustrate all the people who were in the room watching.

“Our move to viewers means we can give a more comprehensive count of how many people are actually on the couch, enjoying our can’t-miss series, films, games and live events with friends and family,”wrote Amy Reinhard, Netflix’s president of advertising in a post on the streamer’s website on Wednesday.

On Wednesday, Netflix executives said the growth in ad viewers was in line with their expectations.

“We are very satisfied with where we are at,” Reinhard, said in a press briefing. “We think there is a lot of opportunity to grow on this plan around the world, and we’re going to continue to make sure that we are offering our customers a great experience and a great buying experience on the advertising side.”

Netflix began its foray into ad-supported streaming in 2022, after it received pressure from investors to diversify how it makes revenue. Previously, Netflix mainly made money through subscriptions and for many years had been ad-adverse.

The company said last month it was on track to more than double its ad revenue in 2025, but did not cite specific figures. Netflix Co-CEO Greg Peters said in an earnings presentation in October that the ad revenue is still small relative to the size of the company’s subscription revenues, but advertisers are excited about Netflix’s growing scale.

“We see plenty of room for growth ahead,” Peters said.

On Wednesday, Netflix said it is expanding its options for advertisers, including demographic targeting in areas such as education, marital status and household income.

Netflix also said it has partnered with brands including brewing company Peroni Nastro Azzurro in ads for its romantic comedy series “Emily in Paris,” and tested dynamic ad insertion with programs including WWE Raw this quarter and will offer that feature in the U.S. and other countries for NFL Christmas Gameday.

Many streamers have been increasing the cost of their subscriptions in order to become more profitable. Earlier this year Netflix raised the prices on plans.

Selling Sunset star Emma Hernan reunited with her on-and-off boyfriend Blake Davis after the latest season wrapped filming.

Selling Sunset’s Emma Hernan has revealed the real reason she reunited with her on-and-off boyfriend Blake Davis.

Emma, 33, introduced Blake to her friends Chrishell Stause and Chelsea Lazkani in season nine, and Chrishell had her doubts about the coupling.

Blake, 28, also has a real estate background and seemed completely smitten with the reality star. He even proposed to Emma, but she soon ended the relationship.

Now, the O Group agent has confirmed she is back together with Blake, despite her friends’ concerns.

Opening up to Tudum, she explained: “If I really cared about making myself look good, I would’ve stayed broken up with him or would’ve said, ‘Nope, we’re not together.’

“But ultimately, with relationships, there’s back and forth — and I think that that’s OK to show.”

Diving into why she reunited with her ex, Emma continued: “I had a realization at the reunion that I was [thinking too much] about what other people think.

“If I want to go spend time with this person, why am I so concerned about what everyone else is going to say? After the reunion, I went to go see him, and we’ve been traveling and been together ever since.”

During the reunion, Emma revealed she was back in contact with Blake.

It also came to light that Emma had “lied” to Chrishell about going to the Bahamas for Blake’s birthday, which has played a part in souring their friendship.

The duo were at a Beyoncé concert when Emma abruptly left.

Chrishell revealed: “You [Emma] told me that you were going to Boston to see your family and that’s why you had to leave early. That’s what you told me.”

She went on to add: “The next day she shows up in the Bahamas with Blake.”

The 44-year-old claimed she disliked Blake because the relationship causes Emma to “flake” on their friendship.

But Chrishell’s disappointment didn’t end there, the actress also claims Blake has problematic views.

Back in May, a fan took to Instagram and asked Chrishell: “What’s happening with you and Emma? Hot topic on Reddit.”

She responded: “Ask her about her MAGA bf who told me pronouns are dumb and that he likes to use the N word. I just can’t with that. Too old to allow that in.”

The social media comment sparked online conversation and press coverage which didn’t exactly paint Emma in a favourable light.

During the season nine reunion, Chrishell opened up about the post, claiming Blake revealed his views during a conversation in her kitchen.

“He told me proudly [that] he openly uses the N-word. He thinks that people [who] don’t sing lyrics with all the words, he thinks they are the ones that are too woke,” she explained.

Emma, who was there during the chat, fired back with: “He never said the word woke. He never said that.”

She went on to explain that Blake expressed that “he’s friends with a bunch of rappers and they try and get him to say it [the N-word] and he says no”.

Emma also argued that Chrishell’s post was not an accurate representation of what Blake said, and that he never voiced any political views.

Selling Sunset Season 9 is streaming now on Netflix

The cuts in Hollywood just keep coming, following a sadly familiar script.

Last week it was Paramount, which laid off about 1,000 workers in the first wave of a deep staff reduction planned since tech scion David Ellison’s Skydance Media took over the storied media and entertainment company.

The cuts affected a wide swath of the company, from CBS and CBS News to Comedy Central, MTV and the historic Melrose Avenue film studio, my colleague Meg James and I reported. Another 1,000 layoffs are expected in the coming weeks.

But Paramount isn’t the only one in the media business that’s shedding jobs and payrolls.

Earlier, cable giant Charter Communications said it would lay off 1,200 people nationwide, as the company faces increased competition for its broadband internet packages. NBC News, too, laid off 150 employees last month amid declining TV ratings and lessening ad revenue.

Other recent media-adjacent layoffs included 100 cuts to Disneyland Resort’s Anaheim-based workforce and the massive 14,000 worker reduction at Amazon, including at the company’s gaming and film and TV studios.

And that doesn’t even include widespread job losses that happened earlier this year at companies such as Walt Disney Co., Warner Bros. Discovery, NBCUniversal and Six Flags Entertainment Corp.

It all adds up to a grim picture for Hollywood’s workers, who have faced a near endless marathon of economic hurdles for the last five years.

First it was the pandemic, followed by the dual writers’ and actors’ strikes in 2023, cutbacks in spending after studios splurged on streaming productions, and the outflow of production to the U.K. and other countries with lower costs than California.

Then, in January, nature struck a blow, with the fires in Altadena and the Pacific Palisades destroying many industry workers’ homes.

Topping it off, Saturday marked the first day that millions of low-income Americans lost federal food assistance due to the government shutdown that began Oct. 1. That has affected some 5.5 million Californians and probably some who work in the entertainment industry.

“It’s been one crisis after another, without enough time in between,” said Keith McNutt, western regional executive director of the Entertainment Community Fund, which provides social services for arts and entertainment professionals. “People are concerned and very worried and really trying very hard to figure out where they go from here.”

McNutt reports that the nonprofit group has already heard from some people who were recently laid off, and has experienced a sharp increase in demand for its services, particularly from those in the film and TV industry. The fund offers healthcare and financial counseling and operates a career center. It also provides emergency grants for those who qualify.

Clients include not only low-income people who are always hit hardest in downturns, but also veteran entertainment industry professionals who’ve worked in the business for 20 to 30 years.

Those who were lucky enough to have savings saw those wiped out by the pandemic, and then were unable to replenish their rainy-day funds after the strikes and industry contraction, said David Rambo, chair of the fund’s western council.

“It has been snowballing very slowly for about five years,” Rambo said.

Many in the industry are hopeful that California’s newly expanded film and television tax credit program will bring some production — and jobs — back to the Golden State. That’s what backers campaigned on when they lobbied Sacramento legislators to bolster the program. Dozens of TV shows and films have received credits so far under the revamped program, but it’ll take some time to see the results in filming data and employment numbers.

And that doesn’t help the workers who were just laid off last month. For those folks, McNutt suggests calling the fund’s health insurance team to make sure they understand their options and also to spend some time with career counselors to understand how Hollywood skills can be transferable to other employers, whether that’s on a short- or long-term basis. Most importantly, don’t isolate yourself.

“You’re not alone,” he said. “Nobody’s alone in this situation that the industry is finding itself in right now, and so reach out to your friends, reach out to your colleagues. If you’re not comfortable with that, reach out to the Entertainment Community Fund.”

Stuff We Wrote

Film shoots

Number of the week

The Los Angeles Dodgers’ wild 11-inning win on Saturday over the Toronto Blue Jays notched nearly 26 million viewers, making it the most-watched World Series game since 2017, according to Nielsen data.

The 2017 Game 7 win by the Houston Astros over the Dodgers had an audience of 28.3 million.

The Dodgers are now the first Major League Baseball team to win back-to-back championships in 25 years. On Monday, thousands of Dodgers faithful turned out for the team’s victory parade through downtown L.A.

Finally …

You’ve no doubt heard of L.A.’s famous star tours. But what about a tour of a historic cemetery?

My colleague, Cerys Davies, wrote about local historian and guide Shmuel Gonzales — or as he calls himself, “Barrio Boychik” — and his walking tour of Boyle Heights’ Evergreen Cemetery.

The cemetery is the final resting place for many of L.A.’s early movers and shakers, including the Lankershims and the Hollenbecks, and it’s also a prime example of L.A.’s multicultural history.

After going global for its second volume, “Star Wars: Visions” Volume 3 brings the anthology series back to its roots with a new slate of shorts all created by Japanese anime studios.

Each season of the Disney+ series, which launched in 2021, has infused fresh creative energy into the galaxy far, far away by giving international animation houses the freedom to explore ideas about the Force, the factions of the Galactic War and brand new planets and cultures outside of the constraints of the long-running franchise’s canon.

And while Volume 3, which premiered last week, revisits some characters that were introduced in Volume 1, it also shows how anime is a medium with range. From the gritty installment that explores the complexity of the dark sides of the Force through a battle between former Sith and Jedi (“The Duel: Payback”) to a more heartwarming story about a pair of resourceful orphans who decide to become family (“Yuko’s Treasure”), there are different types of anime for everyone.

Anée-san in “The Duel: Payback,” one of the shorts in “Star Wars: Visions” Volume 3.

(Lucasfilm Ltd.)

With movies like “Demon Slayer: Kimetsu no Yaiba Infinity Castle” and “Chainsaw Man — The Movie: Reze Arc” making waves at the box office, anime’s growing popularity is undeniable and its availability on major streamers has also made anime series and movies more accessible than ever. So for those whose curiosity about the medium has been piqued by “Star Wars: Visions,” here are some titles to check out based on the themes and stories of the nine shorts that comprise Volume 3.

Stunning fights (with some moral ambiguity)

Sagiri in an episode of “Hell’s Paradise.”

(©Yuji Kaku/Shueisha, Twin Engine, Mappa / Crunchyroll)

Let’s be honest: Lightsaber duels are awesome. So it’s no surprise that a number of shorts in “Star Wars: Visions” Volume 3 leaned into stories involving Jedi and/or the Sith, including “The Duel: Payback,” “The Lost Ones” and “The Bird of Paradise.”

For those who are looking for anime featuring stylish and stunning sword-fighting scenes, the ever popular “Demon Slayer” (Netflix, Disney+/Hulu, Crunchyroll), featuring a secret organization fighting to protect humans from demons, is an obvious choice. Another show featuring stylish combat between skilled warriors and supernatural monsters is “Hell’s Paradise” (Netflix, Disney+/Hulu, Crunchyroll). The series follows a ninja who is recruited by an executioner to join a party of death row inmates on a quest to find the elixir of life on a mythical island populated with mysterious deadly threats. The successful convict will be pardoned for all of their past crimes. The premise may remind some of the supervillain team-up “The Suicide Squad,” but the fighting scenes — and the island’s inhabitants — stand alone.

Master and apprentice dynamics

Frieren, left, and Fern from “Frieren: Beyond Journey’s End.”

(Crunchyroll)

Speaking of Jedi, “The Lost Ones” and “The Bird of Paradise” also touch on the relationship between a Jedi master and their padawan apprentice. If a story involving a lineage of student-teacher dynamics that’s about friendship, human connection, memory, mortality and legacy sounds intriguing, consider checking out “Frieren: Beyond Journey’s End” (Netflix, Disney+/Hulu, Crunchyroll). The fantasy series follows an elven mage, her young human apprentice and others they pick up along their years-long journey to visit the spirits of old friends. The show is part travelogue, part adventure quest with monsters, magic battles and dungeon exploration.

Lovable scoundrels

Kazuki, left, Miri and Rei in an episode of “Buddy Daddies.”

(©KRM’s Home / Buddy Daddies Committee / Crunchyroll)

The world of “Star Wars” is full of scoundrels that fans can’t help but love for their swagger and independent moral code, and “Visions” installments “The Smuggler” and “The Bounty Hunters” add to that legacy.

Well-known classics like “Cowboy Bebop” (Crunchyroll) and “Lupin the Third” (Tubi, Crunchyroll) and the long-running “One Piece” (Netflix, Disney+/Hulu, Crunchyroll) are good starting points for those first dipping their toes into anime and are interested in the adventures of a ragtag group of bounty hunters, thieves and/or pirates. For those looking for something new, consider “Buddy Daddies” (Crunchyroll), which follows a pair of assassin roommates who form a makeshift family after taking in a 4-year-old they encounter while out on a job. Think of it like “The Mandalorian,” if Mando had a recluse gamer co-parent and Grogu was a picky eater.

Political space wars and mech suits

Suletta Mercury in an episode of “Mobile Suit Gundam: The Witch from Mercury.”

(©Sotsu, Sunrise, MBS / Crunchyroll)

Some film and TV shows set in the galaxy far, far away are more political than others, but aspects of the conflict involving the Galactic Empire, Rebel forces and stray Jedi are touched on in a few of the shorts in “Visions” Volume 3 like “The Lost Ones,” “The Smuggler,” “Black” and “The Song of Four Wings,” with the latter featuring a young protagonist that dons a snazzy flying mech suit.

The mecha franchise “Gundam” is best known for its giant robots, but it’s a sprawling space opera that touches on political themes including the horrors of corruption, inequity and war. A recent standout is newcomer-friendly “Mobile Suit Gundam: The Witch From Mercury” (Crunchyroll). The show follows a shy new transfer student at a corporate military school where recruits train and settle disputes in giant mech suit combat. The series uses school drama and a budding teen romance as a backdrop to touch on themes such as class strife and prejudice, corporate greed and personal vengeance.

Emotionally resonant robots

Atom in an episode of “Pluto.”

(Netflix)

From the Skywalkers’ fussy protocol droid C-3PO to Hera Syndulla’s cranky astromech Chopper, lovable androids are a “Star Wars” signature. “Visions” Volume 3 installments “The Ninth Jedi: Child of Hope” and “Yuko’s Treasure” each introduce loyal droids that tug viewers’ heartstrings.

The title androids in “Astro Boy” (also known as Atom) and “Doraemon” are kid-friendly household names in Japan akin to Mickey Mouse and Snoopy, but a more mature option is “Pluto” (Netflix). The gritty, sci-fi murder mystery series is based on a reimagining of a story arc from the “Astro Boy” manga, and is set in a world where humans live alongside robots — though the dynamic is a bit different than in “Star Wars.” The story follows a robot detective who is investigating a string of robot and human killings, and, like many sci-fi stories about androids and artificial intelligence, touches on themes like what makes humans human.

A scene from “Yuko’s Treasure,” one of the shorts in “Star Wars: Visions” Volume 3.

(Lucasfilm Ltd.)

Rambunctious kids

Plenty of “Star Wars” media is made with younger audiences in mind, but not many are about the adventures of children in the galaxy far, far away. “Vision” Volume 3’s “Yuko’s Treasure” puts a couple of orphan kids in the forefront — along with an adorable bear-like droid.

There’s no shortage of anime series about the (mis)adventures of rambunctious kids and one of the more heartwarming involves a “fake” family. “Spy x Family” (Disney+/Hulu, Crunchyroll) follows a secret agent working to maintain the fragile peace between neighboring nations and the faux happy family he constructed for his latest undercover mission. Unbeknownst to him, his adopted daughter is secretly a telepath and his fake wife is an assassin. As one might expect, a telepathic first grader with a wild imagination who lives with a spy and an assassin can get caught up in plenty of shenanigans. Bonus: The family also adopts a cute massive dog.

Kotaro in an episode of “Kotaro Lives Alone.”

(Netflix)

On the opposite end of the spectrum is “Kotaro Lives Alone” (Netflix), a more grounded show with just as outlandish a premise. The series follows a 4-year-old who moves into a rundown apartment complex alone — for reasons that are eventually revealed as his neighbors get to know him. The boy is unusually self-reliant and mature but also childish and understandably vulnerable. As viewers might assume, there are not many happy circumstances that could possibly lead to a 4-year-old child living on his own, but there’s more warmth than tragedy.

Musical, visual spectacle

One of the standouts in “Star Wars: Visions” Volume 3 is “Black,” a jazz-fueled, mind-bending fever dream of a Stormtrooper during a battle. The bold, music-driven 13-minute short is a visual spectacle that challenges viewers and there’s not much else out there that compares. Though it has a more structured narrative, the anime film “Inu-Oh” (Netflix) is a psychedelic rock opera that might scratch the same itch. Set in 14th century Japan, the film follows two young artists who forge a friendship because they are both outcasts — the musician is blind, and the dancer was born with monstrous deformities — and their dazzling performances drive the story.

FORMER Love Island star Molly-Mae Hague has broken her silence on her Behind It All documentary and the backlash she faced.

The 26-year-old successful star and mum of one, was slammed when her new Amazon docuseries, Molly-Mae: Behind It All, was released.

Many viewers of the series admitted the Love Island star’s “bratty behaviour” had “put them off her” after watching the Amazon offering.

Breaking her silence on the backlash and reaction from viewers, Molly-Mae opened up in the introduction of her new YouTube video, which was shared on Monday evening.

The influencer and fashion mogul even revealed she was forced to delete TikTok amid the comments she saw about the series.

Speaking in her vlog, she said: “I had seen what people were saying about the doc and then made the executive decision to basically delete TikTok.”

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Molly-Mae added how deleting the app “has been quite frankly one of the best decisions I ever made”.

The reality star then said how though she has grown a thick skin over the years, “there’s something about that app that just feels like so insanely toxic”.

Molly-Mae then explained how she saw her makeup artist scrolling on social media and spotted “at least three things within that short time of me looking at her phone that I didn’t want to see”.

“So, I just felt like, okay, definitely definitely in no way, shape or form rushing to get the app back anytime soon.

“I just want to say that I’ve also received so many incredibly lovely messages and people saying that they’ve also really enjoyed it.

“And that’s literally all I wanted for the doc. It’s never ever been to do anything other than just create something for people to watch and enjoy.

“And I think I’ve definitely definitely learned a lot,” she added.

Molly-Mae then told of how she was nervous about the documentary coming out.

“Like I think even before the premiere, there’s a bit of me in this vlog where I’m like severely anxious,” she explained.

Molly-Mae then said that she had anticipated some of the critique the documentary got.

“I literally said like ‘that’s going to cause this’ and ‘this is going to cause that’.

“I have been doing this job now for a really really long time and I feel like we kind of had a formula that we followed for years that avoids what has happened with the doc from happening.

“And with this drop of the doc like we literally did the complete opposite of what we normally do.

“Like we spoke about things we don’t speak about.

“We kept things in that probably I would never ever show of myself like because with the last drop of the doc everyone was like we want more. We want more.”

Molly-Mae went on: “So, it’s like you give it, but then it’s not like it’s too much or it’s, you know…

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“I saw someone saying that they fell asleep halfway through one of the episodes because it was so boring yet they feel like the episodes aren’t long enough.”

She then said how she “really really can’t keep everyone happy” no matter how much she tries.

The Split Up is a spin-off from the hit BBC drama The Split and will follow another family’s law firm.

A spin-off from the hit BBC drama The Split has received a significant update.

Fans were gutted when the legal series starring Nicola Walker and Stephen Mangan wrapped up after three seasons in 2022, followed by a two-part special last year. Now, fresh information about the upcoming show The Split Up has emerged, including casting announcements.

The original programme featured Annika star Nicola as Hannah, grappling with the breakdown of her marriage to Nathan (Stephen) whilst juggling affairs, romance and complicated relationships, all while managing her family’s law practice alongside the chaos created by her two sisters and mother.

The Split Up will now centre on a different family law practice, this time based in Manchester and focusing on the British-Asian elite Kishan family.

The six-episode series will explore “the high-stakes world of Manchester’s divorce law circuit, where one family of lawyers, the Kishans, reigns supreme,” according to the previous announcement, reports Wales Online.

It adds: “Kishan Law is a British-Asian high net worth family law firm in Manchester, noted for its clientele and its reputation.

“They are the ‘go to firm’ for Manchester’s elite who come to them for their excellence, integrity, and discretion.

“But the future and legacy of Kishan Law hangs in the balance when a family secret from the past comes to light, throwing their professional and personal lives into turmoil.”

The line-up for the series has already been unveiled, and it’s now been confirmed that The Good Place star Jameela Jamil is coming on board.

When the announcement was posted on social media featuring a photo of Jameela with leading lady Ritu Arya, the She-Hulk actress responded: “I love her.”

“My two favourites together,” one supporter wrote, whilst another added: “OMG can’t wait. Love you both!!!”

“Very excited for this,” a third person commented.

Jameela is joining The Umbrella Academy’s Ritu Arya, Unforgotten’s Sanjeev Bhaskar, alongside Aysha Kala (Virdee), Arian Nik (Film Club), Danny Ashok (Dinosaur), Dimitri Leonidas (Those About To Die), Mawaan Rizwan (Juice), Sindhu Vee (Matilda the Musical), Shalini Peiris (The White Lotus) and Tom Forbes (Queenie).

Celebrity guest appearances will also feature Lenny Henry and Jane Horrocks.

The BBC revealed: “The fast-rising star of Kishan Law is Aria Kishan (Ritu Arya), poised to step up and take the mantle from her father Dhruv (Sanjeev Bhaskar). However, the death of her mother has cast a new light over these plans for Dhruv, who has begun to wonder if his daughter can, or should, take on this responsibility single-handedly.

“Aria’s relationship is placed under scrutiny too with the wedding for long-term partner Neal (Danny Ashok) on the horizon, but with their personal and professional so entwined it’s unclear if their relationship can withstand any more pressure – a problem further compounded when a former secret flame (Dimitri Leonidas) arrives in Manchester unexpectedly.

“Alongside her siblings Maya (Aysha Kala) and Kav (Arian Nik), Aria must navigate the splits that divide family and those we love – and ask herself: who should you live your life for?”

Creator Ursula Rani Sarma expressed: “Having admired The Split and Abi Morgan for years, I was honoured to be asked to bring The Split Up to life. As a writer passionate about representation, it’s a dream come true to place a contemporary British South Asian family centre stage. Diversity deepens our understanding, enriches our stories, and reflects the true fabric of our society.

“It’s thrilling to watch our amazing cast led by Ritu and Sanjeev bring the Kishan family to life. I can’t wait for audiences to meet them and to witness the drama as it unfolds.”

Abi Morgan chimed in: “The chance to take all that was loved about The Split and use it to inspire the next generation of British South Asian talent, to create a new family of dynamic lawyers spilling over with all the messiness of life, both personally and professionally, has been a brilliant challenge, beautifully realised by lead writer Ursula Rani Sama. I hope audiences will take it to their hearts.”

The Split is available to watch on BBC iPlayer.

Last week, HBO Max announced it raised its standard subscription by $1.50 to $18.49 a month — up 23% from when the streaming service launched five years ago amid the pandemic.

Such announcements have become almost routine in the television business as inflation hits streaming platforms that are under growing pressure to turn a profit and pay for higher programming costs.

Once seen as a cheaper alternative to cable, the cost of a streaming subscription for the top platforms continues to rise, much like higher prices for groceries, gasoline and housing.

In fact, the average price for subscriptions to the top 10 paid subscription streaming services in the U.S. increased 12% this year, following double-digit percentage increases per year since 2022, according to Victoria, British Columbia-based Convergence Research Group.

The research firm included streamers such as Netflix, Disney+, Hulu, Peacock, Apple TV and others in its data set. It factors subscriptions that are with ads or ad-free and does not take into account bundling. All of the major streaming services in the U.S. raised their prices on plans this year, except for Paramount+ and Amazon Prime Video, which boosted rates last year.

The price hikes reflect the tough economic realities of media companies that need to replace dwindling revenue from legacy pay TV channels that have seen sharp declines in viewership.

“The rest of their businesses have effectively been under attack by streaming and so they need this area to be profitable in order to compensate for the decline in their own businesses,” said Brahm Eiley, president of the Convergence Research Group. “It’s been tremendous pressure on them.”

Streaming services have been running as loss leaders for some time, said Tim Hanlon, chief executive of Vertere Group LLC, a media consulting firm.

“There’s no question that streaming is now under the gun to be its own profit center,” Hanlon said.

If rates go much higher, consumers may balk, experts said.

“The industry is playing a dangerous game by continuing to raise prices,” said Andrew Hare, senior vice president for the media research consultancy Magid. “We’re nearing a boiling point of rising churn and overwhelming choice.”

Magid has also already seen an uptick in the percentage of consumers who intend to cancel at least one streaming service in the next six months. The figure was 24% in the second quarter of 2025, up from 19% a year earlier.

“Hard as it is to imagine, the cable bundle is starting to look like a better value all the time,” Hare said.

Here is a look at which major streamers have raised prices on their ad-free streaming plans this year.

HBO Max

HBO Max raised prices across all of its plans. Its lowest-cost, ad-free streaming plan went up by $1.50 to $18.49 a month, while the annual version of that plan also increased $15 to $184.99.

HBO Max’s parent company, Warner Bros. Discovery, had 125.7 million global streaming subscribers in the second quarter, up 22% from a year earlier.

Like other streamers, HBO cited the need to help pay for quality content. The platform offers big-budget shows including drama “The Gilded Age” and “House of the Dragon,” which takes place in the “Game of Thrones” universe.

Consumers should brace themselves for more price hikes. Warner Bros. Discovery CEO David Zaslav said at a Goldman Sachs investors conference last month that he believes HBO Max is underpriced.

“We want a good deal for consumers, but I think over time there’s real opportunity, particularly for us in that quality area to raise prices,” Zaslav said.

Peacock

Big-time sports properties have been moving to streaming platforms and guess who is going to help foot the bill? Consumers, of course.

Ahead of becoming a major provider of NBA games this season, Peacock increased prices on its plans, including the premium plus ad-free streaming service, by $3 to $16.99 a month. That was the third price hike since Peacock launched in 2020, where its ad-free plan started at $9.99 a month.

The Comcast-owned streamer, which has 41 million paid subscribers, has weekly games on Mondays and Tuesdays and will have a Peacock exclusive NFL game on Dec. 27. Peacock next year will air the Milan Cortina Winter Olympics and continue to stream major sporting events such as NFL games.

In a July earnings call, Comcast Corp. President Mike Cavanagh touted how Peacock will have the most hours of live sports of any streamer next year.

Netflix

Netflix has also gotten into the sports business, with the addition of two NFL games on Christmas Day.

The streamer, which remains the industry juggernaut, is also expected to add Major League Baseball’s Home Run Derby and an opening night game when MLB finalizes a new media rights deal this year.

The company cited its entry into high-priced sports when it raised its prices on most of its plans, including on its cheapest ad-free monthly plan by $2.50 to $17.99 in the U.S. earlier this year.

“As we continue to invest in programming and deliver more value for our members, we will occasionally ask our members to pay a little more so that we can re-invest to further improve Netflix,” Netflix said in a letter to shareholders in January.

The slice of sports is coming at the expense of fans who need multiple subscriptions — if they want to keep up with every NFL game.

“A certain type of fan is starting to recognize they are being fleeced,” Hanlon said.

Higher prices on ad-free plans can help drive traffic to a streamer’s lowest-priced plans with ads. Netflix launched its subscription plan with ads in 2022 at $6.99 a month and it has only increased by a $1 to $7.99 a month since then in January 2025.

While many major streamers offer cheaper plans with ads, others offer free streaming services with ads such as the Roku Channel or Tubi.

A recent research study by Magid found that three-quarters of consumers are fine with watching commercials, if it saves them money.

Four in 10 said they’re “overwhelmed” by the number of services they use. The average number of streaming subscriptions per household in the third quarter is 4.6, up from 4.1 the previous year.

“Together, these trends point to a more value-driven streaming consumer seeking affordability and simplicity,” the study said.

Apple TV

Apple TV was once one of the lowest-priced subscription service plans, launching at $4.99 a month. Since then, prices for Apple’s video streaming service have increased to $12.99 a month, with its latest price jump of $3 in August.

The Cupertino-based company has been trying to make its streaming business more financially sound, but faces a formidable task as it has been a big spender in attracting name talent to its programs and movies.

When Apple TV first launched, it had just nine programs, but since then has expanded its library to include critically acclaimed shows and films including comedy “Ted Lasso,” drama “Severance” and “The Studio.”

Apple said in a statement that while it did raise its prices on its standard monthly ad-free plan, the cost of its annual subscription remains at $99 and Apple One bundled packages did not change.

Disney+

Last month, Disney+ announced it would increase the cost of its ad-free streaming plan by $3 to $18.99 a month. Hulu did not increase its price on its ad-free monthly streaming plan.

It was the fourth consecutive year the Burbank entertainment giant has boosted its streaming prices since launching Disney+ six years ago, when the service cost just $6.99 a month.

Despite the recent price hikes from Disney and others, Eiley from Convergence Research Group thinks there’s still room for customer growth.

At the end of last year, just 36% of U.S. households had a traditional TV subscription, compared with more than half of U.S. households in mid-2022, according to Convergence Research Group data. By the end of 2028, the research firm forecasts just 21% of households will have traditional TV subscriptions.

“There’s still a massive amount of cord cutting going on,” Eiley said.

STRANGER Things star David Harbour admitted he has “made mistakes” over the last 10 years just WEEKS before ex-wife Lily Allen released her bombshell album.

The couple, who split after a five year marriage in February this year, have had their relationship thrust into the spotlight after Lily’s blistering attack on her marriage on new album, West End Girl.

The 14-track album was dropped last week, but shortly before the release, Harbour briefly spoke about ‘regrets’ while promoting the upcoming final season of Stranger Things.

Talking to Esquire Spain, Harbour was asked to reflect on the past decade of his life in line with how long he has played burly cop Jim Hopper on the show.

He responded by calling it a “hard question” and, while not addressing Lily specifically, he said: “I would change either everything or nothing. 

“You either accept your path completely and realise that even the pain and the slip-ups and the mistakes are all part of the journey, and that there’s truth and growth, wisdom and deeper empathy and connection in all that.”

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“It’s kind of like a house of cards,” he added. “The minute you try to change one thing you kind of have to change it all.”

Ultimately he said he’d change “everything” and “just make his life happy and silly”, though it would “suck” not to be an actor.

West End Girl

On West End Girl, Lily chronicles her relationship with Harbour, starting with their whirlwind relationship after meeting on Raya in 2019 and setting up their life together in New York.

However, she notes things began to unravel after she landed a part in a West End production of 2:22 A Ghost Story, which required her to come back to London.

She then accuses him of getting close to a woman she names “Madeline”, despite them having an “arrangement” for him to sleep with other people.

Mentioning her on the track ‘Tennis’, fans were abuzz with the question: “Who the f**k is Madeline?”

While Lily has said the album, which features alleged dates and supposed voice notes, is a mixture of fact and fiction, the the real life “Madeline” has spoken out, with New Orleans based costume designer Natalie Tippett, 34, claiming to have been involved in the fling.

David and Natalie reportedly began an affair while working on 2021 film We Have A Ghost, despite marrying Lily the previous year in Las Vegas.

He later allegedly flew Natalie to his home in Atlanta, Georgia.

Since the album has been released, Harbour has not commented on the claims on the songs – which took Lily 10 days to make and record.

It’s also unclear where the line between fact and fiction stands on the album.

Despite this, Lily made another dig at her ex – dressing up as cartoon character Madeline for Halloween as she partied with friends in Los Angeles.

Netflix fans do not have long left to wait for a brand new season of Squid Game: The Challenge.

Squid Game fans have just two days left until a brand new season of a high stakes reality game returns to Netflix screens.

Once again, 456 players will take on a series of brutal games in the hopes of winning a staggering $4.56 million cash prize for season two of Squid Game: The Challenge.

The hit Netflix reality show, based on the popular Korean thriller Squid Game, was a huge success when it first hit screens back in 2023. Another series was announced earlier this year, with it now being just days away.

Over three weeks, the players will go head to head in a number of gruelling games, both new and old, until there is only one contestant left.

Unlike the original phenomenon where players are killed if they lose, there will still be devastating impacts as contestant will miss out on winning the life-changing amount of money. Despite the full cast remaining under wraps, Netflix has already announced some huge names, including familiar faces from Selling Sunset and Big Brother.

Episode release schedule explained

Squid Game: The Challenge season 2 will return to screens on November 4. However, not all episodes will be released straight away.

Instead, fans will have to wait a week for different instalments for the three week run.

• On November 4, fans will be treated to four episodes as a group of brand new players are introduced to the game.
• November 11 will then see the next three episodes aired.
• But fans will have to wait until November 18 for the remaining episodes in the huge season finale.

Squid Game The Challenge games

With subtle nods to various games, executive producer Nicola Brown told Tudum: “Those little Easter eggs are important for both the viewers at home and the players.

“The first thing they do when they walk into the dorm is look at the walls and try to figure out what the new games might be.”

Here are some games fans can look forward to:

• The count – a brand new game that will determine how the competition continues
• Six-Legged Pentathlon – teams race head to head, with legs tied together with mini games thrown in
• Catch – a brand new game which games designer Ben Norman teases is not as simple as it sounds
• Mingle – players on a carousel must gather in groups consisting of a number called out and walk into an adjoining room
• Marbles – with the same rules as season 1 players again partner up and given a bag of marbles and 30 minutes
• Slides and Ladders – a new game that turns the familiar board game into something high stakes and “oversized”
• Circle of Trust – blindfolded at desks in a circle, the player who received a gift box must guess who gave it to them
• Finale game – Remains a mystery for now

Is there a season 3?

With season 2 just days away, Netflix has already geared up for another season of the hit reality show. Anyone wishing to take part can apply online for a chance to compete.

However, according to Tudum, there is another way to get on the show. Tudum hints: “Player recruitment for Season 3 is also now taking place through Squid Game: The Experience in both New York and London.

“Winners at the immersive, IRL experience will receive priority in the casting process, though this does not guarantee they will be selected to take part in Season 3.”

Squid Game: The Challenge season 2 premieres Tuesday, November 4 on Netflix.

THE wild moment when Geri Halliwell and Kylie Minogue locked lips during a TV appearance has resurfaced.

The Aussie pop star and former Spice Girl — whose last name is now Horner — appeared on the iconic TFI Friday show in 1999.

Hosted by Chris Evans, TFI Friday was a huge TV hit in the late 90s thanks to its mixture of music, stars and entertainment.

It was never short of unexpected moments, including the famous snog between Kylie and Ginger Spice.

A clip showing their kiss was shared to Instagram and showed how the pair were sitting opposite each other at a table before embarking on an intense arm wrestle.

As the pair battled it out, they began leaning in closer to each other and ultimately locked lips.

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They then laughed and sat back before coming in together for a quick embrace.

“Back in ’99, pop royalty collided on TFI Friday when Geri Halliwell and Kylie Minogue shared a surprise kiss on live TV,” wrote the 90s TV Legacy Instagram account on the post.

Many people reacted to the video, including TV producer Nathan Eastwood, who was working on TFI Friday at the time.

“I had the job of asking Kylie to do the arm wrestle. She was so lovely, just said of course. The kiss wasn’t planned,” he wrote in the comments.

Other people who remembered the moment happening as they watched live also shared their thoughts.

“Watched it live, classic TV,” commented one person.

Another added: “I remember thinking ‘this is the best day of my life’ watching that as a kid.”

And a third wrote: “Late 90s early 00s was peak humanity and I will not be told any different.”

Kylie herself opened up about the kiss in 2012 when chatting to media outlet, Pride Source.

“That’s true, I hadn’t thought about that… We never discussed it – the kissing or anything. It just all happened,” she said.

BRIDGERTON’S Simone Ashley is in pole position to feature in the sequel to Brad Pitt’s movie F1.

The 30-year-old, who starred with Jonathan ­Bailey in the Netflix romance, was cast in this year’s flick but her scenes were cut.

A source said: “A script is already in the works with early plans to go into production next year.”

As well as appearing in Sex Education, Ashley has also lent her acting chops to suspense drama Thriller.

She shot to fame after starring in the hit Netflix show Sex Education.

The star developed her acting skills at the Arts Ed school in Chiswick, which specializes in Musical Theatre & Acting degrees.

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Simone has spoken about coming from a traditional Indian family, who finds her acting career “quite scary and unsettling”.

She told Veylex: “My parents are incredibly protective over me, and sometimes I found it quite stifling.

“It made me want to escape and do things my own way. I’ve always been a bit rebellious in that sense.”

“I am incredibly privileged to be apart of a generation where young women from all over the world have more opportunity than ever before, where we are being less stereotyped and walls and being broken down slowly.”