pitt

“Bachelorette” alum Joe Amabile is home following brain surgery.

“They got it all!” wrote Amabile, who uploaded an Instagram carousel with pictures of himself post-surgery on Aug. 6.

His wife Serena Pitt — whom he met in 2021 while filming Season 7 of “Bachelor in Paradise” — also updated fans on his recovery, uploading an Instagram carousel with pictures from NYU Langone Health, where the surgery took place.

“A few peaceful moments from the hospital,” Pitt wrote in the caption. “Joe is home recovering and we’re so grateful to have been in such good hands.”

In July, Amabile revealed on Instagram that MRI testing found a “blueberry-sized” brain tumor, which would need to be removed for further examination.

The couple would elaborate further on the health issue on their July 16 podcast “Not Married to This With Serena & Joe,” saying that they both underwent a preventative whole-body MRI scan with Prenuvo (the same private diagnostic company that showed “Extra” and “E!” host Maria Menounos had a full mass on her pancreas, which was later confirmed to be a cancerous Stage 2 pancreatic neuroendocrine tumor).

Pitt’s scan revealed two small, innocuous nodules. Amabile’s results indicated that he had a lesion in his brain the size of a marble, prompting him to get an additional MRI with and without contrast.

“We got the good news that it wasn’t enhancing and we got the concerning news that it still was something. It wasn’t nothing,” Pitt said on the podcast.

“There’s no other way around it. There’s something there and you don’t want anything in your brain,” added Amabile.

Before surgery, Amabile shared that he would undergo a craniotomy, a surgery in which a neurosurgeon temporarily removes a piece of the skull to reach the brain and remove the tumor. According to the medical professionals he consulted, the likelihood that the low-grade glioma would turn into something aggressive was high and he was encouraged to treat the lesion while in its early stages.

“We will actually have so much more information once the tumor is removed and they test it and then we can actually create a plan of next steps,” Pitt said on the podcast.

Amabile first came into the spotlight in 2018 after appearing on Season 14 of “The Bachelorette,” featuring Becca Kufrin. While he was eliminated on the first night, he was a beloved participant for his charming, down-to-earth personality as a grocery store owner from Chicago, earning him the nickname “Grocery Store Joe.”

Later that same year, Amabile would participate in Season 5 of “Bachelor in Paradise” and compete in Season 27 of “Dancing With the Stars,” making it to the semifinal round. In 2021, he returned for Season 7 of “Bachelor in Paradise,” proposing to Pitt in the finale.

Now it seems that Amabile is bringing people along on his healing journey, having documented his anxieties before surgery.

“This is my journey, I’m telling it. This is what it is. You can take what you want away from it,” Amabile said on the podcast.

Brad Pitt has revealed that he’s back on the sauce.

During a vulnerable interview published in Esquire on Monday, Pitt said he’d started drinking again, in moderation. “I was sober for seven years,” he said. “And then I got back off the wagon.”

The be-all and end-all of movie stars, Pitt had a messy, highly publicized (and litigated) divorce from fellow crème de la crème star Angelina Jolie that stretched from 2016 to 2024. Jolie filed to end the power couple’s two-year marriage after an alleged alcohol-fueled incident on a private plane. The fallout has been consequential for both stars, and served as the catalyst for Pitt seeking help through Alcoholics Anonymous.

Now, maybe after a seven-year itch, Pitt is trying to rework his relationship with alcohol, this time “in a more restrained manner.”

“I got overconfident a couple times, went, ‘Yep, nope, not good for me. Not in big quantities,’” he told Esquire.

When it comes to wine, Pitt says, “Well  . . .  I can have a few. But I can’t have a lot. I have to be professional about it.”

The “Heart of the Beast” star has been candid about his sober-curious journey in recent years and publicly thanked actor (and sponsor to the stars) Bradley Cooper for helping him get sober. “I got sober because of this guy,” he said during a 2020 acceptance speech at the National Board of Review’s annual awards gala. “And every day has been happier since.”

And last June, the Oscar winner sat down with Dax Shepard for an episode of “Armchair Expert” and opened up about the positive experience he’d had in the 12-step program. “I am a stubborn f—, but when I’ve stepped in s—, I’m pretty good at taking responsibility for it and owning up to it,” he told Shepard. “And now it’s a quest to … make sure it doesn’t happen again.”

In the Esquire story, Pitt admitted that, during the darkest period of grappling with what he referred to as “family stuff,” he could see how suicide might feel like relief — but that his survival instinct kicked in. He discussed feeling immense grief and how that grief can leave a gaping hole. Rather than climbing out of it, Pitt said he thought of it as “going through it.”

“And trying and trying and trying and trying to the point of exhaustion and then trying again,” he told the magazine. “I don’t want to ignore the place where you run up against the wall. But I just one day woke up, and it just felt a little sunnier and the air felt a little sweeter. Just microdoses of it.”

In this week’s episode of The Envelope podcast, “The Pitt’s” Noah Wyle reflects on 25 Emmy nominations for the series, responds to criticism of casting decisions, and previews Season 3 of the HBO Max medical drama, now in production.

Kelvin Washington: Hello, and welcome back to The Envelope. It’s been a little while. Kelvin Washington alongside Yvonne Villarreal. We also have Mark Olsen. Good to see you. This is one of my favorite things, because I learn so much from you two. And by the way, I got a big shout-out from somebody at the other job that I do —

Yvonne Villarreal: You have another job?

Washington: Which one do you want to talk about? I have 17 of them. But she was saying how she was listening to something and then she said, “I want to hear more about it.” So she Googled, we came up and she was blown away to see it, and we did such great jobs. So she’s a big fan of you two. Shout out to Larissa if she watches again. But let’s get into, of course, Emmy nominations. You have surprises, you have ones you kind of expected, snubs, the whole nine. Let’s start with you, Yvonne. Anything jump out?

Villarreal: Leading the pack was “The Pitt,” which I think everyone expected, and coming in close second was “Hacks.” But I think the third most-nominated show that was thrilling to see have a big showing was “Widow’s Bay.” It was this latecomer to the race, and it’s just this show that has taken people by storm. The word of mouth has really grown. And I know, Mark, you got Matthew [Rhys] in an upcoming episode here. It’s just nice to see how that show’s performed.

I was a little bummed that we didn’t get a [big] showing of “The Comeback,” the third season. That was maybe my snub mark.

Mark Olsen: Not that it’s a causal thing, but I was excited to see a guest from the [podcast], Riz Ahmed, was nominated for the show “Bait,” [which is] kind of like a meta-psycho-emotional biography of an actor caught in conflict between his community and his career. And then also, I have to say, Meg Stalter from “Hacks,” I thought was exciting. For no other reason than to have her on that red carpet, to maybe get a little time on the telecast and the chaos that that just promises.

Villarreal: I want to know who she’s going to come dressed as. She always stuns on the red carpet with who she is sort of making fun of.

Washington: You need a little bit of that, a little chaos. That’s what makes those things interesting. For me, I was just thinking about, again, how we’ve had so many folks who were known for films now all of a sudden becoming television stars. Seems a little weird to say it, but Jason Bateman being one of them, nominated for a couple of shows. So it’s just been incredible to see some people’s transition into that, where 15, 20 years ago, it‘d almost be the downfall of your career to do so much TV. Now it’s a cool addition to your career. Let’s get into it. You mentioned “The Pitt,” Yvonne. And Noah Wyle, you had a chance to have a chat with him. Tell me a little bit more about it.

Villarreal: They got the big news about their 25 nominations while on set. They’re in production on Season 3. And when we caught up with Noah, he had just wrapped filming the episode that he wrote and directed this season, Episode 3. And it was really fun to catch up with him, especially considering how much he’s shouldered in portraying Dr. Michael Rabinovitch, a.k.a. Dr. Robby. You know, this is a character that’s had a really deep mental health journey the past two seasons. Season 2 picked up with him on the eve of a three-month sabbatical, and we think he’s finally going to get this break that he needs to deal with some of the things he’s been going through. But as the season progresses, we see him really confronting just how much of a mental breakdown he’s at right now. And we talked about that. He shared a lot about what’s coming up in Season 3. And we also get into some of the advocacy efforts he’s been involved with.

Washington: You know what I find interesting about that is, when you look at the folks from “Law & Order: SVU” and some other shows, [they’re] just a character, but all of a sudden folks really look at you as this advocate and they’ve turned around and become very passionate about those things, and I can see how that would be the case [here] as well. All right, let’s get into it. Yvonne and Noah, here’s their conversation.

Wyle on the Warner Bros. lot in Burbank in June.

(Christina House / Los Angeles Times)

Yvonne Villarreal: Noah, thanks so much for taking the time. We’re on the Warner Bros. lot inside an office space because you are deep in the throes of production on Season 3 while navigating the awards circuit. Tell me what that’s like. What is your headspace right now? Have you learned anything from last year?

Noah Wyle: It feels like we’ve just come back, even though today we started shooting Episode 4 already, which is amazing that we’re almost a third of the way through the season. It feels really good to be back. It’s odd that this is Season 3. It still feels like a new show. Everybody’s still energetic and excited to be there. The awards stuff hasn’t really kicked into overdrive yet, so it hasn’t been too much of a distraction. It’s just been really exciting, especially for our cast and crew who are so well represented in the nominations.

Villarreal: It was really staggering. Is there a moment from the last award season that stands out? An interaction or an experience going through that?

Wyle: The first one that comes to mind was an impromptu meeting I had with Stephen Graham after the Emmys where we bumped into each other on the street and he said some lovely things to me, and I said some lovely things to him. It was the first time I’d ever met him, then Keith David walked by, who was an old friend. It was a very collegiate moment. That was the time I actually took a breath that night and was like, “Hey, look at this — oh, my God, look at all of this.”

Villarreal: Where are the trophies?

Wyle: They’re on the mantle at the moment, at home.

Villarreal: Next to the Golden Globe made by your daughter?

Wyle: Yep, it’s right there in the center.

Villarreal: I want to review the show’s chart. “The Pitt” leads this year’s Emmy nominees with 25 nominations overall. You are nominated in the lead actor category, as well as directing. Do you feel like you’re better equipped or prepared to deal with the spotlight and attention that the show’s receiving now versus when you were doing “ER” at the height of its moment?

Wyle: Oh, I thought you were going to compare it to last year. Comparing it to 30 years ago, yes, I’m way better equipped.

Villarreal: Tell me.

Wyle: Just older, wiser. You’ve been to the dance before, know it for what it is. There’s nothing that’s going to be shocking about the process. Also, I have enough life perspective to just be extremely grateful and present for it and just be really excited about it.

Villarreal: How aware are you that the spotlight is on you? What does that feel like?

Wyle: I’m not that aware of it because I feel mostly cloistered once we start production on Soundstages 21 and 22. Occasionally the tours go by and I see [people] get all excited. But for the most part, I live a pretty hermetic life when we’re working. So except for when I Instagram scroll or one of my kids brings me news from out there, I don’t really get out much.

Villarreal: Your mom is a nurse. What does she think of this moment? Does it feel any different than during your “ER” days?

Wyle: Yes. I think back then it was just a novelty that she was working in a hospital and her son was on this extraordinarily popular medical drama at the same time. Now we’ve had an opportunity, especially the last couple years, through the [medical apparel] company Figs, to go to Washington and do some lobbying together, which allows her career, my career, to sort of work hand in hand. And for me to have a different perspective on who she was as a woman while she was a nurse working, because I only really saw her as Mom through those years. To answer your question, how was her perspective different? I think she’s, dare I say it, maybe a little more proud of me than she used to be. She’s said as much. I think in the old days she was proud of me being successful in having my dream of becoming an actor come true. Now she’s proud of me because she feels that I’ve used that platform to do some humanitarian good works outside of personal aggrandizement.

Villarreal: How many times is she visiting the set?

Wyle: Oh, I don’t let anybody visit this. By design, we keep a very closed set. In fact, if you come as a visitor, you have to put on scrubs so you fit in — and you feel really uncomfortable and you can’t wait to leave. That’s how we roll.

Villarreal: I want to dig into Season 2. When we pick up with Robby, it’s the eve of his three-month sabbatical, and we think maybe it’s this much-needed break. But as hour by hour goes by, it becomes clear that he’s maybe viewing this as a death sentence. What intrigued you, what worried you, about what he was facing in Season 2?

Wyle: Once we decided that we wanted to put, at the center of this medical drama that was an exposé and sharp look at the medical world, in 2026, a mental health journey of one particular person and have as part of that mental health journey be suicidal ideation, which speaks to a lot of the prevalence of that in this profession, once we committed to that idea, it was really exciting to walk it through. And to play the first half of the season as a guy going on vacation to get his head clear and play the second half of a season as a man buttoning up every aspect of his life in the event that this was a one-way trip. And leaving that almost to the Fates to decide as the day unfolded, looking for signs and signals to determine which way that should go. And increasingly as the day goes on, to be met with both the increasing desire to make it a one-way trip and the community that desperately don’t want him to, and ultimately keep him on this side of that edge.

Villarreal: You wrote two episodes in Season 2, and in “8 p.m.” we really see Robby’s mental health journey come to a head. What was that like, to put dialogue to what he was feeling internally, for you as the actor playing him?

Wyle: That particular dialogue was gifted to me by a doctor who shared with me that that was exactly what he said to his wife one morning when he was going through something very similar. And the way that it resonated with me when he said it, the way it went straight to my heart, I knew if I spoke it as simply, it would speak to other people. And rather profoundly, I got a letter by a young man who said that exact dialogue was so reminiscent of what was going inside his own head that it kept him from harming himself and was the catalyst for having him reach out to get help. Because it was so truthful, because it came from such a truthful place, it had a multiplier effect when we put it on TV. So to get to voice it to the world, that was extremely significant to me. It was the masks just really starting to fall to the point where you can no longer keep it in. And the Duke character [played by guest actor nominee Jeff Kober] is the only person who he felt he could share it with, because it’s enough objectivity, away from the hospital, without any kind of preconceived history. And it’s obviously somebody who’s been down a very bumpy road himself and won’t judge the decision one way or the other. He’ll just sit there, almost Buddha-like, and absorb it.

Villarreal: I know during the pandemic — this was sort of what was the impetus for the show — you were getting a lot of messages during that time, people messaging you about “ER” and what that did for them. How do you shoulder those types of interactions?

Wyle: That one made me cry. My hands started shaking. … You always want your work to have impact, you want it to have meaning, you want people to glean something from it that’s relevant to their own lives. And I’ve been very fortunate in my career. I remember back in the “ER” days, when Carter got sober, people would write me and say, “You helped me deal with my drug addiction.” When I was on “Falling Skies” and played the grievous loss of a spouse, people reached out to me. I’ve been a lightning rod for pain a couple of times in my career. And you asked me, how do I shoulder it? I think I sort of see it as a gift. When you have that connection to somebody, when they respond that way, it’s the ultimate compliment. And you’ve built a bridge where there didn’t exist one before. It’s even better if you build them between two strangers that don’t know each other, that now have commonality that has nothing to do with you.

Villarreal: Not to compare the two professions, but does it make you see the work you do as an actor a form of public service? We see how, when people are at their lowest moments in the hospital, they’re watching TV, they’re connecting with characters, with their family members, in these rooms. And then also what you just described, the interactions that you’ve had with these people [who were] inspired to become healthcare workers, shows you how they connect with the characters.

Wyle: As you’re saying that, that’s what birthed “The Pitt.” I was getting letters from people telling me that my work had meaning to them at the very moment when I didn’t feel like my work had meaning at all, because it had no relevance, because we were in the middle of a pandemic. Who wants to see a guy jump around in a costume while people are out there really being sick? And suddenly, I felt like I didn’t have a skill that actually could hurt or help anybody. It was only sort of a frivolous skill. Then those letters turned into the DNA that the show became.

Villarreal: Seeing what Robby is facing, how do you establish boundaries for yourself in terms of taking it in — dealing with the burnout, and overwhelming emotion of it?

Wyle: It’s a process. I am engaged in several modes of therapy to offload this and be able to surf it from both an artistic curiosity perspective and a need for balance. It’s interesting work, this work, and I do it with the full support of a loving wife and family who understand that this is different than what most people do for a living.

Villarreal: You seem to be giving yourself a lot of work these days in addition to acting in this hit show. As the No. 1, you’re writing and your directing. Do you like stress, Noah?

Wyle: I know it sounds odd, but my brain works really fast and it works nonstop. I don’t know what to do with myself most of the time. But when I’m engaged in [creative work], especially directing, it is a full-course meal for me. I feel totally alive and in my happy place. This last week, getting to direct a piece that I wrote, was even more fun because I’d pictured it already in my mind when I was writing it, which is a form of prep. But then you get to give it to everybody else to see what they want to do with it and what you’re creating communally suddenly becomes the third version of it, which I think is really great.

Villarreal: We like a tease here. Is there a note from this recent episode that you wrote and directed that was interesting to give that won’t make sense to us until we watch it?

Wyle: A directorial note? More glitter!

Villarreal: The episode you directed in Season 2, you had the interesting job of dealing with vomit.

Wyle: Yes. Vomit is hard. We’ve been making movies for a long time and we still haven’t come up with a decent vomit rig. I’m not selling Rob Nary, our special effects supervisor, down the drain here with this comment, but it is really hard to come up with a piece that doesn’t look like it’s on the side of a guy’s mouth when he’s throwing up. And you can put stuff in a guy’s mouth and have him spit it out, but to really get a good projectile vomit, you need to have some sort of cannon apparatus. And it has to come from a place that looks localized to the mouth, and it has to be the same diameter of the actor’s mouth. We went through, I don’t know, five designs on that thing and still ended up with something I thought was passable but not impressive — not “Pitt”- level impressive.

Villarreal: Interesting. Do you feel like you’ve upped the ante —

Wyle: I feel like I’ve put a challenge out there to somebody to come up with a decent vomit [effect]. It’s not as easy as it sounds.

Villarreal: It was also the episode where we get the passing of Louie [guest actor nominee Ernest Harden Jr.], and it was such a heartfelt moment and a reminder of the people that are there day-to-day or frequently, and the humanity that you still want to show them.

Wyle: Valerie Chu wrote a hell of a script. Valerie is a wonderful writer, and that episode just dramaturgically was a little different than the other ones because it did put more of an emphasis on the nursing staff than it did the doctors. Usually, we walk into a room and walk out of a room with a doctor. This time, we walked into rooms and out of rooms with the nurses, and we really tried to highlight the whole range of services that nurses give — pushing medications, double-checking doctor’s orders, holding hands, bringing blankets, wiping asses; all of the dirty work that goes into palliative care and treatment. That was the thesis. How do we exemplify those actions? Then, of course, at the center of it was Louie’s passing and the conferring of dignity to somebody after they’ve died was the theme I wanted to focus on. In the beginning, he’s a bloody mess, almost unrecognizable, and certainly not dignified. Then, through the cleaning and the preparation and then eventually the service — that’s on a clock because we’ve got other Louies to treat — we confer him his dignity. We fill in the backstory of his narrative. We give context to his life and honor the man. That was the lens progression we were going for and heart progression we were looking for.

Villarreal: What did it say to you that Robby committed those life details to memory from those interactions?

Wyle: To me, that is what you carry with you. It’s odd, the things you remember about somebody. It’s odd, the things that land with you. Usually, they resonate with something that you’re vulnerable to or have experienced. But with Robby, who never had a family and always seemingly wanted one but never allowed himself, the idea of somebody who had one and lost one is particularly profound. And as we get into subsequent episodes that we’re dealing with now, we see that Robby’s sense of loss predates Louie and his mentor, Adamson, and it goes back to almost an original sin.

Villarreal: A lot of people wanted you to take home Baby Jane Doe to heal and deal with some of your stuff.

Wyle: I don’t think you should throw a drowning man a baby. It doesn’t seem like a good, logical thing to do for either one of them. I think Robby went home and wished that he had the capacity to be someone who could have taken that baby home for a little while. And that was probably one of the things that nagged at him along that trip. If you wish you were better, then why wouldn’t you come back and try? And as we watch him begin to try to evolve and work through some of the things that have been stumbling blocks for him in becoming a fully evolved human, that’ll be one of them, hopefully.

Villarreal: I want to return to an earlier point, which is, you’ve done a lot of advocacy work. Even before “The Pitt,” you were arrested in 2012 in Washington, D.C., alongside 100 activists from the disability rights group ADAPT during a demonstration urging Congress not to cut Medicaid. Recently, you joined healthcare workers along with your mom at a rally on Capitol Hill. You also spoke at a congressional hearing focused on declining entertainment jobs in L.A. and the push for federal production tax incentives. How has using this spotlight and your voice for causes that are important to you deepened your experience with “The Pitt”?

Wyle: Well, that’s a very apropos question because I wrote into Episode 3 [of Season 3] a character based on a guy I was with when I was arrested with back then. A really wonderful guy, sort of a self-advocate and kind of a grump, total badass activist who has muscular dystrophy and has a tracheotomy. And so I thought, why don’t we put that character on the show and put him as a patient? And then I thought, “Well, who the hell is going to play that guy?” I called this guy and said, “Hey, I got a part for you, man. I need you to do it for me.” And we flew him out with his aide. And he came in, shot two days last week. He was phenomenal. The representation that we are going to give people in that community is going to be unprecedented, but it comes from a 30-year friendship I’ve had with this guy from some of the wars we fought together through the years, so it all dovetails together. I’m using one to feed the other at the moment and seeing where it’s applicable and where I think it could do the most good.

It’s just an amazing confluence of events. I’m an Angeleno who thinks there should be work here. I have an opportunity to bring a show here and employ 300 people nine months a year and be an advocate for other shows to follow a similar economic model to try and take full advantage of the generational talent that’s here. That’s just an alignment of my values and opportunities that seems almost blessed at the moment, but it’s not effortful. When you read it like that, it makes it sound like Mr. Smith.

Villarreal: Well, so many choose not to put their voice out there in those ways, but you’ve decided to do it

Wyle: I’ll speak up for my city.

Villarreal: What’s so great about a show like “The Pitt” is we get to watch regular, decent people doing competent work. Some call it competency porn. What do you think is our attraction to that?

Wyle: I think it’s twofold. I think on one hand, it’s wish fulfillment. You want to believe that there’s really competent, smart people in those jobs, so that, God forbid, if anything happens to you, that’s what you’re gonna encounter. And then I just read an article, I forget who wrote it, I wish I could cite it, that talked about this other aspect of watching people do work that has meaning, that actually makes a difference, touches a vacuum that we feel we don’t have in our lives and it’s a different kind of wish fulfillment. It’s almost like, “I want to be doing something more with my life that has absolute physical and tangible connection to another human being that makes a difference, that has a net positive.” And I think that’s interesting.

Villarreal: Sort of what you were feeling during the pandemic.

Wyle: It’s exactly what I was feeling during the pandemic: “How can I make more of this time on Earth and serve more than myself?”

Villarreal: I want to talk about “The Pitt” fandom because they are passionate and vocal. Has anything surprised you about their response to the show?

Wyle: Only everything. The embracement, the passion, the creativity, the advocacy, the identification, the continued support. It’s really been incredibly gratifying. It’s exactly what you hope, you know, that your work will do, spark a conversation and maybe a bit of change. But you certainly, you never anticipate reaching the levels that this one has where people are just gaga for it.

Villarreal: Recent cast departures have obviously drawn some criticism. As the No. 1 on the show and an executive producer, how do you navigate fan response when it’s negative? What are you learning about how to take that in?

Wyle: It’s nuanced. It’s new for me, new for all of us in a way. You try to put it in perspective, and it’s relatively small in relation to the overall [response], in terms of the more vocal critics. But at the same time, this is who’s watching. This is why you’re telling a story. If it’s touching a nerve that’s unintended, address it. Figure out a way to do it more sensitively, to come at it from a different point of view. We’re certainly doing the best that we can in there, but it’s impossible to anticipate what’s going to resonate and why. And I can’t tell you how many times I was surprised at what people thought was funny or what people thought was horrific or offensive. And it’s an interesting barometer of where we are as a country. It’s an interesting cross section of where the population’s at. But in terms of how it affects the creative work, it becomes a slippery slope if that’s the tail that wags the dog. So every year, we come in and we sort of have to gut-check ourselves and do a postmortem on the season. What worked well, what didn’t work well. And what is going to be part of this narrative as we go forward? Cast changes are gonna be part of that. That’s inevitable.

Villarreal: How about in relation to your character? Some of the discussion about what’s playing out onscreen, it’s been interesting to see how people look at Robby and maybe some of his flaws that come out. What do you see as his blind spot?

Wyle: Well, can we start with [we’re] watching a guy who’s going to kill himself? The guy is going to kill himself today, most likely. He’s going to leave and not come back. And as that reality gets increasingly clear to him, he acts continually beneath his grace. He doesn’t necessarily want people to miss him. He doesn’t necessarily want [them] to overidealize him because he doesn’t want them to mythologize him. So some people he was really tender with, and some people he was really harsh with, and some he will carry regret with, and some he probably wishes he had gone further. But all of that pathology was on display as a cry for help for anybody that was really looking to see it, more than I felt it was indicative of how he felt in a normal frame of mind in those relationships. I think he pushed Abbot [Shawn Hatosy] so far away. He pushed Dana [Katherine LaNasa] so far away. He was overly harsh with Mohan [Supriya Ganesh]. He was almost paternal with Javadi [Shabana Azeez]. He had a different vibe and energy with everybody. But ultimately, it was to sort of say goodbye in a way that he felt would be most appropriate. And I’m glad people felt that it wasn’t appropriate, because it was a man setting fire.

I did say in casting, I was like, “Can we cast some guys that are like my size that I could yell at that so people feel like it’s a good, fair fight?”

Villarreal: And you were vetoed?

Wyle: No, no, we’re going to sort of figure that out because it’s nice to show volatility in character, but if it’s a character that’s surrounded by women, it’s very difficult thing to depict without it seeming disproportionate in power. So it’s something I was conscious of when I came back this year. I was like, “It‘s difficult to show this character’s rage when it would be super inappropriate to express it with every single person in this room.” So, bring somebody in that can handle it and match it a little bit. And for my money, that’s what Al-Hashimi [Sepideh Moafi] was. She gave as good as she got, and those scenes between us were terrific.

Villarreal: Season 3 will be taking place on Nov.r 12, 2026, right? A lot of that had to do with the anticipation of and preparation for the ramifications of the Big Beautiful Bill on people’s lives. Tell me about that.

Wyle: It’s Thursday, November 12th, which means that tomorrow is Friday the 13th. And there was something fun about playing with the eve of a day that is usually fraught with peril. But this day is fraught with peril for all sorts of reasons. And it isn’t Friday the 13th. It also is coming into the holidays and it’s getting colder. A lot of the social issues that Pittsburgh and a lot [of places] with colder climates deal with are going to come up. People are turning on their heaters for the first time, if they can afford to turn on their heaters; people that don’t have access to housing are gonna be feeling the pinch even more than that. All of that goes into our narrative. And then, as I think you were alluding to, this is in preparation for what’s gonna take place in January [2027] with [provisions of] the Big Beautiful Bill [going into effect], which is gonna throw a lot of people off the rolls in a lot of states and cause a whole ripple effect through the healthcare industry. In anticipation of that happening, people are gonna have to make some very hard choices. They’re going to probably want to hoard medication if they can. They’re gonna try and load up on as many treatments as possible, put as many things into place as they can for that eventuality. And we wanted to highlight what some of those struggles are gonna be because I don’t know that they’re gonna be reported in January.

Villarreal: How fast, when that decision came through, were you getting outreach from healthcare professionals wanting to meet with you, with the writers room, about how can they can help you think about what’s going to happen?

Wyle: We have a great organization that’s an adjunct to the Norman Lear Foundation called Hollywood Health. And they broker all sorts of meetings for us in the writers room with experts from every aspect of the healthcare spectrum you can imagine. And so we really were curious to find out from those experts what the statistics were going to be. And they run models on best-case scenario to worst-case scenario and tell us pretty much with a high degree of certainty what the bandwidth is gonna be. And then we take that data and try to figure out the storyline that would be most effective to tell it. But it starts with trying to get it as accurate as possible in our crystal ball, looking forward to where we’re gonna be.

Villarreal: If you could give one word to Dr. Robby’s mental state in Season 3, what would that word be? Or what would the song he’d be listening to at that moment, walking back into work?

Wyle: I don’t want to tip the bit on a song that we might use and the ones that are in my head are so corny and cheesy that I don’t want anybody to suddenly start cutting memes to it. [Looks at camera.] Because you know you will.

Villarreal: Come on, Noah. Give us a ’90s throwback.

Wyle: “Scar Tissue” [by the Red Hot Chili Peppers].

Villarreal: Oh, that’s a good one. OK, before I let you go, is there any PSA you want to give folks right now about whether they should be consuming lettuce? Is Dr. Robby consuming lettuce?

Wyle: Oh, my God, don’t ask me. My wife and I have huge fights about produce every night. I don’t know what the hell’s going on.

Villarreal: I’m always like: What would Dr. Robby do?

Wyle: I don’t know that Dr. Robby eats a lot of vegetables. I think all of your canned vegetables are safe, says Dr. Robby.

Brad Pitt and Angelina Jolie‘s youngest daughter, Vivienne, is seeking to drop “Pitt” from her name, according to People.

The 18-year-old filed a petition in Los Angeles County Superior Court to remove her father’s surname from her legal name, Vivienne Marcheline Jolie-Pitt. The reason for her request was listed as “personal.”

The request is a common theme among the Jolie-Pitt siblings since the couple’s marriage was formally dissolved in 2019 and divorce became finalized in 2024 after a long legal battle.

In August 2024, the court granted Shiloh’s request to drop the surname. Zahara and Maddox have both asked for the same, but their petitions are pending hearings.

Before her request, Vivienne had already informally dropped the last name. In May 2024, the youngest of six was credited as “Vivienne Jolie” on the Playbill for “The Outsiders,” a play she co-produced with her mom.

The couple wed on Aug. 14, 2014, nine years after they met while filming their movie “Mr. and Mrs. Smith.” Jolie filed for divorce in September 2016 after the couple allegedly had a physical altercation aboard a private plane, which also involved several of their children.

The Los Angeles County’s Department of Children and Family Services and the FBI investigated the alleged physical altercation between Pitt and his son Maddox. No charges were filed against Pitt.

The court has scheduled a hearing for Vivienne’s request for Nov. 2.

ONCE the golden couple of Hollywood, Brad Pitt and Angelina Jolie’s multi- million-pound divorce battle rumbled on longer than they were man and wife.

And ten years since proceedings first started, the bitterness between those involved shows no sign of slowing down.

Brad, 62, watched in horror this week as the final steps were taken to remove any trace of him from the once-glorified “Brangelina” clan.

In a brutal move, his children Maddox, 24, and Zahara, 21, have both filed court papers to officially change their surname from Jolie-Pitt to just Jolie.

Siblings Shiloh, 20, and Vivienne, 18, have already turned their backs on the Pitt name, while Knox, 18, has also dropped it from informal documents and is estranged from Brad.

This leaves only Pax, 23, still using the Pitt surname.

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Insiders say that Brad has been left privately “devastated” by the decision.

A source said: “One by one, his children, who he was once so close to, have removed their connection to him.

“He really wonders if he’ll ever rebuild bridges with his shattered brood now.”

It is the latest twist in the family saga, following on from allegations of physical abuse, financial coercion and severe family PTSD as well as a Father’s Day Instagram post from Pax calling Brad a “world-class a**hole”.

It all helps cement Brad and Angelina’s divorce as perhaps the most toxic the entertainment world has ever seen.

In September, it will have been a decade since Maleficent star Angelina, 51, first filed for divorce from movie heart-throb Brad.

Their relationship started not long after they met on the set of 2005 film Mr & Mrs Smith, when Brad was still married to Jennifer Aniston.

They wed in 2014 but, less than two years later, in September 2016, they split in explosive fashion.The former couple had previously adopted Maddox, Zahara and Pax before having Shiloh, Vivienne and Knox.

But Brad, who was once inseparable from all six kids, has now been well and truly frozen out.

Legal notices published in the Los Angeles Daily Journal yesterday reveal that both Maddox and Zahara have filed petitions to change their surnames.

If approved, the changes will become official in court, with Maddox’s hearing set for September 14 and Zahara’s two weeks later.

Zahara has publicly gone by Zahara Jolie since starting university.

Shiloh legally dropped “Pitt” after turning 18 in 2024, while Vivienne was credited simply as “Vivienne Jolie” as a production assistant for the Broadway show The ­Outsiders.

Pax is the only one still using the Pitt surname, but he has an incredibly difficult relationship with his dad, who he once claimed made his younger siblings ­“tremble in fear”.

Brad’s relationship with his children seemed to change for ever after an ill-fated flight in 2016, which also marked the end of the high-profile showbiz marriage.

The couple are said to have tried to keep their blistering rows from the children, but that became impossible in the confines of a private jet.

In a report filed by the FBI about the incident, Angelina claimed Brad yelled at her before pulling her into the toilet, where he pushed her against the wall and punched the ceiling repeatedly.

It is also alleged that when one of their kids tried to protect their mum, Brad “choked one of the children and struck another in the face”.

It has long been rumoured that it was Maddox who was assaulted.

The report said Brad then poured beer on his family as they tried to sleep.

The incident led to an investigation by children’s services, with Angelina being awarded temporary full custody and Brad only allowed supervised visits. He was later fully cleared.

Just days later, Angelina filed for divorce, citing irreconcilable diff­erences.

Pax’s private Instagram post on Father’s Day 2020 suggests the kids experienced problems before and after the plane incident.

He wrote: “You time and time again prove yourself to be a terrible and despicable person.

“You have no consideration or empathy toward your four youngest children, who tremble in fear when in your presence.

“You will never understand the damage you have done to my family because you’re incapable of doing so.”

Brad later confirmed that his boozing had become a problem, revealing he had visited Alcoholics Anonymous groups.

He said: “I had taken things as far as I could take it, so I removed my drinking privileges.

“You had all these men sitting around being open and honest in a way I have never heard.

“It was this safe space where there was little judgment, and therefore little judgment of yourself. It was actually really freeing just to expose the ugly sides of yourself.

“There’s great value in that.”

The confession did nothing to quell the animosity between the parties, though.

And while the divorce might have been finalised in 2024 — after eight agonising years — another legal fight is still rumbling on.

The former lovers are locked in an acrimonious $350million court battle, known as the War Of The Rosés, over Angelina’s decision to secretly sell her stake in their ­Chateau Miraval vineyard and home for $64million to Russian booze tycoon Yuri Shefler in 2021.

Brad then sued her in a bid to void the sale.

The couple bought the 1,300-acre Miraval estate in Provence, southern France, in 2008 and married there in 2014.

Angelina claims she originally wanted to sell her stake to Brad, but he demanded she sign an $8.5million non-disclosure agreement as part of the deal.

Her legal team argued it was a coercive tactic to prevent her ­talking about his alleged abuse.

A trial has been scheduled for February 1 next year.

Insiders have claimed that Brad’s partner of four years, Ines de Ramon, 33, has tried to persuade him to end the hostilities.

A source said: “Ines wants to have a life together — with possibly children in the future — without the albatross that is the eight-year War Of The Rosés.”

While Angelina’s attorneys have filed explosive allegations in court, she has kept a mostly dignified silence.

In 2020, the actress turned human rights advocate addressed the ugly split in a rare interview with Vogue.

She said: “I separated for the wellbeing of my family. It was the right decision.

“I continue to focus on their healing.”

During another interview, when asked if she worried about the safety of her children, she said: “Yes, for my family. My whole family.”

And during the Press tour for her 2021 Marvel film Eternals, in which she played Thena, a warrior battling memory loss and a fantasy-world version of PTSD, she revealed that she had been diagnosed with the condition.

She said: “I had talked to the director about experiencing PTSD myself a few years ago and my own fears about not being strong enough to protect those that I love.”

And while Brad might have moved on, Angelina, who was widely once considered one of the world’s most beautiful women, remains single.

Last month, she said: “To be candid, I haven’t dated since I divorced a decade ago.

“So I kind of get in my head that that aspect of me is not centered in my life if I’m focusing on my children, my family.”

It is true that all six children have certainly been caught up in the crossfire of their parents’ decade-long war, with the sorry saga serving as a cautionary tale to other Hollywood couples on the cusp of divorce.

Now, as the February 2027 trial over the battle for the French vineyard looms, peace still seems a long way off.

And while Brad might still be fighting over his financial future, his legacy with his family appears to be long gone.

“The Pitt” has put “ER” veteran Noah Wyle back where he excels: a fictional emergency room. But this time, Wyle has assumed far more control over the Emmy chaos by producing and directing as well as acting.

2

In 2025, Wyle won the lead drama actor Emmy for playing complicated miracle worker Dr. Michael “Robby” Robinavitch, plus a producing prize for drama series.

5

Wyle was nominated five times (1995-1999) without winning for his supporting performance as Dr. John Carter on “ER,” his first hospital-set collaboration with producer John Wells.

29

Nominations that “ER” actors Wyle, Julianna Margulies, Anthony Edwards, Sherry Stringfield, Eriq La Salle, George Clooney, Laura Innes, Gloria Reuben, CCH Pounder and Maura Tierney amassed in supporting and lead categories.

1

Emmy wins that resulted from those nominations: Margulies’ supporting triumph in 1995.

200%

“The Pitt” doubled that haul in one season, with Wyle’s lead and Katherine LaNasa’s supporting wins. (And added a guest actor Emmy for Shawn Hatosy, who moves up to supporting in Season 2.)

3

Wyle could grab three more nominations this time around, including for his “Pitt” directing debut (Season 2, Episode 6).

8

He also no longer competes against his co-stars, as he did with La Salle, and as at least eight “Pitt” performers (LaNasa, Taylor Dearden, Fiona Dourif, Sepideh Moafi, Isa Briones, Patrick Ball, Gerran Howell and Hatosy) could this year.

What was the moment from the season finale of “The Pitt” that finally broke you?

Was it the shot of the day-shift staff watching the Fourth of July fireworks from the hospital roof, the sound of “America the Beautiful” playing in the distance? Maybe it was Dr. Al-Hashimi (Sepideh Moafi) crying in her car, realizing she can’t work around the seizure disorder that makes her a liability in the ER. Or perhaps it came when Noah Wyle’s Dr. Robinavitch (a.k.a. Dr. Robby) swaddled Baby Jane Doe, telling her that “everything’s gonna be just fine,” because she has “so many wonderful things to see and so many people to love.”

But what opened the floodgates for me, after the last half-hour of the episode left me completely dazed and dumbfounded, was Drs. Santos (Isa Briones) and King (Taylor Dearden) exorcising the day’s demons by belting out Alanis Morissette’s “You Oughta Know” at a karaoke bar and demonstrating that primal scream therapy is alive and well three decades into the 21st century.

Which is all to say: “The Pitt” is the only television show I’ve watched that gives me the same feeling I have when I read a great, immersive novel. When the end is near, I’m bereft. I’m Al-Hashimi in her car, wanting to pound the dashboard. I do not want to let these characters go. They’ve given me 15 hours and I still crave more. I would devour a series of short films about odd couple Santos and Whitaker (Gerran Howell) sharing an apartment or a summer spinoff showing Dr. Abbot (Shawn Hatosy) working off-hours as a SWAT medic. Anything to fill the long, “Pitt”-less weeks between seasons.

Instead, I’ll just have to content myself with scrolling through social media, watching fan-made videos of Dr. King self-soothing her way through the day, (this one, set to Vince Guaraldi’s score from “A Charlie Brown Christmas,” is the absolute best) and taking in the compilation of the show’s cast asking, “What’s the status on Baby Jane Doe?” in their best Katherine LaNasa Pittsburgh accent.

“The Pitt” won five Emmys from 13 nominations, including best drama series, for its celebrated first season, a 15-episode run that began with Dr. Robby up on the hospital roof talking down Dr. Abbot after an intense shift. The season ended with Dr. Abbot returning the favor after Robby and his staff ground their way through a day that included a mass shooting, a child drowning and a patient assaulting LaNasa’s no-nonsense charge nurse.

How do you follow that?

For a few episodes this new season, it looked like “The Pitt” wasn’t up to the task. We watched the ER staff dealing with a series of bloody, messy (the disimpaction!) medical maladies, an avert-your-eyes spectacle that felt like the writers were trying to one-up themselves and find the worst possible affliction to make viewers double over. Worse, the thrill of discovery that kept us invested throughout the first season, the slow drip of information about the characters, wasn’t quite there. Something was missing, and it wasn’t just Dr. Robby’s motorcycle helmet.

But the luxury of having 15 episodes is that the writers can take their time laying the groundwork for the story they want to tell.

And what a story it was.

Over the course of the season, we watched Dr. Robby disintegrate, his mental health more precarious than ever because he has done nothing to address his apparent PTSD. “You need help,” Dr. Langdon (Patrick Ball) tells Robby, confronting him in the finale. “Be honest with yourself.”

Robby isn’t the only one struggling, as Dr. Abbot puts it, to “dance through the darkness.” Langdon is back, managing his sobriety. Dr. Mohan (Supriya Ganesh) is having panic attacks. Santos is still dealing with self-harm. Dana remains haunted by that Season 1 patient assault and now carries a syringe containing a heavy sedative just in case somebody emerging from that overcrowded waiting room crosses the line again.

“I’ve seen so many people die that I feel like it’s leaching something from my soul,” Robby says. “I’m tired of feeling like I’m drowning every day.”

And there you have it, the subject of Season 2 of “The Pitt.” Medical professionals are gasping for air, and the American healthcare system, with its focus on profit above all else, is failing them and the patients they treat.

Remember Orlando, the patient with severe diabetic ketoacidosis who arrives at the ER after fainting? Orlando had to ration his insulin because he lacked insurance and felt he had to cut corners. He ends up leaving the hospital early, fearing the cost of treatment. Later he returns, having fallen (jumped) from a catwalk at his construction job, fracturing his skull. But good news: He now qualifies for Medicare and Medicaid due to long-term disability.

It’s a tragedy, one of many reasons the season finale shot of the ER staff holding back tears as they watched the Fourth of July fireworks felt like a body blow. “America the Beautiful”? How can that be true when the current administration is seeking $1.5 trillion for defense spending — nearly 50% more than this year — while cutting healthcare and social safety nets? How can that be true when an act known as the “Big, Beautiful Bill” removed funding from an already frayed healthcare system and exacerbated the shortage of care in rural areas of the country?

That one scene, the culmination of hours of careful, patient storytelling, said more about the disconnect between American ideals and America’s reality than anything else I’ve read or watched this year.

Give “The Pitt” all the Emmys. It has more than earned them.

Since launching at the start of 2025, “The Pitt” has emerged as more than just a hyperrealistic depiction of an embattled American emergency department. Using its hospital setting as a social microcosm, HBO Max’s Emmy-winning juggernaut has explored various systemic issues — including the misogyny that women of color face in the workplace.

“Some of the stories from real physicians and nurses that I’ve spoken to are so crazy. The system feels like it’s 15, 20 years behind other industries,” says Sepideh Moafi, who portrays attending Dr. Baran Al-Hashimi. “There is still this older culture of a boundaryless style of work where [there’s] a lack of understanding and compassion,” with respect to pregnancy and childcare, for working women.

“The Pitt’s” depiction of such subjects includes unflinching attention to microaggressions and unconscious biases. Isa Briones, who plays second-year resident Dr. Trinity Santos, recalls hearing from qualified on-set doctors that “a lot of female physicians will wear their lab coats, because it makes them look like more of an authority.”

“We have a female, half-Asian doctor on our set who consistently says that people talk to the nurse in the room if they’re a white man instead of her,” adds Supriya Ganesh, whose character, fourth-year resident Dr. Samira Mohan, is mistaken for a nurse in Season 2, despite having “DOCTOR” emblazoned on her name tag.

Supriya Ganesh.

(Justin Jun Lee / For The Times)

Nor is the series reluctant to show the other side of the dynamic, as doctors Robinavitch (Noah Wyle) and Langdon (Patrick Ball) lash out against their colleagues in lieu of acknowledging their own flaws. Although the women of “The Pitt” would never compare acting to saving lives, Briones believes that the experiences of women — especially from marginalized communities — share commonalities across many male-dominated industries.

“The entertainment business constantly feels like a boys’ club that you cannot penetrate no matter what you do, because it’s still always going to be these older white men who are making all the decisions,” she says. “That’s why seeing the storyline with Langdon and Robby informed my performance so much, because I know this feeling of being like, ‘Why the f— are these men fist-bumping each other? I’m also here! I’m doing my job too!’”

“As a woman in any field, if you express emotion, if you make your opinion or your voice heard, then it’s like, ‘You’re talking too much. You’re being hysterical,’” Moafi says.

Sepideh Moafi.

(Justin Jun Lee / For The Times)

In holding up a mirror to the healthcare system, showrunner R. Scott Gemmill also wanted to explore the linguistic diversity of its practitioners, allowing his actors of color to reconnect with their mother tongues.

“Language shapes who you are, how you see the world,” Moafi says. Al-Hashimi became a polyglot — speaking English, Farsi and Armenian — in part to curb the effects of a seizure disorder on her temporal lobe, which is crucial for language comprehension. “[Language] connects you to different registers in the body. The rhythms are different, and the emotional access is more immediate.”

During Season 1, Santos — who, like Briones, is half-Filipino — surprised nurses Princess (Kristin Villanueva) and Perlah (Amielynn Abellera) by chiming in on their gossip session in Tagalog. But wanting to show “a more vulnerable side of Santos” this season, Briones worked with her own actor father, Jon Jon, to find a Filipino lullaby that she could sing to baby Jane Doe.

To reflect the 100-plus languages spoken in the Philippines, they selected a Hiligaynon lullaby called “Ili Ili Tulog Anay.” Briones advocated for the scene not to have subtitles: “It should be just this quiet moment that you don’t have to understand [the language] to understand, but also it’s a great moment for people who do speak it to feel that little secret joy.”

For Briones, speaking Tagalog at work has opened up difficult conversations with her immigrant father, who feels shame about not passing down enough cultural knowledge to his children. “I’ve been starting with Rosetta Stone, so I can start conversing with my dad and then he can help me, because I want to be able to talk to my lola and she doesn’t have to work through English,” she says. “This show has reminded me of how important that is to me.”

Isa Briones.

(Justin Jun Lee / For The Times)

Ganesh, who grew up in New Delhi, felt strongly that Mohan should not be fluent in Hindi because of its similarities to Nepali, the language that doctors struggled to identify when treating a patient in the first season. Instead, the actor chose to infuse her own heritage into the character, who uses Tamil as a way to feel connected to her late father.

“She chooses to speak it with her mom, because maybe that’s the only other person she has in her life who she can speak it to,” explains Ganesh, who recalls consulting multiple generations of her own family — and even her on-set coach’s family — for the Tamil dialogue. “She wants to preserve that as much as she can, even though it’s already filtered through her being American and being born in this country.”

That part of Indian American culture will be lost next season, with Ganesh officially departing at the end of Season 2. The actor reiterates that the “creative decision” to write Mohan off was made by executive producers Gemmill, Wyle and John Wells: “They work with such intention on the show and make all the choices that they make for that reason, so I think it’s better to ask them for answers.”

“I’m going to treasure all the memories I had working with these two and everyone else,” Ganesh adds. “It’s been so great just getting all the love from the fans. I feel sad for them, too, that they won’t get to see this character.”

“The representation that you brought to the show is so beautiful,” Briones chimes in. “Seeing the fans ride for you so hard and be like, ‘This was the first time I felt represented on camera,’ it’s really gorgeous to see everyone coming out and celebrating that and celebrating you.”

For her part, Moafi believes that Dr. Mohan will be remembered for the way “she won’t compromise humanity in how she delivers care.” “The power of strength comes from vulnerability, and in order to go fast, you have to slow down,” she adds. “That’s something that is so ingrained in us, as women.”

BRAD PITT and Channing Tatum have halted work on their new Isle Of Man motorbike film after a serious crash at the TT Races over the weekend.

The pair are working on a new movie about the annual gathering, which is regarded as one of the world’s most ­dangerous motorsport events.

Filming had started on the Amazon MGM Studio production over the weekend but was stopped on Sunday following an accident on the opening practice day.

My on-set source said: “Channing was filming on loca­tion when the crash happened with one of the ­professional motorbike riders.

“It ended up being very serious, with eight people taken to hospital after one of the riders crashed into spectators.

“They were taken to hospital for treatment immediately.

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“The film is being made around the same areas so they have an authentic backdrop. As soon as the ­incident happened, filming was halted. Everyone on set was gravely worried about those involved in the incident.

“There is a reason the Isle of Man TT is known as the most dangerous motorbike race.

“The accident brought home to everyone the risks that are involved in this sport.”

Brad — who played racing driver Sonny Hayes in 2025 sports drama F1 — is a producer on the film, which is called Isle Of Man.

Channing has the starring role as one of the bikers.

Channing first started preparing for the film in 2023 when he was seen on the track meeting the riders and their teams.

A documentary series about the Isle of Man TT and called The Greatest Show on Earth, will be released in conjunction with the film.

Earlier this month, TT veteran John McGuinness said he had been helping Channing get ready for the role.

He said: “I speak to Channing a little bit and have a bit of a chat with him, and he just loves it — loves the bikes — I think it’s ­fantastic.

“It’s a big Hollywood thing. I know some of the guys who are involved in it and, you know, let’s hope it’s a success.”

Suki’s a belter

SUKI WATERHOUSE looks stunning in a new fashion campaign for Miu Miu.

The model-turned-singer posed in co-ords for the brand’s Upcycled collection as she gears up to release her third studio album, Loveland.

Suki, who signed a deal with Island Records last summer, will drop the record on July 10.

And it will be her first since she and actor boyfriend Robert Pattinson became parents.

She said: “I finished my last record right as I had my daughter, and this one has been everything since then. The process has been somewhat different because, I think, at the beginning of writing it, I was quite fragile.”

BRITNEY: I WISH FANS WOULD STOP RAKING UP MY PAST

BRITNEY SPEARS has called for an end to “embarrassing things” from her past being shown online – which doesn’t bode well for her big-budget biopic currently in the works.

The pop star made the plea to fans on Instagram weeks after being arrested for driving under the influence and subsequently checking herself into rehab.

In a post online, she wrote: “When you get that awkward, weird feeling you can start to feel that perhaps too much chatter is going on behind your back.

“It actually affects people. I still send them love but most importantly, I hope they feel my smile.

“The media has been a bit much in my opinion and I hope they can respect my unbelievable and miraculous spiritual journey.

“I’m so excited to embrace my journey and hope they stop showing embarrassing things from my past.”

Britney’s biopic was first announced in 2024, when Universal Pictures said it was working on an adaptation of her memoir, The Woman In Me, with Wicked filmmaker Jon M Chu as director.

I told last year how work on the much-publicised project was “not going at full speed” because of concerns that Britney was getting cold feet.

As it stands, the lead role has still not even been cast.

So perhaps Britney doesn’t need to worry about things being dredged up again quite yet.

Timothee Nicks kiss from Kylie

I THINK Kylie Jenner might be Timothee Chalamet’s lucky charm when it comes to his basketball team, the New York Knicks.

The couple were seen going bananas courtside – with Kylie giving Timothee a big kiss – after the Nicks beat the Cleveland Cavaliers to reach the NBA finals over the weekend.

It was the first time they have got there in 27 years, having last made an appearance when Timothee was four.

The joy wasn’t shared by everyone though, as across the court Taylor Swift was seen trying to cheer up her Cavaliers fan fiancé Travis Kelce.

As a Spurs supporter who almost chewed off every fingernail over the weekend, I feel his anguish.

SWIFTLY ON TO EMMYS

TAYLOR SWIFT was snubbed at the American Music Awards this week, but she’s not letting that stop her.

The chart-topper has already set her sights on September’s Emmys.

The Look What You Made Me Do singer has submitted her Eras Tour: The Final Show for Outstanding Variety Series and The End Of An Era show for Outstanding Docuseries.

Both were released on Disney+ last year and have become two of its most streamed shows.

Something tells me that Taylor could be getting at least one win in a few months’ time.

KYLIE MINOGUE has only just released her Netflix docuseries, but she is already giving fans more with Kylie: Tension Tour Live, out today on the streamer.

The behind-the-scenes look at her 2025 arena shows gives fans the chance to relive the concerts and her biggest tour in a decade.

PINK P’S BID WAS POINTLESS

PINKPANTHERESS has discovered that there really is such a thing as being too famous.

The Boy’s A Liar singer told fans during her Manchester show on Monday that she once tried to go on BBC quiz show Pointless, only to be rejected because producers thought viewers would recognise her.

She said with a laugh: “I applied for Pointless once and they said I was too famous.”

Given most contestants dream of being remembered for something on the show, that’s really quite a nice problem to have.

MAISIE PETERS is on course to score her second No1 with third album Florescence, two years after The Good Witch topped the charts.

She has competition though from Michael Jackson’s The Essential hits compilation, which is behind at No2 in the midweek figures from the Official Charts.

ARRDEE’S DRUG PAIN

ARRDEE has opened up about his secret battles with alcohol and ketamine addiction, admitting he blew the entire £300,000 from his first record deal on booze and designer clothes.

The Brighton rapper revealed he landed the huge payday aged 18 after bluffing rival labels into a bidding war.

But instead of saving the cash, he confessed: “I p**sed it up the wall.

“I didn’t save a penny even for the tax man. I didn’t even know what tax was.”

ArrDee admitted splashing thousands at Selfridges on Stone Island jumpers and Ralph Lauren polos before spiralling into years of heavy drinking and drug use.

He said: “I was super-numb. We was rock-star living.”

The rapper revealed he would drink heavily while filming videos and eventually developed addictions to alcohol and ketamine.

Asked if he believed he was addicted, he replied: “100 per cent.”

But speaking to Paul C Brunson on his We Need To Talk podcast, he said his older brother suffered a drug-induced psychosis, which changed his outlook on life.

He added: “If I could turn back time and not have fame and music, but have my brother be how he was before, I would.”

The rapper has since settled down with his partner Ocean and they now have a child together, which helped him re-evaluate life.

And he admitted: “I always thought I’d be a bad dad because I didn’t know what a good one looked like.”

It’s Baller or nothing for AJ

AJ TRACEY brought the heat to the Baller League final when he debuted his new track Quaresma live at London’s O2 Arena.

The song was inspired by Portuguese football great Ricardo Quaresma, and rapper AJ walked out with the man himself in front of a packed crowd

The football wasn’t bad either.

Prime FC, run by KSI, took the crown, beating YouTuber Niko Omilana’s NDL FC 5-2 in the final to become Baller League Season Three champions.

Prime FC knocked out Deportrio FC, managed by former Premier League stars Micah Richards and Daniel Sturridge, in a chaotic 5-3 semi-final.

Where else can you watch football legends, YouTubers and AJ Tracey all share the same pitch?

Only in the Baller League.