Oscar

Hamilton also faces an investigation for failing to slow sufficiently for the yellow flags waved when Leclerc lost control.

Norris topped all three sessions in sprint qualifying and had a comfortable advantage over Piastri throughout.

He said: “It was a little bit tougher than I would have liked. But we did the job we needed to do, which was to be fastest today.

“Qualifying is always one of the best things here. It’s difficulty, it’s bumpy, it’s tricky, always a joy, always puts a smile on your face.

“But a long weekend, another qualifying and another couple of races to go but a good start.”

Rain is forecast for Saturday morning in Sao Paulo, when the sprint race is due to start at 14:00 GMT. Qualifying for the grand prix is at 18:00.

Norris’ result is the best possible start to the weekend and gives him the opportunity to build his championship lead – eight points are awarded to the winner of the sprint, seven for second and so on down to eighth place.

Antonelli impressed in second, his best time set on his first lap, while the surprise package of qualifying was Alonso, who set the fastest time in the second session and was just 0.253secs off pole in his midfield car in the final shootout.

His team-mate Lance Stroll was seventh fastest, ahead of Leclerc, Racing Bulls’ Iscak Hadjar and Sauber’s Nico Hulkenberg.

British actor Pauline Collins, who earned an Oscar nomination for her turn as the stuck-in-a-rut housewife of “Shirley Valentine,” has died. She was 85.

Collins’ family said in a statement Thursday that the actor died peacefully this week at her care home in north London after living with Parkinson’s disease for several years. In the statement, her family said Collins “was so many things to so many people, playing a variety of roles in her life.”

“A bright, sparky, witty presence on stage and screen,” the family described the versatile actor, whose career began in the 1960s.

Collins was well into her 40s when she starred in “Shirley Valentine,” a witty but disgruntled homemaker who accepts a girlfriend’s offer to travel to Greece to bring much-needed spice back to her life. “Sex for breakfast, sex for dinner, sex for tea and sex for supper,” Shirley proudly declares in the 1989 film, directed by Lewis Gilbert.

For Collins, “Shirley Valentine” was more than just an ode to womanhood, self-love and self-discovery. It was also a chance to challenge the conventions of aging in entertainment, including by shooting a nude scene for the film.

“My only sorrow was that I wasn’t younger and thinner,” a 49-year-old Collins told The Times in 1989. “But if I were Jamie Lee Curtis, I wouldn’t have been right for the part.”

“Shirley Valentine,” which also starred Tom Conti as her on-screen Greek lover and Alison Steadman as her friend, led Collins to receive her sole Academy Award nomination, a nod in the leading actress category. The film also received an original song Oscar nomination for Patti Austin’s “The Girl Who Used to Be Me,” written by Marvin Hamlisch and husband-wife lyricist duo Alan and Marilyn Bergman.

Two years before the film’s premiere, Collins originated the role of Shirley Valentine in London for Willy Russell’s one-woman play of the same name. That led to her Broadway debut in 1989 and a Tony Award for best actress in a play the same year. She also won accolades for the play at the Laurence Olivier Awards and a BAFTA for her work in the film adaptation.

Beyond “Shirley Valentine,” Collins was also known for appearing in dozens of TV series including “Upstairs, Downstairs,” “Forever Green,” “The Ambassador,” “Mount Pleasant” and “Dickensian.” She also appeared in films including “City of Joy,” “Paradise Road” and “You Will Meet a Tall Dark Stranger,” counting Patrick Swayze, Glenn Close, Frances McDormand, Antonio Banderas, Josh Brolin and Anthony Hopkins among her co-stars.

Throughout her decades-long screen career, Collins also continued her work in theater, including productions of “The Importance of Being Earnest,” “Woman in Mind” and “Cinderella.”

Collins, born in 1940, was raised near Liverpool by a schoolteacher mother and a headmaster father. She told The Times in 1989 that her dad “was one of the early feminists.”

“He had three daughters and always offered us everything that a boy would have — education and stuff,” she said. “[My parents] had a completely shared domestic situation, they both worked, cooked, did the washing. He even washed nappies [diapers] by hand.”

Her marriage to “Upstairs, Downstairs” co-star John Alderton — they married in 1969 — was not too different. “He just spent five months holding down the fort at home while I was on Broadway,” she recalled.

Alderton, 84, said Thursday that Collins’ “greatest performance was as my wife and mother to our beautiful children.”

While Collins was known for her scenic and romantic on-screen vacation to the Greek coast, she preferred a different kind of destination off-screen: St. Petersburg, Fla.

“It’s amazing, people think when you’re on your own you’re going off to have wonderful sexual adventures. Here I am, on my own, going off to Disney World,” she told The Times. “What does that say about me?”

The Associated Press contributed to this report.

Norris started alongside Verstappen on the front row, hoping McLaren’s usually strong race performance would allow him to challenge the Red Bull driver, who had won two of the past three races and beaten the McLarens in all of them.

But Norris’ hopes of the win evaporated quickly as Leclerc used the extra grip of the soft tyres – he was the only driver in the top 10 to pick them for the start, with everyone else on mediums – to catapult into second place at the first corner.

As Verstappen built his lead, through an early virtual safety car period caused by a collision between Williams’ Carlos Sainz and Mercedes’ Kimi Antonelli, Norris tried in vain to pass Leclerc, with Hamilton in close attendance.

Several times Norris challenged Leclerc on the outside at Turn 12, at the end of the long back straight, but he was never close enough to really try for a pass.

As Verstappen built his lead, Leclerc held on until just before he stopped for fresh tyres on lap 22, fitting the medium compound.

Verstappen stopped a couple of laps later, never losing the lead and enjoying an untroubled win, his third in four races and fifth of the season, matching Norris’ tally.

Norris stayed out for a further 10 laps, dropping behind the Ferrari again when he stopped to fit the soft tyres.

The Briton emerged 2.4 seconds behind Leclerc and within four laps was on the Ferrari’s tail.

But again he could not pass and soon he was on the radio saying his tyres we’re gone.

Norris was advised by his race engineer Will Joseph to back off for a few laps to cool his tyres and try again.

Norris did so, and closed in with five laps to go. He challenged into Turn One, briefly getting past, only for Leclerc to cut back and reclaim the place.

But half a lap later, Norris went for the position again into Turn 12, dummying Leclerc and this time making the move stick.

By this stage, Hamilton had dropped back and took a lonely fourth place.

Red Bull’s Max Verstappen beat McLaren’s Lando Norris to pole position at the United States Grand Prix with championship leader Oscar Piastri down in sixth.

After the McLaren drivers crashed out of the sprint earlier on Saturday, neither was able to challenge Verstappen even though the world champion failed to complete a final run in qualifying.

Verstappen was sent out too late to get around in time to start a last lap before the chequered flag but still beat Norris by 0.291 seconds.

It was an imperious performance that underlined why McLaren are concerned about his threat in the drivers’ championship.

Norris saved his best for last in a difficult session to pip Ferrari’s Charles Leclerc to second on the grid by just 0.006secs.

But Piastri, who has looked out of sorts all weekend, was not quick and he ended up 0.574secs off the pace, and behind Mercedes’ George Russell and the second Ferrari of Lewis Hamilton.

The crash was a gift for Verstappen, who McLaren have always insisted remained a threat in the championship despite his significant deficit, especially as Red Bull have returned to form in recent races.

The crash brought out the safety car for five laps and after the restart Verstappen was tracked by Russell, who made a bold move into Turn 12 on lap seven, a late dive that ended up with both going off the track.

Verstappen retained the position and soon began to edge away and took control of the race.

Sainz was no threat to Russell, but he had to watch his mirrors for Hamilton.

The seven-time champion passed team-mate Charles Leclerc on lap eight down the back straight after the Monegasque lost control of his car through the high-speed Esses earlier in the lap.

Leclerc had a snap through the Esses, cut one of the corners, and that allowed Hamilton to close up. He then passed down the straight as Leclerc edged him right to the edge of the track on the inside.

Leclerc tried to fight back through the series of slower corners through the stadium section but Hamilton held on.

Leclerc took fifth place, with Williams’ Alex Albon sixth and Red Bull’s Yuki Tsunoda seventh.

Mercedes’ Kimi Antonelli took the final point after a 10-second penalty for Haas driver Oliver Bearman, who was adjudged to have gained an advantage by leaving the track after the Italian tried a passing move into Turn 12 late in the race.

Bearman could not believe the penalty when told about it by his team during the race, obviously feeling Antonelli had forced him off track with his late move.

The race ended under another safety car after Aston Martin’s Lance Stroll T-boned Esteban Ocon’s Haas into the first corner, leaving his team with a massive repair job on both cars in the gap before grand prix qualifying at 22:00 BST.

Red Bull’s Max Verstappen, who is 63 points behind Piastri in the championship but has won two of the past three races and finished second in the other, was asked in a news conference on Thursday in Austin whether he believed McLaren were favouring Norris.

He replied: “Absolutely.”

He laughed, and then said: “Yep.”

Leaving the news conference, he said off-microphone: “Well, there’s a headline.”

BBC Sport sought clarification from Verstappen as to whether he had been joking, and he said through a PR person that he had been.

In answer to the same favouritism question, Verstappen added: “I honestly don’t know. I don’t care also. It has nothing to do with me. They do whatever they think is right and they are doing a very good job of it being so quick.

“For me, the most important thing is we maximise our potential and as long as we do that, it is in our control.”

Piastri said: “I’m very happy that there’s no favouritism or bias.”

“Frankenstein” has haunted Guillermo del Toro since he was a kid who barely reached the Creature’s knees. Back in 2011, the writer-director was already tinkering with a version of the monster that resembled a blend of Iggy Pop and Boris Karloff with jagged sutures, gaunt wrinkles and a crushed nose. Since then, Del Toro has made changes. The 2025 model is played by Jacob Elordi, a 6-foot-5 actor often cast as the ideal human specimen in movies like “Saltburn” and who here howls to life with handsome features and rock star swagger. But your eyes keep staring at his pale, smooth seams. He doesn’t look hand-stitched — he looks a little like a modern android.

Of course he does. The decades have given Del Toro time to think about what truly scares him. It’s not monsters. He loves all disfigured nasties, be they swamp creatures, eyeball-less ogres or bolt-headed Hellboys. It’s tech bros, like the ones weaseling into Hollywood, who give their every innovation a sterile sheen.

“Frankenstein” is the director’s lifelong passion project: He doesn’t just want to make a “Frankenstein” but the “Frankenstein,” so he’s faithfully set his adaptation in the past. But he’s adjusted the wiring so that 1850s Europe reminds us of Silicon Valley. The result is the best movie of his career.

This Baron Victor Frankenstein (Oscar Isaac) is a short-sighted egomaniac who barks over his critics while jabbing the air with his fingers. “I fail to see why modesty is considered a virtue,” he says with a snort.

And Del Toro has written Victor an enabler: a deep-pocketed investor named Henrich Harlander (Christoph Waltz) who struts into Victor’s science lecture hunting for a whizkid to crack the code to immortality. With his gold-heeled shoes and a confidence that he’s too rich to die, Waltz’s wealthy arms dealer is a 19th century take on venture capitalists like Bryan Johnson and Peter Thiel who’ve been poking into the feasibility of pumping their veins with young blood.

“Don’t be a reasonable man,” Henrich advises Victor. The assumption is — and remains — that tycoons and geniuses deserve to run rampant. Great success demands an indifference to the rules. And if you’re wondering whether money or brains has more power, there’s a scene in which Henrich uses a chamber pot and smugly orders Victor to “flush that for me.”

Del Toro is wired into the outrage in Mary Shelley’s sly 1818 novel, a nightmarish satire about men who care only about yelling “first!” without asking what horrors come next. Centuries ago, she warned of man’s ill-considered rush to create artificial intelligence. Today, Dr. Frankenstein’s descendants keep promising that AI won’t destroy civilization while ignoring Shelley’s point, that the inventor is more dangerous than his monster.

Victor, a stunted man-child who drinks milk served by a sommelier, is frozen in the I’ll-show-him stage of growing up with an abusive father (Charles Dance) who whipped him when he got a wrong answer on his schoolwork. Victor’s name, we’re reminded, means “winner,” a symbol of the pressure he’s under to excel.

Isaac plays him with a pitchman’s exuberance that sags as the corners of his mouth wrench down in disappointment. He’s hacked how to make a disembodied head moan in agony. But having rarely felt affection, Victor doesn’t know how to generate that emotion at all. Worse, it hasn’t occurred to him to think past the triumph of his product launch, that his Creature can’t be readily unplugged. The only kind characters in the movie are a rural blind man (David Bradley) and the moth-like Mia Goth, double-cast as Victor’s mother, Claire, and his brother’s fiancee, Elizabeth. A convent girl with a creepy streak, Elizabeth sees beauty in biology, leaning over a corpse’s flayed back to appreciate the intricacy of its ventricles. But the more she studies Victor, the less impressed she gets.

Because Shelley came up with “Frankenstein” as an 18-year-old newlywed who’d just lost a baby, her message gets boiled down to gender: Women birth life, men mimic it. Really, the feminine strength of the book lies in its foxy, shifting narration that opens with a prologue from an Arctic explorer who’s gotten his sailors trapped in the ice, before transitioning to Victor’s story and then the Creature’s. Like a hostess who secretly loathes her guests, Shelley encourages her characters to flatter themselves and expose their braggadocio.

Del Toro has kept that tactic and he’s kept the book’s structure. But within that framework, he’s changed nearly everything else to make Victor more culpable. Unlike the 1931 film, there’s no Igor and no excuse of accidentally using the wrong brain. This Victor does his own dirty work and what goes wrong is his fault. Meanwhile, Del Toro amps up the action, starting the film off with a ghastly great sequence in which Elordi’s Creature punches a sailor so hard his spine snaps into a backward somersault.

“What manner of devil made him?” the Captain (Lars Mikkelsen) exclaims. Victor guiltily explains why he played God.

Being a futurist isn’t bad. Henrich, an early adopter of daguerreotype cameras, shoots photographs of women posing with skulls like he’s paving the way for Del Toro’s whole filmography. But pompous Henrich and Victor don’t appreciate that their accomplishments are built on other’s sacrifices. When the cinematographer Dan Laustsen pans across a battlefield of dead soldiers, it feels like a silent scream. Henrich made his fortune killing these men; now, Victor will salvage their body parts.

Del Toro delights in the kinetic gusto of the tale, the grotesquerie of cracking limbs and blood sloshing about Victor’s shoes. In the laboratory, dead leaves and buzzing flies whirl through the air as if to keep up with the inventor’s wild ambitions and Alexandre Desplat’s swirling orchestral score. The production design by Tamara Deverell is superb as are the costumes by Kate Hawley, who shrouds Goth in dramatic chiffon layers and dresses laced to highlight her vertebrae. (This movie loves bones as much as Sir Mix-A-Lot loved backs.)

As Victor rudely flings around torsos and limbs, it’s clear that he only values life if it’s branded with his name. So yes, of course, Elordi’s Creature looks good. He’s been assembled from the choicest bits of man flesh to show off the talent of his creator, not so different from Steve Jobs caressing samples of brushed aluminum. When Elordi’s Creature pleads for a companion, a sliver of sculpted abs peeking out from under five hulking layers of wool and fur, you expect half the audience’s hands to shoot up and volunteer.

Elordi has adopted one or two of Karloff’s mannerisms: the arms outstretched in search of warmth, the lurching walk. You can see that he’s a tad lopsided on the left side, presumably because Victor couldn’t find matching femurs. Mostly, he’s his own monster, neither the calculating serial murderer of the book nor Karloff’s reactive, animalistic killer, but a scapegoat who finally starts leveling his foes with bone-breaking efficiency.

Towering over Victor by almost a foot, Elordi’s Creature dwarfs his creator physically, morally and emotionally. There’s anguish in his eyes, and when Del Toro shows us the world through his perspective, humanity itself appears anti-life, a pestilence that destroys without hesitation.

There’s a pack of digital wolves that just looks silly. Otherwise, you trust how intensely Del Toro has doted upon every detail. I was flummoxed by a row of servants flanking young Victor (Christian Convery) who appeared to be wearing gauzy bags over their heads. What are those for? My theory is it’s a tribute to the veil Karloff sported during lunch breaks, so as not to frighten any pregnant secretaries on the Universal lot.

Eschewing mobs of pitchfork-wielding villagers, Del Toro focuses on Victor’s inability to parent his unholy son. And while the end stretch gets a bit too stiff and speechy, particularly with a line that Victor is the “true monster,” I loved the moment when the Creature, venting on behalf of all frustrated children however big they‘ve grown, growls, “The miracle is not that I should speak but that you would listen.”

This deservedly anticipated “Frankenstein” transforms that loneliness into stunning tableaux of Victor and his immortal Creature tethered together by their mutual self-loathing. One man’s heart never turned on. One can’t get his heart to turn off. Ours breaks.

Hollyoaks is celebrating its 30th anniversary this month after first airing on October 23, 1995

Hollyoaks is marking a special occasion this month as it celebrates 30 years on air.

The popular Channel 4 soap first graced our screens on 23 October 1995 and will soon be marking its 30th anniversary.

Over the decades, Hollyoaks has seen a plethora of actors and characters come and go in the fictional village. Some stars, like Nick Pickard, who portrays Tony Hutchinson, have been with the soap since its inception.

However, other actors have traded the fictional village for the glitz and glamour of Hollywood. From Oscar triumphs to hit HBO series, let’s take a look at the stars who’ve made the leap to Los Angeles…, reports the Manchester Evening News.

Rachel Shenton

Rachel Shenton portrayed Mitzeee Minniver on Hollyoaks from 2010 to 2013. After her departure, Rachel, 37, bagged a role in US series Switched at Birth, where she played Lily Summers.

The actress, who is fluent in both British Sign Language and American Sign Language, had her big moment in 2018 when she clinched an Academy Award for her short film The Silent Child, which she wrote, produced and starred in.

The short film tells the story of Libby, a profoundly deaf four year old girl, who lives a silent life until a social worker, played by Rachel, teaches her how to communicate through sign language.

Following her Oscar triumph, Rachel has portrayed Helen Alderson in All Creatures Great and Small since 2020. Other roles include The Strangers: Chapter 1, The Rumour and The Strangers: Chapter 2.

Nathalie Emmanuel

Nathalie Emmanuel, who portrayed Sasha Valentine on Hollyoaks from 2006 to 2010, has since enjoyed a successful career. After leaving the soap, Nathalie, 36, secured the role of Missandei in the HBO hit series Game of Thrones from 2013 to 2019, catapulting her to stardom.

Since then, she’s been playing Jordan King in Die Hart since 2020 and has taken on numerous film roles.

Her filmography includes Maze Runner: The Scorch Trials, Furious 7, The Fate of the Furious, Maze Runner: The Death Cure, The Titan, F9, Fast X, Arthur the King, Megalopolis and The Killer.

Emmett J Scanlan

Emmett J Scanlan, who played Brendan Brady from 2010 to 2013, has also had a successful career post-Hollyoaks. After his departure, Emmett, 46, bagged the role of D. C. Glenn Martin in The Fall.

He’s also starred as Josh in Harlan Coben’s Safe in 2018, Billy Grade in Peaky Blinders, and has appeared in Derry Girls, The Teacher and MobLand, among others.

Emmett achieved international recognition with Netflix’s hit Harlan Coben drama Fool Me Once in 2024, where he played Shane Tessier. His film credits include Guardians of the Galaxy, Argylle and A Working Man.

Guy Burnet

Guy Burnet played Craig Dean in the popular Channel 4 soap from 2002 until 2008.

Guy, 42, has since gone on to have a successful Hollywood career with appearances in films such as Pitch Perfect 3, where he played Theo in the 2017 movie. The actor has also appeared in hit TV series Ray Donovan, The Affair and Counterpart.

However, it was one of his latest projects that left fans stunned as he was part of the star-studded cast of Oppenheimer, which was released in cinemas on 21 July 2023 in the UK.

He has recently appeared in FUBAR alongside Arnold Schwarzenegger as Theodore Chips and American Horror Stories.

Ricky Whittle

Ricky Whittle, who portrayed Calvin Valentine on Hollyoaks from 2006 to 2011, has also made a name for himself in Hollywood. After leaving the soap, Ricky, 45, relocated to Los Angeles and quickly landed a number of roles.

From 2014 to 2016, he starred in the sci-fi drama The 100 and US soap Mistresses. Following this, he secured the lead role in American Gods in 2017, with the series running until 2021.

Roxanne McKee

Roxanne McKee, who portrayed Louise Summers from 2005 to 2008, went on to secure the role of Doreah in Game of Thrones from 2011 to 2012 after her departure.

The 45 year old actress then bagged roles in Dominion as Claire Riesen and Pandora as Eve in 2020, among others. Her film credits include Inside Man: Most Wanted and Bambi: The Reckoning.

Wallis Day

Wallis Day played Holly Cunningham in Hollyoaks from 2012 to 2013.

Since then, the 31 year old actress has taken on roles such as Angie on The Royals from 2016 to 2018, Nyssa-Vex in Krypton from 2018 to 2019, Kate Kane / Circe Sionis in Batwoman in 2021, and Gigi in Netflix’s 2023 series of Sex/Life.

DIANE Keaton’s family have shared the acting legend’s cause of death in a touching tribute to her after the Oscar winner died on Sunday.

The Godfather and Annie Hall star tragically died aged 79 after her health had quickly declined, her family have confirmed.

They have now released a statement to People revealing the cause of her passing as pneumonia.

They said: “The Keaton family are very grateful for the extraordinary messages of love and support they have received these past few days on behalf of their beloved Diane, who passed away from pneumonia on October 11.

“She loved her animals and she was steadfast in her support of the unhoused community, so any donations in her memory to a local food bank or an animal shelter would be a wonderful and much appreciated tribute to her.”

A source told the outlet that Keaton’s health had “declined very suddenly, which was heartbreaking for everyone who loved her.”

Read more on Diane Keaton

‘DELIGHTFUL LADY’

Tributes to ‘icon of style & comedy’ as Diane Keaton dies age 79

GOODBYE DIANE

Oscar winner and Godfather star Diane Keaton dies at 79

“In her final months, she was surrounded only by her closest family, who chose to keep things very private. Even longtime friends weren’t fully aware of what was happening.”

When the news of her death broke on Sunday her family had only released a short statement asking for privacy in “this great moment of sadness”.

She is survived by her two children Dexter, 29, and Duke Keaton, 25.

Keaton won the Best Actress Oscar in 1978 for her role in Annie Hall starring alongside the film’s director Woody Allen.

Many speculated that the movie was in fact based on the pair’s real-life relationship.

Keaton told The New York Times in 1977: “It’s not true, but there are elements of truth to it.”

The emergency call to first responders has been released, with medics dispatched to a “person down” in the early hours of the morning, according to audio obtained by TMZ.

“Rescue 19, person down,” a dispatcher said before Keaton was transported to a local hospital by the Los Angeles Fire Department.

Touching tributes poured in for Keaton after news of her death broke.

Acting giant Ben Stiller said of the late actress: “Diane Keaton. One of the greatest film actors ever.

“An icon of style, humor and comedy. Brilliant. What a person.”

The First Wives Club co-star Bette Midler said: “The brilliant, beautiful, extraordinary Diane Keaton has died.

“I cannot tell you how unbearably sad this makes me.”

She added: “She was hilarious, a complete original, and completely without guile, or any of the competitiveness one would have expected from such a star.

“What you saw was who she was…oh, la, lala!”

Hollywood legend Al Pacino – who starred alongside Keaton in the Godfather – is said to regret not marrying the star after their on-and-off relationship.

An insider told the Daily Mail: “For years after he and Diane split, Al used to say, ‘if it’s meant to be, it’s never too late for a do-over.’ But sadly, now it is.”

Keaton left an estimated £75million estate following her death.

On top of her acting earnings, she had invested in real estate, to build a large fortune of over $100million.

OMAZE-ING

I went from council flat to winning £4m house… But this is why I’m selling up

BOTTOMS UP

Wetherspoons reveals opening dates of 5 new pubs starting next week

In California, she sold a home at Laguna Beach for £9.5million, and her home in Pacific Palisades for £5million.

She also reportedly had property in Tucson, Arizona, which she sold for £1.9million four years ago.

Diane’s final post

By Hana Carter

Diane Keaton’s devastated fans flocked to her final Instagram post hours after news of the star’s death.

The actress had shared a selection of heartwarming photos of her beloved dog Reggie.

In the collaborative post with Hudson Grace, she celebrated National Pet Day back in April this year.

In one of the photos, she knelt on the floor beside her pup and pointed at a bag of dog biscuits.

Shaken by the passing of the Hollywood icon, Diane’s followers paid tribute.

“A true legend. Thank you for your talent, your animal advocacy, your immeasurable charm. You will be missed,” one wrote.

“Lost one of the greatest actors and lights of this world today,” another said.

A third wrote: “I wasn’t ready for this forever lively legend to be gone so soon.”

Diane Keaton died in Los Angeles on Saturday at age 79, and her family says the cause was pneumonia.

Family members of the Oscar-winning actress shared a statement with People confirming Keaton’s cause of death and saying they were “very grateful for the extraordinary messages of love and support” they had received in recent days.

The outlet first reported the news of the screen icon’s death Saturday, saying the Los Angeles Fire Department had responded to her home that morning and transported a 79-year-old woman to an area hospital. Initially, the family did not disclose the cause of death and asked for privacy as they processed their grief.

In Wednesday’s statement, Keaton’s family members said the star had a deep love for animals and was passionate about supporting the unhoused community. They encouraged people to honor her memory by donating to a food bank or animal shelter.

Keaton was known for her powerful performances in iconic pictures such as Francis Ford Coppola’s “Godfather” movies and Woody Allen’s “Annie Hall,” which earned her the 1978 Academy Award for lead actress. She was also nominated for lead actress for her roles in “Reds” (1981), “Marvin’s Room” (1996) and “Something’s Gotta Give” (2003).

Born in Los Angeles in 1946, Keaton rose to fame through her late 1960s New York stage career, earning a Tony nomination at age 25 for her role in Allen’s 1969 theatrical production of “Play It Again, Sam.”

Later in her career, she became a muse for writer-director-producer Nancy Meyers and starred in four of her movies. She was a noted trendsetter known for her fabulous on-screen outfits and, more recently, for sharing her style on Instagram, where she amassed 2.6 million followers.

Keaton’s death was widely mourned by theater, movie and fashion lovers alike.

“She was hilarious, a complete original, and completely without guile, or any of the competitiveness one would have expected from such a star,” wrote actor Bette Midler on Instagram. “What you saw was who she was.”

“Diane Keaton wasn’t just an actress: she was a force,” wrote actor Octavia Spencer on Instagram, “a woman who showed us that being yourself is the most powerful thing you can be. From Annie Hall to Something’s Gotta Give, she made every role unforgettable.”

Times film editor Joshua Rothkopf contributed to this report.

With “One Battle After Another” sporting a large lead in the best picture race, it’s no surprise its beloved auteur, 11-time nominee Paul Thomas Anderson, would enjoy a similar cushion in the directing category in Round 1.

Amy Nicholson says “One Battle” “isn’t his best film — deciding that would start a real fistfight — but it’s worthy enough to claim a prize that’s long overdue.” Glenn Whipp writes, “The list of great directors who never won an Oscar is ridiculous. Kubrick, Hitchcock, Altman, Fellini. Could this be the year that [Anderson] breaks out of that club, distinguished though it may be?”

Noting Anderson could bump that nominations total to 14 this year (as writer, director and producer), Dave Karger says, “This category could well contain two female filmmakers for the first time in five years,” naming Bigelow and Zhao among his picks.

Katie Walsh points out that, surprisingly, “Ryan Coogler has never been nominated for best director, and Jafar Panahi threads an incredible tonal needle.”

Best picture | Best animated feature | Best international feature

1. Paul Thomas Anderson, “One Battle After Another”
T2. Kathryn Bigelow, “A House of Dynamite”
T2. Ryan Coogler, “Sinners”
4. Chloé Zhao, “Hamnet”
5. Jafar Panahi, “It Was Just an Accident”
6. Joachim Trier, “Sentimental Value”
7. Park Chan-wook, “No Other Choice”
8. Bill Condon, “Kiss of the Spider Woman”

RogerEbert.com

Robert Daniels

1. Kathryn Bigelow, “A House of Dynamite”
2. Paul Thomas Anderson, “One Battle After Another”
3. Jafar Panahi, “It Was Just an Accident”
4. Chloé Zhao, “Hamnet”
5. Joachim Trier, “Sentimental Value”

“With 11 prior nominations and zero wins, the Oscar has long eluded Paul Thomas Anderson. But with ‘One Battle After Another’ earning raves and an academy that has honored overdue directors three of the last four ceremonies (Jane Campion, Christopher Nolan, Sean Baker), maybe this is his year.”

Turner Classic Movies

Dave Karger

1. Paul Thomas Anderson, “One Battle After Another”
2. Kathryn Bigelow, “A House of Dynamite”
3. Chloé Zhao, “Hamnet”
4. Joachim Trier, “Sentimental Value”
5. Jafar Panahi, “It Was Just an Accident”

“On nomination day, 11-time Oscar nominee Paul Thomas Anderson will likely become a 14-time Oscar nominee. Surprisingly, he’s never won in any category. But this could certainly be his year. Meanwhile, this category could well contain two female filmmakers for the first time in five years.”

Los Angeles Times

Amy Nicholson

1. Paul Thomas Anderson, “One Battle After Another”
2. Ryan Coogler, “Sinners”
3. Kathryn Bigelow, “A House of Dynamite”
4. Park Chan-wook, “No Other Choice”
5. Bill Condon, “Kiss of the Spider Woman”

“Paul Thomas Anderson has 11 Academy Award nominations (no surprise there) and zero wins. What!? ‘One Battle After Another’ isn’t his best film — deciding that would start a real fist fight — but it’s worthy enough to claim a prize that’s long overdue.”

IndieWire

Anne Thompson

1. Paul Thomas Anderson, “One Battle After Another”
2. Ryan Coogler, “Sinners”
3. Chloé Zhao, “Hamnet”
4. Kathryn Bigelow, “A House of Dynamite”
5. Joachim Trier, “Sentimental Value”

“If ‘Sinners’ wins best picture, director could go to ‘One Battle After Another’s’ Paul Thomas Anderson after 11 nominations (and no wins) for arguably his most bravura movie to date. Both ‘Hamnet’ director Chloé Zhao and ‘House of Dynamite’s’ Kathryn Bigelow have won before.”

Tribune News Service

Katie Walsh

1. Paul Thomas Anderson, “One Battle After Another”
2. Ryan Coogler, “Sinners”
3. Jafar Panahi, “It Was Just an Accident”
4. Chloé Zhao, “Hamnet”
5. Kathryn Bigelow, “A House of Dynamite”

“It has to be Anderson, but I can see the academy recognizing former winners like Kathryn Bigelow and Chloé Zhao. Ryan Coogler has never been nominated for best director, and Jafar Panahi threads an incredible tonal needle with ‘It Was Just an Accident’ (the Palme d’Or helps too).”

Los Angeles Times

Glenn Whipp

1. Paul Thomas Anderson, “One Battle After Another”
2. Ryan Coogler, “Sinners”
3. Chloé Zhao, “Hamnet”
4. Joachim Trier, “Sentimental Value”
5. Kathryn Bigelow, “A House of Dynamite”

“The list of great directors who never won an Oscar is ridiculous. Kubrick, Hitchcock, Altman, Fellini. Could this be the year that Paul Thomas Anderson breaks out of that club, distinguished though it may be? With ‘One Battle After Another,’ he has the movie to do it.”

Norway’s “Sentimental Value” looks poised to be this year’s international feature that breaks through across multiple categories (think “All Quiet on the Western Front,” “Anatomy of a Fall,” “Emilia Pérez” and others): the non-English language movie that earns academy recognition for its acting, script and direction.

Anne Thompson handicaps the race so far thus: Noting that several countries still haven’t chosen their submissions, “Cannes prizewinners have an increased profile with the international committee, including Norway’s ‘Sentimental Value’ and Brazil’s ‘Secret Agent.’ ”

But several other official submissions have our panel over the moon.

“I’ll call it right now,” declares Glenn Whipp: “The thrilling ‘Sirât,’ from Spanish filmmaker Oliver Laxe, is going to be named best picture by either the Los Angeles or New York film critics … then it’ll be off to the races for this film, a ‘Sorcerer’ for the 21st century.”

Robert Daniels’ description of “The Voice of Hind Rajab” is harrowing: “The real-life story of a 6-year-old Palestinian girl whose final hours trapped in a car under intense fire from an IDF tank were spent pleading to be saved … a candid dramatization of her emergency phone calls.”

1. “Sentimental Value” (Norway)
2. “It Was Just an Accident” (France)
3. “The Secret Agent” (Brazil)
4. “No Other Choice” (South Korea)
5. “Sirât” (Spain)
6. “The Voice of Hind Rajab” (Tunisia)
T7. “Calle Málaga” (Morocco)
T7. “The President’s Cake” (Iraq)
T7. “A Useful Ghost” (Thailand)

RogerEbert.com

Robert Daniels

1. “The Voice of Hind Rajab” (Tunisia)
2. “It Was Just an Accident” (France)
3. “Calle Málaga” (Morocco)
4. “Sentimental Value” (Norway)
5. “No Other Choice” (South Korea)

“Venice’s harrowing grand jury prize winner, Tunisia’s ‘The Voice of Hind Rajab,’ has already built early momentum. The film tells the real-life story of Rajab, a 6-year-old Palestinian girl whose final hours trapped in a car under intense fire from an IDF tank were spent pleading to be saved. A distressing docufiction, the film is a candid dramatization of her emergency phone calls.”

Turner Classic Movies

Dave Karger

1. “Sentimental Value” (Norway)
2. “It Was Just an Accident” (France)
3. “The Secret Agent” (Brazil)
4. “No Other Choice” (South Korea)
5. “Left-Handed Girl” (Taiwan)

“Three films that are also overall contenders this year stand to dominate this race: Norway’s ‘Sentimental Value,’ Brazil’s ‘The Secret Agent’ and France’s ‘It Was Just an Accident.’ The bigger question will be which films are able to snag the final two slots.”

Los Angeles Times

Amy Nicholson

1. “The Secret Agent” (Brazil)
2. “Sentimental Value” (Norway)
3. “A Useful Ghost” (Thailand)
4. “2000 Meters to Andriivka” (Ukraine)
5. “It Was Just an Accident” (France)

“Can Brazil get back-to-back wins for international feature? Possivelmente! ‘The Secret Agent,’ another political thriller set during the dictatorship, was one of the buzziest movies at Cannes, where it scooped up best actor for star Wagner Moura and best director for Kleber Mendonça Filho (of the weirdo western ‘Bacarau’).”

IndieWire

Anne Thompson

1. “Sentimental Value” (Norway)
2. “The Secret Agent” (Brazil)
3. “The President’s Cake” (Iraq)
4. “No Other Choice” (South Korea)
5. “Left-Handed Girl” (Taiwan)

“It’s too early, as [several countries] haven’t submitted yet. But Cannes prizewinners have an increased profile with the international committee, including Norway’s ‘Sentimental Value’ and Brazil’s ‘Secret Agent.’ ”

Tribune News Service

Katie Walsh

1. “It Was Just an Accident” (France)
2. “Sentimental Value” (Norway)
3. “The Secret Agent”
4. “Sirât” (Spain)
5. “No Other Choice” (South Korea)

“Based on Cannes, I think ‘It Was Just an Accident’ (France), ‘The Secret Agent’ (Brazil), ‘Sirât’ (Spain) and ‘Sentimental Value’ (Norway) could be considered as good as nominated. But who will emerge triumphant in the fifth spot?”

Los Angeles Times

Glenn Whipp

1. “Sirât” (Spain)
2. “Sentimental Value” (Norway)
3. “It Was Just an Accident” (France)
4. “No Other Choice” (South Korea)
5. “The Secret Agent” (Brazil)

“I’ll call it right now. The thrilling ‘Sirât,’ from Spanish filmmaker Oliver Laxe, is going to be named best picture by either the Los Angeles or New York film critics. Who knows? Maybe both. And then it’ll be off to the races for this film, a ‘Sorcerer’ for the 21st century.”

With so much uncertainty in the earliest round, consensus No. 1 picks are rare, but that’s just what Jessie Buckley of “Hamnet” is — one of only two in the entire BuzzMeter poll. She has double the points of runner-up Renate Reinsve, who is just one tally ahead of Emma Stone.

Saying it feels “inevitable” that Buckley will one day win, Robert Daniels calls her work in “Hamnet” “a gut-wrenching performance … Jessie Buckley’s fearless turn echoes with the force of a primal scream.”

Among the other contenders, Glenn Whipp asks of the upcoming “Wicked: For Good,” “Will voters be into it or over it? That’s a coin flip. More certain: Cynthia Erivo will rip out our hearts in the sequel.” Dave Karger wonders if one star has the makeup to land in the top five: “‘Christy’ star Sydney Sweeney will try to ride her strong Toronto buzz to a first nomination.”

Meanwhile, Katie Walsh highlights one of the perils of long-range predictions — occasional category uncertainty: “Should Emily Blunt go lead for ‘The Smashing Machine,’ or supporting?” Blunt’s roller-coaster performance as a champion wrestler’s love — and perhaps his most dangerous opponent — is hard to pin down.

As for Seyfried, at press time “The Testament of Ann Lee” doesn’t yet have a distributor. But perhaps the lead’s strong showing on the BuzzMeter will be an inducement to change that.

1. Jessie Buckley, “Hamnet”
2. Renate Reinsve, “Sentimental Value”
3. Emma Stone, “Bugonia”
4. Amanda Seyfried, “The Testament of Ann Lee”
5. Cynthia Erivo, “Wicked: For Good”
6. Rose Byrne, “If I Had Legs I’d Kick You”
7. Tessa Thompson, “Hedda”
8. Jennifer Lawrence, “Die, My Love”

RogerEbert.com

Robert Daniels

1. Jessie Buckley, “Hamnet”
2. Amanda Seyfried, “The Testament of Ann Lee”
3. Emma Stone, “Bugonia”
4. Julia Roberts, “After the Hunt”
5. Renate Reinsve, “Sentimental Value”

“With a gut-wrenching performance as Agnes Shakespeare, Jessie Buckley’s fearless turn echoes with the force of a primal scream. It feels inevitable that the previous nominee will win an Oscar at some point. It’s just a matter of time.”

Turner Classic Movies

Dave Karger

1. Jessie Buckley, “Hamnet”
2. Renate Reinsve, “Sentimental Value”
3. Emma Stone, “Bugonia”
4. Cynthia Erivo, “Wicked: For Good”
5. Sydney Sweeney, “Christy”

“International actresses headline this race, with ‘Hamnet’s’ Jessie Buckley and ‘Sentimental Value’s’ Renate Reinsve earning festival raves for their wonderful performances. Two-time winner Emma Stone and two-time acting nominee Cynthia Erivo are also likely to return, while ‘Christy’ star Sydney Sweeney will try to ride her strong Toronto buzz to a first nomination.”

Los Angeles Times

Amy Nicholson

1. Jessie Buckley, “Hamnet”
2. Tessa Thompson, “Hedda”
3. Amanda Seyfried, “The Testament of Ann Lee”
4. Rose Byrne, “If I Had Legs I’d Kick You”
5. Cynthia Erivo, “Wicked: For Good”

“A Jessie Buckley win here as Shakespeare’s wild, witchy wife makes perfect sense. The Irish talent comes to the campaign with a supporting nom for ‘The Lost Daughter’ already under her sash and heaps of critical goodwill dating to 2018’s ‘Wild Rose.’ But I wouldn’t mind a Tessa Thompson upset.”

IndieWire

Anne Thompson

1. Jessie Buckley, “Hamnet”
2. Renate Reinsve, “Sentimental Value”
3. Rose Byrne, “If I Had Legs I’d Kick You”
4. Emma Stone, “Bugonia”
5. Cynthia Erivo, “Wicked: For Good”

“The win could go to Jessie Buckley for her heart-wrenching mother in ‘Hamnet.’ Her challengers are another troubled mother, Rose Byrne in ‘If I Had Legs I’d Kick You,’ warbler Cynthia Erivo in ‘Wicked for Good,’ ‘Bugonia’ star Emma Stone, who has already won twice, and Renate Reinsve as a great actress in Norwegian Oscar submission ‘Sentimental Value.’ ”

Tribune News Service

Katie Walsh

1. Jessie Buckley, “Hamnet”
2. Emma Stone, “Bugonia”
3. Jennifer Lawrence, “Die, My Love”
4. Renate Reinsve, “Sentimental Value”
5. Amanda Seyfried, “The Testament of Ann Lee”

“I haven’t seen ‘Hamnet,’ but I’m hearing best actress is Jessie Buckley’s to lose. The TIFF People’s Choice Award gives it a boost too. Should Emily Blunt go lead for ‘The Smashing Machine,’ or supporting?”

Los Angeles Times

Glenn Whipp

1. Jessie Buckley, “Hamnet”
2. Renate Reinsve, “Sentimental Value”
3. Cynthia Erivo, “Wicked: For Good”
4. Emma Stone, “Bugonia”
5. Rose Byrne, “If I Had Legs I’d Kick You”

“Get ready for the sequel Oscar campaign for Cynthia Erivo and ‘Wicked’ as the second installment of the musical adaptation lands in November. Will voters be into it or over it? That’s a coin flip. More certain: Erivo will rip out our hearts in the sequel.”

McLaren have been determined to keep the fight between their two drivers as fair as possible but their approach was always likely to lead to controversy at some point.

That was certainly the case at Monza, as they interfered after the sort of twist of fate that often turns driver’s races.

Norris unquestionably deserved the second place on the balance of the race, but his pit stop problem left the team with an agonising quandary.

It is normal practice to pit the lead driver first in such a scenario but McLaren decided they wanted to pit Piastri first, saying they made the decision to ensure he was clear of Ferrari’s Charles Leclerc, who had pitted earlier on a conventional strategy.

Norris questioned it when told of the decision, saying he was fine “as long as there was no undercut”, which would be him being passed by Piastri going faster on his out lap. He was assured there would be no such thing.

Piastri’s stop was faultless at 1.9 seconds but Norris’s front right wheel gun had a problem and his stop was 5.9, so Piastri was in the lead when Norris re-emerged on to the track.

Piastri was immediately told to let Norris back past. His engineer Tom Stallard said: “Oscar, this is a bit like Hungary last year. We pitted in this order for team reasons. Please let Lando past and then you are free to race.”

Piastri replied: “I mean, we said a slow pit stop was part of racing, so I don’t really get what’s changed here. But if you really want me to do it, then I’ll do it.”

After the race, Norris said: “Every now and again we make mistakes as a team. Today was one of them.”

The point of view of both drivers is understandable, and it will be interesting to see how McLaren manage this in the increasing tension of a title fight.

Speaking to Sky Sports later, Piastri was accepting of the decision, saying: “The decision to swap back was fair. Lando was ahead of me the whole race. I don’t have any issues with that.”

This article contains spoilers from the first season of “The Paper.”

The journey to spin off the U.S. version of “The Office” has, until now, been long and slow. (That’s what she said.)

While the unconventional workplace comedy about a humdrum band of paper company employees, adapted from a beloved British series of the same name, famously got off to a sluggish start on NBC with a low-rated six-episode first season, it became a rare case study of how a risky gamble can become a pop culture phenomenon and one of the most popular sitcoms in TV history. Talks of expanding “The Office” universe began as early as Season 3, when another office branch was introduced. “Parks and Recreation” was initially conceived as a spinoff but morphed into a standalone series. Another centered on socially awkward Dwight Schrute (Rainn Wilson) would get dropped. The series eventually ended its nine-season run in 2013 with no offshoot. But it still managed to have an afterlife without one, as fans obsessively continued to watch it in syndication or on streaming platforms.

Once “The Office” began making headlines in 2020 for the being the most streamed show in America, Greg Daniels, who captained the U.S. adaptation and was initially concerned about tarnishing its legacy with offshoots, was coming around to the idea that it was safely insulated enough to withstand any attempt to find a way to build out its kooky world.

Finally, more than a decade after “The Office” went off the air, Peacock is hoping the spinoff series “The Paper” can recycle some of that show’s success while finding its own path.

In “The Paper,” Domhnall Gleeson, left, stars as editor in chief Ned Sampson, and Tim Key plays executive Ken Davies.

(Aaron Epstein / Peacock)

This series shifts its focus to the staff at the Toledo Truth Teller, a struggling local newspaper in Ohio, which is being filmed by the same documentary crew that followed bumbling boss Michael Scott (Steve Carell) and his Scranton, Pa.-based Dunder Mifflin employees. (It’s a believable documentary subject when you consider the U.S. has lost more than one-third of its newspapers since 2005.) Daniels created the series with Michael Koman (“Nathan For You,” “How to With John Wilson”).

All 10 episodes of the first season were released Thursday on Peacock, and the show has been picked up for a second season. Daniels and Koman visited The Times earlier this month — and spoke in follow-up video calls — to discuss the comedy potential of a beleaguered industry, why Oscar is the obvious choice to be the crossover character in the spinoff and whether they plan to reference the president’s comments about the press. These are edited excerpts from the conversation.

The series was originally going to launch with four episodes, then switch to a weekly drop. But it was recently announced that the full season is dropping at once. What happened? And do you have strong feelings about release models?

Daniels: Every company is different. I do know that they’re [NBCUniversal] being incredibly supportive and there’s a giant team gaming out every move. I trust that they have the best of intentions and have a lot of good strategy. My inclination was always to sneak on the air without any fanfare whatsoever, and then maybe advertise after — that is very naive, apparently. One possible nice thing about it being handled this way is our superfans will be able to watch at their own convenience, and maybe before they’ve seen too many promos. I’ve always felt like the show was cut to be the introduction to the show itself. And the more you know jokes you see from later in the seasons, the more you’re coming at it with an unintended awareness of what’s to come. It may play better, just clean for all the superfans. Actually, I thought at first, the pace-out model would be good because that was how “The Office” was on NBC. But they did point out to me that probably the majority of “The Office” fans have watched it on streaming, where they could binge the whole thing.

Koman: It’s not really my area, but that’s how I like to watch things. I’m always happy when it’s up to me — I can make my own schedule, and I tend to watch things quickly.

The crisis facing local journalism doesn’t feel like an obvious backdrop for comedy — and if you’re in it, it’s more of a can’t-help-but-laugh–to-keep-from-crying vibe. How did you arrive at a newsroom as your backdrop and what was the pitch?

Daniels: You wouldn’t think that selling stationary was a particularly hilarious or glamorous place to set a show. I think that there are some intentional differences with this show, and in the sense that we didn’t want to repeat aspects of “The Office.” For me, I was incredibly protective of the original show and the cast. I just waited a long time to do something like this. The original “Office” cast was very supportive by the time it came about. Since it’s a documentary, if you’re going to really commit to that device, you have to think all the time about [how] there’s really camerapeople in the room; they’re trying to cover something; they wouldn’t be there to just cover what they thought was a funny workplace. They’re there to cover an actual story. And the hollowing out of local newspapers is an interesting story that you could imagine a documentary crew from PBS being like, “Oh, this is a good story.” Of course, since it’s a comedy show, the stuff that’s happening in the background is really the point of the show — all the funny interactions with people as they try to do stuff. Another way that we wanted it to be different was the whole interaction between Michael Scott and his staff — he was not a very inspirational boss, and Ned Sampson, played by Domhnall Gleeson, comes in and he does manage to inspire the people working there. And the question is more: Is he biting off way more than he can chew and his staff can chew? Or should they be right and believing in him?

Koman: I just think reality always makes the best backdrop. And it’s good if your characters are facing a challenge and you have something to root for.

1

2

1. Clockwise from top left: Rainn Wilson as Dwight Schrute, Jenna Fischer as Pam Beesly, John Krasinksi as Jim Halpert, BJ Novak as Ryan Howard and Steve Carell as Michael Scott in “The Office.” 2. Carell, Krasinksi and Wilson in a scene from the NBC comedy. (Justin Lubin / NBC Universal)

How did you land on Toledo?

Daniels: That was really about the alliteration of the Toledo Truth Teller. There’s something about the Cleveland Plain Dealer that I think is a super interesting thing. The name of it, I thought, has always been very intriguing. It kind of reminds you of the independence of these big Midwestern newspapers, which is different from now. It really feels like the big newspapers are L.A., New York, Washington, Dallas. I know the Cleveland Plain Dealer is still quite healthy, which is great. But there is something about the Midwest that feels nostalgic.

Koman: If I think of the heyday of print journalism, Ohio is just a place that comes to mind. They had so many really important newspapers and great journalists that came out of there, so it just seemed like … if somebody was going to try to revive something, that’s a state, and Toledo itself, is a place where you can see it happening.

Daniels: Toledo also has a certain “Office-y,” Scranton thing to it. There was a time where we were looking at where the other locations that Dunder Mifflin has offices. And the list is very funny. It’s like Yonkers and Nashua, New Hampshire. It’s all these words that are just kind of fun to roll off your tongue.

Greg, you had been resistant to the idea of expanding “The Office” universe. “Parks and Recreation” was originally meant to be a spinoff, but it eventually evolved away from that. Why now? What changed?

Daniels: There’s two questions. One is, why now? And part of that is that “Upload” [Daniels’ Prime Video series] is wrapping up. When we first started discussing it, I didn’t know what was going to happen with “Upload.” I had sold it and I was committed to being the showrunner and it kept getting picked up, so I kept having to put off thinking about any kind of [“The Office”] spinoff. But [the final season of] “Upload” is dropping Aug. 25. The other part of your your question — over the years, since the finale, the show had this enormous blow-up on Netflix. It just felt like this show is pretty bulletproof at this point. Even if we did a s— job with a spinoff, it’s not going to go back in time and mess up “The Office,” which was my concern. “The Office” was such a beautiful and rare confluence of the cast and the time and the format and the writers and everything — it seemed very arrogant to think you could pull that off again. But then after a while, it’s like, “Well, you got to try.” You can’t be intimidated out of ever doing anything.

Greg Daniels says the staff of a struggling newspaper is as relatable as their Dunder Mifflin predecessors: “That quality of morale being low is very ‘Office’-like. The tone is intended to be similar without having the characters be similar.”

(Jason Armond / Los Angeles Times)

How did you arrive at former Dunder Mifflin accountant Oscar Martinez (Oscar Núñez) being the connecting character between the two shows?

Daniels: When you look at the finale of “The Office,” everybody was going off in their own direction that had a lot of, in my view, meaningful wrap-up of their story. Jim and Pam were moving to Boston with Darrell; Toby was in England. But Oscar didn’t really have a big arc. He was pretty much Oscar the whole way through, and it didn’t feel like it was going to undo anything with “The Office” to keep Oscar involved.

Koman: It made sense, just on a business level, that if one company was acquired by another, that some people would move over into that company. He was the one person who, I think, would have stayed.

Daniels: He was maybe the most self-possessed. He had the most dignity, I think, of most of the characters. The idea that the crew has found him again just seemed appropriate. He did run for elective office at the end of “The Office,” so I feel like he is susceptible to being inspired and do something for his community, so he seems like a person who could buy into what Ned is selling.

Koman: Also, he has kind of a cosmopolitan personality. The city is like a third larger than Scranton.

Greg, you gave us one of the great will–they/won’t–they relationships in TV history with Jim and Pam. There are a couple of office romances brewing on “The Paper.” The season ends with Ned and Mare (Chelsea Frei) kissing. Is there a specific challenge with crafting a slow burn in the streaming era? How did you want to approach things this time around?

Daniels: You need to have stakes in stories. If you’re going to be very realistic and relatable, the stakes in people’s stories are mostly romantic because most people don’t battle aliens to save the world or whatever. So, the highest stakes a normal person usually has is who they’re going to marry or who they’re seeing, or what drama they’re in in their personal lives. There’s a column the New York Times does about people who are getting married, how-they-met kind of thing, which I love, and you realize that there’s hundreds and hundreds of stories of how people meet. It’s not all Sam and Diane or Pam and Jim. My aim would be to not have the audience be like, “Who’s the next Pam and Jim? Is that Pam and Jim?” That’s their relationship. Those two actors were brilliant. You can’t replicate it, but it doesn’t mean that other characters aren’t going to be romantically interested in each other.

Pam Beesly (Jenna Fischer) and Jim Halpert (John Kraskinski), the friends-to-lovers duo affectionately known as JAM, in a scene from “The Office.” (Paul Drinkwater/NBC)

“The Paper” features characters like interim managing editor Esmeralda (Sabrina Impacciatore), compositor turned reporter Mare (Chelsea Frei) and new boss Ned (Domhnall Gleeson). Mare and Ned have a will-they/won’t-they dynamic in the sitcom. (Aaron Epstein/Peacock)

We had a sense, at least through Kelly Kapoor and her pop culture references, that “The Office” took place in our shared reality, but it didn’t directly comment on real world matters. But considering the show’s setting and Ned’s idealism about the profession, with President Trump’s ongoing remarks about the press, can you see a day where those remarks or ideas are more directly referenced in some form? Or do you want to stay clear of that?

Daniels: I think there’s so many voices that [are] constantly talking about that, just from a comedy standpoint; I’m very tired of it. There’s also so many opinions that are so strong. My inclination is to do the fundamentals — it’s a character comedy. These are characters. They’re in a world of journalism [and it] has a lot of bumping between human beings and ethics, and to tell those stories is valuable. No matter what side you’re on, you can look at it and, hopefully, if there’s truth in what’s being presented, you can take something valuable away.

Koman: It’s important to think of this as a local paper. Their struggle is to credibly tell local stories, which is what I think the city needs, more than anything — a voice to just tell people what’s going on. Beyond that, I think the way that a culture will seep into a show like this — you should always have a sense of reality and that this is taking place in the present. I think of their minds as being focused on: How can we be a good news source for Toledo?

Michael Koman, who previously worked on docu-comedies “Nathan For You” and “How To With John Wilson,” on capturing the state of journalism realistically in “The Paper”: “What makes newspapers different than other businesses or other jobs is that people do arrive with a sense of enthusiasm for what they’re going to do. It seemed important that many of these people could have started their jobs like this, but now we’re meeting them at a point where that’s been tamped down enormously.”

(Jason Armond / Los Angeles Times)

The impulse when you hear about a spin-off or a reboot is to compare and to see who fits into what archetypes. Tell me about the types of characters you wanted to fill out in this newsroom.

Daniels: We tried to avoid that. What’s the point of doing something where everybody can go, “Oh, that’s the new Dwight”? They’re working in journalism and they have a very romantic, idealistic boss. He’s extremely interested in getting to the bottom of stories and being super rigorous and ethical, but he’s come in and replaced the temporary managing editor, Esmeralda, played by Sabrina Impacciatore, who has a very different view. She doesn’t really drill down that hard. She’s more about getting eyeballs.

Koman: What makes newspapers different than other businesses or other jobs is that people do arrive with a sense of enthusiasm for what they’re going to do. It seemed important that many of these people could have started their jobs like this, but now we’re meeting them at a point where that’s been tamped down enormously. Morale is low. In terms of who this group of people was, you could feel like that’s been dampened enormously and somebody new can come in who, either out of naivety or just optimism, thinks that he can revive it.

Daniels: That quality of morale being low is very “Office”-like. The tone is intended to be similar without having the characters be similar.

The title sequence is a montage of the various ways people make use of newspapers — rather than reading it. How would you describe your relationship to print journalism?

Daniels: When I first moved out here, I had a subscription to the L.A. Times, and the volume of papers was so gigantic, and it would come with these white ties to hold it all together. I built furniture in my apartment out of stacks of L.A. Times because they were so big. So it’d be like two weeks of them, I could make a stool and make a table with a full week’s worth stacked up.

Koman: Yes, I would say that digital media is all well and good until you need to pack glasses, then you hunt for a newspaper.

Daniels: One of my earliest memories is my parents trying to read the newspaper on their bed, and I wanted their attention, so I would roll onto the newspapers and look up at them, which would really irritate them. They were a big newspaper household.

Much like the news media, your industry is confronting budget constraints and technological disruption that is forcing changes to business models and programming strategies. What are your concerns about your industry right now?

Daniels: One of the big themes is the return to advertising. The streamers have all added ad tiers and that naturally is going to change the programming a bit. I don’t think, necessarily, [that] it’s bad. When you look at the heyday of Netflix, a lot of their biggest stuff had been developed under the old advertising model. I sometimes think about the French movie business, where it seems like they don’t care if something makes money or not. It’s just, if you’re in the club, you get to make movies over and over again. I’ve always felt like that there’s something more democratic about: You actually have to get people to watch your thing somehow.

Koman: The strangest thing about this industry is that it might change a lot, [but] the thing you’re making is a timeless product. You’re telling a story. There’s the part of it that is like, “Well, this will eventually be finished and will be presented somewhere” — and you have no control over how that’s going to change. But what you’re actually trying to make would have to hold up under any conditions.

In recent years, film festivals haven’t felt all that festive. Audiences have dwindled, streaming has upended viewing habits and the pandemic and Hollywood strikes have rattled the industry, leaving even the most glamorous events to fight for their place on the cultural calendar.

Then there’s Telluride. For more than a half-century, the tiny mountain gathering has thrived as a kind of anti-festival: no red carpets, no prizes, no tuxedos, just movies. Perched 8,750 feet up in a box canyon in the Colorado Rockies, it’s reachable only by twisting roads or a white-knuckle drop into one of the nation’s highest airports. Festival passes are pricey and limited in number, which makes Telluride feel at once intimate and exclusive. With its mix of industry insiders and devoted film lovers, that isolation and tight-knit atmosphere have become part of Telluride’s mystique, and the promise of early Oscar buzz keeps filmmakers, stars and cinephiles making the pilgrimage. Since 2009, only five best picture winners have skipped Telluride on their way to the top prize.

“It’s so hard to get to Telluride — you don’t end up here by accident,” festival director Julie Huntsinger says by phone. “We’ve always felt it’s incumbent on us to show either brand-new things or extraordinary things that make your time worth it. You know how cats will bring you a mouse? I always feel like I’m bringing you a mouse or a bird, and I just hope you’ll like it.”

Rolling out over Labor Day weekend, the 52nd Telluride Film Festival will supply a slate of fresh offerings, including a handful of world premieres. Scott Cooper’s “Springsteen: Deliver Me From Nowhere” drops Jeremy Allen White into the boots of the Boss, tracing the creation of his stark 1982 album, “Nebraska.” Chloé Zhao’s “Hamnet” unites Jessie Buckley and Paul Mescal in a haunting portrait of grief. Edward Berger’s “Ballad of a Small Player” finds Colin Farrell wandering Macau as a gambler chasing luck and redemption. And Daniel Roher’s “Tuner” gives Dustin Hoffman a rare return to the screen in a crime thriller about a piano tuner who discovers his ear is just as effective on safes as on Steinways.

Also in the mix are a number of films coming from Cannes and Venice: Yorgos Lanthimos’ “Bugonia,” Noah Baumbach’s “Jay Kelly,” Kelly Reichardt’s “The Mastermind” and Richard Linklater with a double bill, “Blue Moon” and “Nouvelle Vague,” proof that Telluride remains a haven for auteurs.

At last year’s Telluride, politics dominated the conversation on- and off-screen. Hot-button issues, from abortion access to climate change to the Israeli-Palestinian conflict, ran through the program, while guests such as Hillary Clinton, James Carville and special prosecutor Jack Smith joined the usual roster of actors and filmmakers. Ali Abbasi’s “The Apprentice,” a searing portrait of Donald Trump’s early years, was one of the buzziest titles.

This year the lineup is broader, though politics still runs through it. Ivy Meeropol’s “Ask E. Jean” follows writer E. Jean Carroll through her legal battles with Trump, while Kleber Mendonça Filho’s “The Secret Agent” uses a 1970s-set thriller to revisit Brazil’s military dictatorship, with Wagner Moura (“Narcos”) as a professor on the run. “This year is pretty political too,” Huntsinger insists. “There are a couple of films that, if you’re paying attention, have important things to say. I just hope everybody feels a little braver after a lot of the things we show.”

German-born director Edward Berger, who brought his papal thriller “Conclave” to last year’s edition, returns with a strikingly different film in “Ballad of a Small Player.”

“I would defy anyone to stack up his films and say they’re by the same filmmaker,” Huntsinger says. “This is a beautiful, very dreamlike, nonlinear exercise in spirituality and introspection. ‘Conclave’ felt disciplined — not that this film is undisciplined but it exists on a totally different plane.”

Zhao, who won the directing Oscar for 2020’s “Nomadland,” has adapted “Hamnet” from Maggie O’Farrell’s acclaimed novel about the death of Shakespeare’s only son in what Huntsinger describes as one of the festival’s most emotionally powerful selections.

“Chloé is a person of immense depth,” Huntsinger says. “She has such a deep feel for human beings. This is a sad, mournful but beautiful meditation on loss. People should be prepared to cathartically cry. There isn’t a false note in it.”

Another festival favorite, Lanthimos makes his third trip to Telluride with “Bugonia,” a darkly comic sci-fi satire that reunites him with Emma Stone following their earlier collaborations on “The Favourite” and “Poor Things.” A remake of the 2003 Korean cult film “Save the Green Planet!,” it follows a conspiracy-minded beekeeper (Jesse Plemons) who kidnaps a powerful pharma executive (Stone) he believes is an alien bent on destroying Earth.

“Be prepared to get your a— kicked,” Huntsinger says. “Emma is outstanding, and we should never take her for granted, but Jesse Plemons steals the show. He next-levels it in this one.”

Baumbach also marks his return to Telluride with the dramedy “Jay Kelly,” which centers on an actor (George Clooney) and his longtime manager (Adam Sandler) as they journey across Europe, looking back on the choices and relationships that have shaped their lives. Huntsinger likens the film to a cinematic negroni: “It’s substantial but also fun, with an almost summery feel. It’s about where you’re headed after a certain stage in life, told without heavy-handedness.”

The filmmaker and screenwriter, who previously brought “Margot at the Wedding,” “Frances Ha” and “Marriage Story” to the festival, will be honored this year with a Silver Medallion. He shares the award with Iranian director Jafar Panahi, whose drama “It Was Just an Accident” won the Palme d’Or at Cannes, and Ethan Hawke, represented in the lineup with Linklater’s “Blue Moon” and his own documentary about country singer Merle Haggard, “Highway 99: A Double Album.”

Few films in the lineup will be more closely watched than Cooper’s Springsteen biopic, with Emmy-winning “The Bear” star White channeling the Boss during the making of one of his most uncompromising albums. “Jeremy delivers in the same way that Timothée Chalamet did in [the Bob Dylan biopic] ‘A Complete Unknown,’ where you just think, Jesus, what can’t this kid do?” Huntsinger says. “Scott’s a great filmmaker, and the movie delivers on its promise.”

The music thread continues with Morgan Neville’s documentary “Man on the Run,” drawn from never-before-seen home movies Paul McCartney shot in the early 1970s, not long after the Beatles’ split. The footage shows McCartney retreating to Scotland with his family and offers what Huntsinger describes as a revelatory glimpse at a less-mythologized moment. “You also understand there wasn’t a villain in the Beatles breakup,” Huntsinger says. “It’s an expansion on history that’s really needed.”

Elsewhere in the documentary lineup, Oscar-winning filmmaker Laura Poitras returns with “Cover-Up” (co-directed by Mark Obenhaus), an exploration of investigative journalist Seymour Hersh’s career that builds on her politically charged films like “Citizenfour” and “All the Beauty and the Bloodshed.”

For all its flannel-and-jeans ethos, Telluride isn’t immune to the economics of 2025. Lodging and travel costs have soared, amplifying concerns that the showcase has become a festival largely for the well-off. Huntsinger concedes the expense but points out pass prices haven’t budged in more than 15 years as she works to keep it accessible.

“I was concerned for a while because our audience was aging, but we’ve really worked on making sure that younger people and people on fixed incomes can come,” she says. “I can see the difference — it’s not just people of means. And I promise you, I’ll keep fighting for that. I hope the lodging people will realize they got a little out of hand and start lowering prices too.”

For all the turbulence and doomsaying that has rattled Hollywood in recent years, Telluride has managed to hold fast to its identity.

“The devotion people have to this weekend makes me think there’s hope,” Huntsinger says. “They’re not coming here for anything but film-loving. To hear people say, ‘I would not miss this for the world’ makes me really proud and hopeful. After everything we’ve all been through, I think we still have reason to keep doing this crazy little picnic.”

We’re a week away from Labor Day weekend and we have one movie slotted in as a best picture Oscar nominee.

That leaves nine spots and whole lot of sharp elbows as we begin the fall film festival circuit next week in Venice and Telluride.

I’m Glenn Whipp, columnist for the Los Angeles Times and host of The Envelope newsletter. Worst freeway in Southern California? There is only one correct answer, but it’s not the one in our rankings. And that answer is just another reason why, like Sal Saperstein, we dread going anywhere near LAX.

Fall festivals preview

In case you were wondering — but I think you already know — the movie already assured a best picture nomination is Ryan Coogler’s exuberant horror hit, “Sinners,” a film as entertaining and provocative as anything I’ve seen in a theater in the last couple of years. It was my favorite summer movie, even if it did come out in April. Watching it in Imax 70mm felt like an event, the kind of blockbuster moviegoing experience I’ll remember years from now.

The Venice Film Festival starts Wednesday. On Thursday, I’ll be flying to Telluride. The 50th Toronto International Film Festival begins the following week. Dozens of movies will be premiering at these festivals. Standing ovations will be meticulously — and ridiculously — timed. And when the smoke clears, we’ll have the makings of a slate of contenders that we’ll be covering and debating for the next six months.

Here are some of the world premieres at each festival that I’ll be watching most closely, movies that could be made — or broken — by the next time you hear from me.

Venice

Haute couture. Water taxis. Endless Aperol spritzes.

“Frankenstein”: For Guillermo del Toro, Pinocchio and Frankenstein have always been two sides of the same coin, creations made by an uncaring father, released into the world without much care. Del Toro tackled Pinocchio with his last film, which won the Oscar for animated feature. And now he’s adapting the Mary Shellley classic, promising to include parts of the tragic story never before seen on screen. If anyone can make us shout “it’s alive” again, it’s Del Toro.

“A House of Dynamite”: A new political thriller from Oscar-winning director Kathryn Bigelow is an event, particularly because it’s her first film since “Detroit” eight years ago. “Dynamite” deals with U.S. leaders scrambling for a response after a missile attack. I’m hoping to embark on a two-hour ride firmly fixed in the fetal position.

“Jay Kelly”: Famous actor (George Clooney) and his devoted manager (Adam Sandler) travel through Europe, pondering regrets (they’ve had a few) and the times they’ve loved, laughed and cried. Noah Baumbach directs from a script he co-wrote with Emily Mortimer. His last movie, 2019’s “Marriage Story,” earned six Oscar nominations, with Laura Dern winning supporting actress. Time for the Sandman to finally get an invitation to the party?

“No Other Choice”: Park Chan-wook adapts the provocative Donald Westlake thriller “The Ax,” which Costa-Gavras adapted in 2005 — but Park apparently wasn’t aware of that movie when he decided to make his own film. Park has been working on it for years, calling it his “lifetime project,” the movie he wanted to stand as his “masterpiece.” He has made some great films — “The Handmaiden” and “Decision to Leave” among them — so it’s hard not be intrigued.

“The Smashing Machine”: I have seen the trailer for this Benny Safdie drama about MMA fighter Mark Kerr so many times that I feel like I have already seen the movie. The blend of Safdie grittiness and Dwayne Johnson star power is sure to generate buzz, but there are whispers that the film simply isn’t all that good. From that trailer, I’m inclined to believe them … but hope to be proved wrong.

Telluride

High altitude, fleece pullovers, repeated discussions about hydration. Lineup not officially announced until Thursday. These are just “rumors.”

“Ballad of a Small Player”: Edward Berger premiered “Conclave” at Telluride last year and it worked out fine, going on to earn eight Oscar nominations and emerging as a viable, sillier alternative for those looking to vote for something other than “Anora.” Berger’s latest is about a high-stakes gambler (Colin Farrell) holed up in China, desperate for a way out of his debts and past sins. As awards voters loved “Conclave” and Berger’s misbegotten “All Quiet on the Western Front,” attention must be paid.

“Hamnet”: Paul Mescal is everywhere. And now he’s playing William Shakespeare in a drama about the Bard and his wife rediscovering each other after the death of their 11-year-old son, Hamnet. Why not? Especially when the film is directed by Chloé Zhao (“Nomadland”) and has the brilliant Jessie Buckley on board as Shakespeare’s better half.

“Springsteen: Deliver Me from Nowhere”: Bruuuuuuuuuuuuuuuuuuuuuce! Jeremy Allen White plays Springsteen as he goes lo-fi making his acclaimed album “Nebraska.” History tells us that actors starring in music biopics are rewarded handsomely, and, given what we’ve seen of White on “The Bear,” he seems a perfect choice to play a brooding Bruce.

Toronto

Weather that veers between spring, summer and fall in the course of a week. Poutine. Splashy premieres of movies that have already played at other festivals.

“Christy”: Sydney Sweeney has been in the news lately. Maybe you’ve heard? But she’s about to make a serious awards-season play in this sports biopic about boundary-shattering boxer Christy Martin, a young gay woman fighting to establish an identity that runs counter to her conservative upbringing. Will the work be good enough to rise above the noise around the actor?

“The Lost Bus”: Paul Greengrass, like Bigelow, has been absent from the conversation for a bit. His last movie, the fine western “News of the World,” was swallowed by the pandemic. Now he’s back with a survival drama, one with California roots, as a father (Matthew McConaughey) and a teacher (America Ferrera) try to bring a bus full of school children to safety during the deadly 2018 Camp fire.

Piastri had demonstrated how difficult it is for the driver on pole to lead by the end of the first lap at Spa by losing the sprint race win to Red Bull’s Max Verstappen.

The Dutchman slipstreamed past Piastri up the hill to Les Combes, and then held the McLaren at bay for 15 laps, while Norris followed closely in third.

In the grand prix, it was Norris in front, with Piastri in second and Piastri had been thinking about the opportunity this presented him since losing out on pole the day before.

McLaren team boss Andrea Stella said: “This weekend, Oscar, if anything, the only inaccuracy was in qualifying, where his laps weren’t perfect.

“At the same time, we have to say that after the sprint qualifying, he said, ‘Yeah, I’m in pole position, but maybe this is not the right place to be in pole position.’

“And as a joke, after the qualifying yesterday, he said, ‘That was not my best lap in Q3, but perhaps this is the best place not to have the best lap in Q3.'”

Sure enough, Piastri took the lead on lap one of the grand prix, just as Verstappen had the day before.

“I had a good run out of Turn One,” he said, “and then tried to be as brave as I could through Eau Rouge and was able to stay pretty close. After that, the slipstream did the rest for me.

“When I watched the onboard back, it didn’t look quite as scary as it felt in the car. I knew that I had to be very committed to pull that off.”

But Norris could have done a better job. For a start, he failed to build himself a gap over the finish line by arguably going too early at the restart. Then he made a mistake at La Source, which allowed Piastri to be right on his tail approaching Eau Rouge.

“I didn’t have the best Turn One,” Norris said. “So it’s hard to know how much that played a part. At the same time, Oscar came past me pretty easily. So even if I had a better Turn One, his run and the slipstream probably still would have got me.”

Stella said: “It would have always been very difficult for Lando to keep the position starting first at the safety car restart. At the same time, I think Lando didn’t help himself by not having a great gap on the finish line.”

EastEnders spoilers have teased plenty of action and drama in Walford next week, with the BBC soap airing a return, concern for one Albert Square legend and danger for more than one character

There’s plenty of action happening on EastEnders next week according to new spoilers for the BBC soap.

More than one resident faces danger, and ongoing issues come between a couple. Another pair face drama as concern is sparked about a Walford legend.

Amid this there’s a comeback for one character ahead of another big return, while there’s also big decisions, risks taken and sad moments on the way. Starting off next week, Alfie Moon returns to the show after weeks away.

The character headed off to find his missing stepdaughter Zoe Slater who fled after revealing she was in trouble. Keeping this from his wife Kat Slater, with her cousin Stacey Slater doing the same, things get tense next week.

Kat slams Alfie for lying to her about where he’s been after his story about his brother Spencer was proven wrong. Alfie promises never to lie to her again, while he refuses to tell her the truth about what’s been going on.

READ MORE: EastEnders’ Anthony Trueman set to return to soap with emotional reunion after 11 years

Meanwhile it’s an emotional time for Stacey and her kids, as they celebrate tragic Martin Fowler’s birthday months on from his death. Elsewhere, there’s more drama for the Branning family as Oscar faces danger.

Lauren Branning finds out thug Mike was at the house threatening her brother, after Oscar grassed him to the police up causing a feud. Later, Oscar is alone when Mike and his friend Harrison show up and attack him, only for Jack Branning to save his nephew from further harm.

Lauren confronts her sibling and tells him he’s on his last warning. When Oscar is alone and he sees a hooded figure in the house he goes on the attack, not realising it’s Lauren’s partner Peter Beale – leading to Peter demanding he leaves.

The incident leads to Lauren trying to get her brother to open up, and he soon tells her more about his time in the youth offender’s centre. Determined to help Oscar, Lauren tries to get Peter to give him a chance leading to a huge row between them.

There’s more trouble from Mike later in the week too, so will Oscar manage to move on? Also next week, pregnant teen Avani Nandra-Hart prepares to attend her appointment, while her grandmother Suki Panesar is keen to track her down but will she find her?

Harry Mitchell panics next week over the drugs hidden at Kojo Asare’s flat, with the latter’s brother George Knight almost finding the stash. Harry continues to work for Ravi Gulati, and soon Harry is forced to agree to let newcomer Okie conduct illegal business at Kojo’s flat.

Needing to distract George so he doesn’t find out, he enlists the help of his mother Nicola Mitchell who’s worried her son is in too deep with dangerous people. He refuses her help though, while Nicola offers George the job of Head of Security at Harry’s Barn.

Finally next week there’s concern for Patrick Trueman, ahead of the return of his son Anthony Trueman. Yolande worries her partner is gambling ahead of their wedding, and she tells him to stop.

Patrick is determined to carry on placing bets in secret, and when he wins big on the horses he convinces Howie Danes to hide it from Yolande. Amid his own money issues Howie is embarrassed that his son Denzel is relying on Kim Fox, Howie’s partner, when he needs money.

As Howie tries to get work, there’s drama at home when Yolande tells Patrick that the wedding is off if he places another bet. Soon Howie offers a solution and suggests he can place the bet for Patrick instead – but will he agree?

EastEnders airs Mondays to Thursdays at 7:30pm on BBC One and BBC iPlayer. * Follow Mirror Celebs and TV on TikTok , Snapchat , Instagram , Twitter , Facebook , YouTube and Threads .

Alan Bergman, the decorated lyricist who over the course of seven decades penned songs including “The Windmills of Your Mind,” “The Way We Were,” and “You Don’t Bring Me Flowers” with wife Marilyn Bergman, has died. He was 99.

Bergman died late Thursday evening in his home in Los Angeles, family spokesperson Ken Sunshine confirmed in a statement to The Times on Friday. The songwriter “suffered from respiratory issues” in recent months but remained steadfast in his songwriting “till the very end.”

A Brooklyn native, Bergman was best known for his collaborations with his wife, Marilyn, which spanned music, television and film. The husband and wife, after meeting through composer Lew Spence, married in 1958. Together, they penned music for a variety of high-profile acts including Frank Sinatra, Ray Charles, Quincy Jones, John Williams and Barbra Streisand, with the last eventually becoming the couple’s muse.

The Bergmans were three-time Oscar winners. The couple won their first Oscar in 1969 for the moody “Windmills of Your Mind,” featured in “The Thomas Crown Affair,” shared with French composer Michel Legrand. Their second and third Oscar wins stemmed from works with Streisand: the title song from “The Way We Were” in 1974 (shared with Marvin Hamlisch) and in 1984 for the score of “Yentl,” shared with Legrand.

The composers and their work were consistent contenders at the Oscars, with their contributions to films “The Happy Ending,” “Tootsie,” “Yes, Giorgio” and the 1995 remake of Billy Wilder‘s “Sabrina” also receiving nominations from the academy. On the small screen, the Bergmans left their personal touch on numerous TV series from the 1970s to the 1990s, providing the theme music for shows including “Good Times,” “Alice,” “In the Heat of the Night” and Norman Lear’s “Maude.”

In addition to Oscars, the Bergmans also won four Emmys, two Golden Globes and two Grammys, including the song of the year award for “The Way We Were.”

Oscar-winning songwriters Alan and Marilyn Bergman at their home in 2008.

(Lawrence K. Ho / Los Angeles Times)

Alan Bergman, born Sept. 11, 1925 in Brooklyn, was a son of a salesman and knew from an early age that songwriting was his passion. He graduated from the University of North Carolina at Chapel Hill and pursued his graduate studies in music at UCLA. He briefly worked as a television director for Philadelphia station WCAU-TV but returned to Los Angeles to fully pursue songwriting, at the behest of mentor Johnny Mercer.

Alan and Marilyn Bergman are members of the Songwriters Hall of Fame, which awarded the duo its Johnny Mercer Award in 1997. They also received the Grammy Trustee Award for lifetime achievement, the National Academy of Songwriters Lifetime Achievement Award, the National Music Publishers Assn. Lifetime Achievement Award and honorary doctorates from Berklee College of Music and the University of Massachusetts. In 2011, University of North Carolina at Chapel Hill honored Bergman with a distinguished alumnus award.

Marilyn Bergman died in January 2022 of respiratory failure at 93. After her death, Alan continued working, most recently collaborating with jazz guitarist Pat Metheny, who will record his nine songs co-written with Bergman later this year for an upcoming album.

Alan Bergman is survived by his daughter Julie Bergman and granddaughter Emily Sender. He will be laid to rest at a private graveside burial. Ruth Price’s Jazz Bakery announced earlier this month it would celebrate Bergman’s 100th birthday with a tribute concert at Santa Monica’s Broad Stage in September. The performance will go on as planned, The Times has learned.

The family ask that donations be made in Bergman’s name to the ASCAP Foundation Alan and Marilyn Bergman Lyric Award and the Johnny Mercer Foundation.

Times pop music critic Mikael Wood contributed to this report.