reality

“Imagine the scenario; one of our Havoc hypersonic missiles loaded on an F-15EX Eagle with a mission profile locked-in and ready to go. This new missile is designed for low-cost and high-effect – it’s very difficult for an adversary to track in flight,” explains Chris Spagnoletti, chief executive officer of Ursa Major, as he discusses the company’s expanding hypersonics activities. Part of a company strategy to help overcome critical Department of War munitions shortages, Ursa Major’s Havoc was unveiled in early 2026. With a unique 3D-printed propulsion system, Havoc has been envisioned as a hypersonic missile that aims to re-write the rulebook for these types of weapons.

Ursa Major’s ambitious vision comes at a time of something of a renaissance in U.S. aerospace development and defense manufacturing, with newer firms establishing major positions within a rapidly evolving marketplace. These fresh takes on cutting-edge defense technologies also come as the United States celebrates its 250th birthday and looks back on a history of unlikely up-starts changing the world with new ideas and ways of doing business. It’s in this same spirit that Ursa Major looks to stake its claim.

The firm is evolving from a propulsion provider into a prime contractor and integrator with a keen focus on hypersonics and solving a need for affordable high-speed missiles at scale for the U.S. and its allies. In recent operations, the U.S. has fired a vast number of standoff air-to-ground weapons including more than 850 Tomahawks cruise missiles in the recent war with Iran and hundreds of high-end interceptors, stressing a system that’s been constrained by prolonged replenishment timelines. 

Spagnoletti says he strongly believes that hypersonic missiles are “the most important and pressing issue within critical munitions, with solid rocket motors coming close behind.” The company’s approach to design and production in both of these areas means Spagnoletti sees Ursa Major as being “well positioned to solve” these pressing requirements for the U.S. military.

“We are innovating on manufacturability and on new munition systems,” he continues. “It’s all under the umbrella of scalable munitions. Ursa Major’s founders really focused on developing very complicated propulsion systems, but with a strong propensity on design for manufacturability – essentially developing very high performing rocket engines as low-cost and as reliably as possible.”

Ursa Major has produced hundreds of engines and motors and accumulated more than 135,000 seconds of hotfire test time in under a decade. From its very beginnings the company has innovated through advanced manufacturing techniques that have evolved to leverage AI-enabled 3D-printing, specifically metal printing. “We’re looking at the problem set, and the landscape here is about how we can help the United States catch up as quickly as possible. We don’t just want a “me too” product, because we find there’s a lot of that in this space. This is about finding real answers to the desperate need to replenish our critical munitions fast,” says Spagnoletti.

Solid rocket motors in high demand

Having started out with liquid rocket engines, Ursa Major increasingly saw a burgeoning requirement for solid rocket motors (SRMs) for munitions, which Spagnoletti says have remained tied to traditional manufacturing approaches. Ursa Major says its approach to SRM manufacturing is designed to complement and strengthen the broader defense industrial base by providing flexible manufacturing capacity, common architectures, and modernized production methods.

Ursa Major’s manufacturing approach fundamentally changes how SRMs are designed and built using additive manufacturing, modular tooling, and software-backed production cells. This enables rapid switching between SRM variants without expensive retooling, which reduces production timelines and increases flexibility. 

In addition, Ursa Major’s highly-loaded grain technology increases motor performance and range without increasing motor size. By leveraging common architectures and using a limited set of qualified propellants, it says it can reduce qualification timelines and simplify production across multiple variants. The company’s energetics (solid propellent grain) strategy aims to expand domestic propellant capacity and reduce dependence on fragile supply chains, while using reliable mix, cast, and cure processes.

“Both in the liquid rocket engine side, and in solid rocket motors, the approach from the outset is deeply embedded in our culture; how we design, how we build, how we scale,” says Nick Doucette, co-founder and vice president of strategic operations for Ursa Major. “We came at the manufacturing problems from a completely different direction. We started out building liquid rocket engines, which were – to a degree – supporting the launch industry. That approach allowed us to develop new platforms that use new types of fuels or higher performance rates and lower costs.”

“From the start it helped support a growing launch industry, but very quickly it started to find its way into the hypersonics community as our engines, products, and performance points really started to solve some interesting problems. As we leaned heavily into the hypersonics needs, we realized that the early Ursa Major approach in manufacturing and the types of tech that we’re using are really solving some of the actual problems, and that led to our solid rocket motor programs.”

When building solid rocket motors, the inert part of the manufacturing leverages additive manufacturing heavily – Ursa Major avoids fixed tooling. “For example, after we qualify a motor, say a specific diameter booster, and then the government comes back to us and says that the adversaries have adapted. Now they want slightly different thrust, or maybe get additional range. We’ve already thought about that, our manufacturing line doesn’t need to change. We can use the same manufacturing line and adapt it,” explains Spagnoletti.

“We kept the energetics formulation essentially the same – it’s tried and true and it has been munition-tested for years – but we looked at the problem from the manufacturability of the entirety of the system. From a contracting point of view, this gives the government a lot more flexibility and to be as agile as the adversary. This has been happening on the development side for the past three years, working with several primes and the U.S. Navy. They’re inherently leveraging our ability to turn things fast, and now that’s translating into contracts for us.”

“The Navy really understood our approach to manufacturing,” adds Doucette. “They challenged us to apply our approach with liquid rockets to the solid rocket motor industry. To look at the problems and peel back the onion on solid rocket motors. What we found is that the choke point actually lies the metallic components that make what we call the inert tube section, that then gets packed with the energetics. The energetics are difficult for sure, but what actually chokes the supply chain is the 36-plus months to make the metallic tube structures. To compound the problem, all these production lines of the last 30, 40, 50 years are designed around one platform. Can you imagine an automotive company that has a huge expensive factory but only ever makes one car model! I mean, it would economically go out of business.”

“We have demonstrated that, by looking at the steps to make a solid rocket motor, be it metal printing the end domes or how we do the internal features and make the actual case to how we in some cases load the highly-loaded grain to get more performance, we can do all of it on the same production line for any motor between two inches and 22 inches in diameter. The same equipment, the same people, the same factory footprint. If we want to scale, we just copy paste the factory. If the demand signal changes in a year – which if recent conflicts give us any indication they probably will – that factory can switch over to a different munition. We just stop making one size and tool up for the new size in a matter of months.”

Ursa Major’s primary 93-acre corporate headquarters is located in Berthoud, about an hour north of Denver, Colorado. Here the company has the facilities to test its liquid rocket engines on site and it also designs, develops, and manufactures here. “Our main building is really split in half,” explains Spagnoletti. “On one side we have liquid rocket engine manufacturing and development to power hypersonics, and on the other behind a steel rolling door are the solid rocket motor development and low-rate production as part of our replenishment of critical munitions.”

“At the Colorado site, we’re actually grinding, mixing, casting, curing thousands of pounds of energetics per year for our solid rocket motors, with a lot of automation built-in to not only protect the people but also to make the process more consistent. We have another site for our high volume solid rocket motor production – it needs a lot of space – and we are targeting to manufacture hundreds of thousands of pounds of energetics for use in various shapes and sizes by the middle of 2027.”

The company has expanded with more than 400 acres for SRM production in Galeton, Colorado.

Solid rocket motors of all sizes

Nick Doucette already sees the solid rocket motor work evolving. “We will eventually boost-power our Havoc system with our solid rocket motors. Remember, we got into SRMs due to seeing the critical munition needs, with an open door for manufacturing innovation and a problem we want to help solve. So we’ve built a manufacturing approach and we are now building a multitude of different size classes for different customers.”

The smallest SRM that Ursa Major is actively working on is for the Advanced Precision Kill Weapons System, or APKWS, from BAE Systems. “This currently uses a very dated motor and there’s been a lot of need in the industry to essentially innovate on that motor,” explains Doucette. “So we’ve been working extensively with both BAE Systems and the U.S. Air Force on that particular platform, especially with highly loaded grain, and we see a very promising future there.”

Doucette explains that Ursa Major has already made several hundred 2.75-inch motors for testing and development. This will be an extended range version of the motor, packing a significantly larger amount of energetic material into the same size rocket casing.

In 2024, Ursa Major won a contract with the Naval Energetics Systems and Technologies (NEST) program to develop and test a new design to apply its SRM manufacturing processes to the Mk104 dual-thrust rocket motor that powers the U.S. Navy Standard Missile 2 (SM-2), used for surface-to-air defense, and the SM-6 anti-air, land, and sea missile.

Trusted solid rocket motor providers are in limited supply, and the versatility of Ursa Major’s production process opens up a raft of potential opportunities, particularly in the missile defense space. The 10-14-inch range is what Doucette calls a “sweet spot” for interceptor missiles.

Asked about air-to-air missiles, Doucette says: “of course, we’re looking at it. There’s been a lot of conversations around how Ursa Major would approach the problem, but we have a lot going on already, so we’re making sure we don’t try to swallow the whole critical munitions list at once.”

“Most of these larger hypersonic weapons are all boosted,” adds Doucette. “These have a booster in the back end, and we have additionally completed internal work to develop that 22-inch diameter SRM capability. So now we can do anything from 2-inch to 22-inch on that same production line using our common modular manufacturing approach.”

Unleashing Havoc

Ursa Major’s parallel efforts in hypersonics brings the story full circle. Alongside the solid rocket motors business, hypersonic missiles have become a critical part of the company’s efforts, as Nick Doucette picks up the story. 

“There’s two specific products that Ursa Major makes in the hypersonics realm right now. The first is an engine that’s liquid oxygen-powered with rocket fuel. We call it Hadley, and we’ve had that for the better part of a decade. Hadley powers the Stratolaunch hypersonic Talon A testbed, for example. We don’t make the vehicle, we just provide the engine and support services, and Hadley has flown 10 times now.”

“The challenge with Hadley is that it uses cryogenic liquid oxygen, which presents a whole suite of issues from a tactical perspective. A military user can’t sit and wait for the propellant to get cold, like you do with liquid oxygen. We needed to make a similar engine, slightly lower thrust, a little smaller, but essentially in the same packaging, make it storable and most importantly, make it tactical, so that you can drop it from a plane or shoot it vertically from a ship. So we switched from liquid oxygen to hydrogen peroxide.”

“The catch there was that the only way we were able to do that in the right packaging, tightness, and density, was to use 3D-printing. Fast-forward through six years of insane additive development and the Draper engine became a reality. It simply would not have been possible without massive advances in the additive world because of the complexity of what we’re doing geometrically. It’s a really challenging thing to do.”

Draper is a 4,000-pound-thrust engine that is powered by hydrogen peroxide and rocket fuel. Its use of non-cryogenic storable propellants enables long-duration storage, rapid deployment, and operational flexibility in real-world conditions. Its massive potential drove Ursa Major to search for a suitable hypersonic vehicle design to match it with.

“We strongly believed that Draper introduced a differentiating threat vector for any adversary,” Doucette continues. “China has had boost-glide hypersonics for a decade. Other hypersonic designs use a scramjet, which are costly and complex. Draper opened up hypersonic performance, where you have a wide range of trajectories and adaptability as well as other really creative mechanisms that, to be honest, the adversaries don’t have. I mean it’s wildly different, which we see as being a very valuable asset to the national security arsenal.

“The concept of using a liquid rocket engine for a hypersonic weapon is absolutely game changing. Draper can be throttled – unlike solid rocket motors that use a pre-mixed propellant and oxidizer that cannot be controlled once ignited – plus it’s designed to be more safely stored than other liquid rocket engines, providing the tactical storage capabilities that are typical of a solid rocket motor.”

Doucette says that Ursa Major looked to find a partner for the vehicle itself, but concluded that none were suitable, particularly when it came to moving fast. The decision was made to go it alone in-house with an air vehicle. The result is Havoc, which is designed like other hypersonic programs to fly in excess of mach 5, and intended to be launched in a variety of ways; as a single-stage from an aircraft or ground-launched with added booster stages. It’s also designed to run out at circa $3-million apiece. “We entered a rapid campaign in partnership with the Air Force Research Laboratory and we went from concept to flight-ready in about six months,” Doucette says.

Hypersonic missiles currently in testing with the USAF include the AGM-183A Air-Launched Rapid Response Weapon (ARRW), which is a boost-glide hypersonic system, with rocket boost and an unpowered glide vehicle inside. The Hypersonic Attack Cruise Missile, or HACM, also features rocket boosters, but with an air-breathing scramjet second stage vehicle. Both are limited to operations in the Earth’s atmosphere – whereas Havoc can operate either in or above the atmosphere.

“With regard to propulsion in aerospace defense, there’s three main types; air-breathing, solid powered, and liquid powered,” Doucette explains. “In the world of hypersonics, specifically, we’re talking about fast-moving, somewhat unpredictable, missile systems that are moving at over five times the speed of sound. You have the same propulsion methods, but liquid fuel has never really been introduced.”

“The air-breathing hypersonic weapons are typically scramjets and ramjets, which the U.S. has been developing for a very long time. They’re expensive and exquisite, but very long range.

“China has something in the order of 600-700 operational boost-glide systems in its arsenal right now. This is not new to them. They’ve been practicing, watching, and rehearsing.” Doucette warns that the U.S. fielding a boost-glide or scramjet hypersonic weapon may not really change the dynamic, which is why Ursa Major’s argument for its liquid-powered weapon is so strong.

“The novelty of being liquid-powered is that it carries its own oxidizer and fuel, which means it can go anywhere – in the atmosphere, out of the atmosphere, high, low. A solid rocket can technically do the same thing, but the big difference with the liquid system is that it can turn on and off an infinite number of times. A solid is going where it’s going, but a liquid could be on one trajectory and a split second later turn it off, then instantaneously head on a different trajectory because you can maneuver it from a powered vector perspective. Draper is also fully throttleable down to 10% all the way up to 100%.”

There are currently no competing systems that have the ability to bridge the gap between running in atmosphere and out of atmosphere with such a degree of throttle control. Ursa Major is currently the only company with a hypersonic vehicle and experience in the liquid-powered hypersonic realm. It has twice ground-launched from a rail what it calls “Havoc Block 0” in partnership with the Air Force Research Laboratory, under its Affordable Rapid Missile Demonstrator (ARMD) program. These demonstrator flights have been designed as multi-domain tests. “The great thing about Havoc is that we can alter the wings, add our solid rocket motor boost system, and it means we can ground launch, VLS [vertical launch system] launch, or air-launch,” Doucette says.

“Havoc provides something the Department of War has not previously seen,” adds Chris Spagnoletti. “Having a mid- and long-range tactical weapon that can deep throttle, turn on and off at will, is agnostic to atmosphere, rapidly change vector, accelerate and de-celerate, skim the sea, fly outside the atmosphere – this really opens up the aperture of what a munition can do. This is very tough for conventional systems to figure out what it’s intending to do.”

Rapidly scaling production

Spagnoletti says Ursa Major’s hypersonic program can scale quickly because of the company’s additive manufacturing and AI-driven manufacturing processes. Draper’s liquid propellant also has additional advantages when it comes to production. “We can drain the fuel, bring them into a facility, and that now-inert system doesn’t need massive keep-out distances,” explains Spagnoletti. “So, say in a 100,000 square foot building, we can produce 500 full-up missile systems per year inert, then fuel them right before we ship them or at the operational location.”

“Some companies are advocating for things like multi-year contracts, and that really matters to them because they’re setting up rigid long-term production lines. We’ve flipped that on its head where if a customer decides in say five years they want this weapon to look different, we have a common modular approach that we can swap things out. Most of the aerospace systems I’ve worked on in my career have long five or 10-year windows. Design, build, qualify – they don’t want to make hardware changes because it’s going to take ages and cost a lot of money to modify and qualify those systems. They’re inherently resistant to change, not because they don’t want to help and adapt, but because the system allows a massive amount of inertia, production lines have rigid tooling and processes, they can’t adapt. What’s different about Ursa Major is, again, that we design for manufacturability and leverage advanced manufacturing.’

Ursa Major Additive Manufacturing

In addition to its Colorado facilities mentioned earlier, Ursa Major also has a plant in Youngstown, Ohio, which is a center of excellence for 3D-printing, they then ship to Berthoud for final assembly and test. A lot of parts and components are manufactured in house, including valves, tanks, pressurization systems, avionics, but it does have dependency on some external suppliers where appropriate. “We have some really strong partnerships where we can’t bring things in-house. We’re such experts in additive manufacturing that we know when not to do it.”

“Importantly, we are not reducing costs by using the cheapest parts. In my 36 years in the aerospace industry, when it comes to building a critical munition, I know the devil’s in the details – it has to work every time and there’s only so cheap you can go before you start to sacrifice reliability. Some of our competitors are trying to achieve a lower cost hypersonic system, which is great, but those are typically salvo weapons where you just launch a lot of them. The Havoc missile system is more of a strategic asset.”

Ursa Major is making significant moves in the U.S. military’s missile stockpile recapitalization effort. It has opened up versatile methods of producing solid rocket motors, and it has demonstrated the functionality of Havoc with the Air Force Research Laboratory, including the concept of operations with the liquid rocket. Spagnoletti points out that the U.S. used to use liquid rockets prior to the advent of solid rocket motors. Use of additive manufacturing and 3D-printing is always in the conversation too, it’s how this company can scale its innovations fast.

The next major milestone it’s driving towards is a follow-on demonstration phase for Havoc – a boosted, full hypersonic flight. “We’re pushing for that in 2027,” says Spagnoletti.

As America marks its 250th year, the dream of a hypersonic missile with a 3D-printed engine that can be delivered in large quantities at an affordable price could materialize into another significant landmark in the story of American defense innovation. At least that’s Ursa Major’s goal, and it appears to look more promising by the day.

KELLY Osbourne has signed up to star in a new reality show documenting her life and personal struggles after the death of her father.

The daughter of belated icon Ozzy Osbourne, 41, used to feature in the much-loved show The Osbournes alongside her family.

But this time around Kelly will be taking centre stage in a show focusing on her reinvention as a single mother to son Sid, 3.

Kelly and her fiance, Sid Wilson from Slipknot, split up in March of this year.

She’s since been romantically lined to hairstylist Kiinicki but according to The Daily Mail it’s been an “on and off” relationship.

Kelly’s family and friends, including Lily Allen and DJ Fat Tony, may also be making appearances in the new programme.

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Speaking about the show’s contract, a friend said: “The deal is done, and the production company is finalising which broadcaster this will go with; most likely Disney.

“It will focus on how she is stepping back into life after the trauma of Ozzy dying last year and after breaking up with Sid. It’s about her rebuilding.”

Kelly lost her father in July last year after he suffered a heart attack in his home in Buckinghamshire.

The Black Sabbath star, 76, had only finished his farewell tour Back To The Beginning a matter of weeks before passing away.

Despite suffering a heart attack, Ozzy struggled with numerous other health conditions including Parkinson’s and complication of a quad bike accident from 2003.

Kelly and her family have since been grieving and doing their best to stay strong.

In December, marking the first Christmas without her father, an emotional Kelly shared online: “Christmas will never be the same.

“I will never be the same. The person I was before he died does not exist any more.

“It changes you. He was magical. There is no one like him.”

The Osbournes premiered its first episode in 2002 on MTV, with its first season being cited as the most-viewed series to ever hit MTV.

Sony Pictures will invest $100 million and take a minority stake in virtual reality venue operator Cosm, as the studio continues to build a business in communal experiences.

As part of the investment, Sony Pictures Chief Executive Ravi Ahuja will also join Cosm’s board of directors, the studio said Wednesday. The size of Sony’s minority stake was not disclosed.

The El Segundo-based Cosm currently operates three venues — one at Hollywood Park in Inglewood, and the others in Dallas and Atlanta. The company plans to open additional venues in Detroit and Cleveland.

Cosm bills itself as a “shared reality venue,” and its facilities center around a massive, wraparound screen that is intended to envelop viewers with additional digital effects. The company has largely focused on sports, though it has also shown Cirque du Soleil shows and done several collaborations with Warner Bros., including recent screenings of 2001’s “Harry Potter and the Sorcerer’s Stone” in honor of the film’s 25th anniversary.

“Cosm sits at the intersection of several trends shaping the future of entertainment,” Ahuja said in a statement. “We’ve followed Cosm since before launch and have been impressed with the quality of the experience and the enthusiasm it’s generating with audiences.”

The investment is Sony’s latest venture into experiential entertainment. In 2024, the Culver City-based studio acquired dine-in theater chain Alamo Drafthouse Cinema.

ASHLEY Cain has spoken out for the first time since he was axed by the BBC after allegedly making degrading comments about women online.

The reality TV star penned an apology on Instagram, addressing “language I used many years ago that I am not proud of”.

The 35-year-old was dropped by the Beeb last week after historic social media posts came to light which were deemed “offensive” to women.

His BBC Three documentary Into The Danger Zone has been shelved for its second season.

In response to a disastrous day as he was dropped by his management, Cain took to Instagram to address the controversy.

“You may have seen a recent article concerning language I used many years ago that I am not proud of.

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“I don’t deny it. I don’t excuse it. And I certainly don’t condone it,” he began.

Cain blamed the loss of his football career as one of the factors which caused him to feel “lost, frustrated and unsure of where my life was heading”.

He went on: “The reality is that growth doesn’t happen overnight. It happens through experience.

“Through mistakes. Through hardship. Through being forced to look in the mirror and ask yourself whether you’re willing to become better.”

Yesterday, the Daily Mail reported that Ashley had been dropped as a client by his management company Off Limits amid recent events.

“Ashley has been dropped by Off Limits, who also represent stars such as Jimmy Bullard, Jesy Nelson and Harry Redknapp,” an insider told the publication.

“They have a roster of talent who are household names, they don’t want to be associated with him after the vile posts came to light.

“Ashley is now pretty much blacklisted in the industry, and it’s doubtful he will ever be on television again.”

Ashley no longer appears on Off Limits website as a listed client.

The Ex on the Beach star’s Twitter posts made in 2011 and 2013 are said to have referenced extreme sex acts and appeared to make light of consent.

He reportedly used offensive, sexualised and aggressive language about women.

Derogatory terms allegedly written in 2014 and 2015 include “sl**s”, “b***hes” and “psychos”.

He also said he’d like to “choke slam” and “spit in the face” of Love Island star Jessica Hayes while commenting on the ITV2 reality show.

Cain’s apology post said he has learnt lessons from fatherhood over the past decade.

His daughter Azaylia Cain sadly died in 2021 of a rare form of acute myeloid leukaemia.

She was just eight months old when she died after a battle with the aggressive disease.

“Losing my daughter changed me forever,” Cain wrote.

“Since then, I have dedicated my life to trying to honour my daughter’s legacy and help others wherever I can.”

The reality star added: “I cannot change what I said over a decade ago. What I can do is take responsibility for it.

“What I can do is continue striving every day to be a good father, a good human and a positive force in the lives of others.”

Cain’s shock slurs sit uncomfortably alongside his more recent work as a BBC presenter exploring masculinity and gangs in dangerous locations around the world.

A BBC spokesperson said: “We are very clear we expect the highest standards of behaviour from everyone who works with or for the BBC.

“When allegations are brought to our attention we take them seriously. We will consider this information carefully and do not intend to comment further at this stage.”

The BBC were reportedly unaware of the offensive content prior to recruiting Cain as a host.

Dad-of-three Cain was a professional footballer at the time of his oldest offensive tweets.

Following contracts at Coventry City and non-league Barwell, he was forced to retire from the game in 2014 due to the effects of a serious achilles injury.

He turned to reality TV and starred in the first series of Ex on the Beach. More recently he appeared on Celebrity SAS, The Real Full Monty and Celebrity MasterChef.

Cain was left devastated in 2021 when his daughter Azaylia died from leukemia aged just eight months.

He set up The Azaylia Foundation in her name and has tackled gruelling endurance challenges to raise money and awareness.

PARIS — There’s a present-day answer to the question that was posed in verse by the French medieval poet and street brawler François Villon: “Where are the snows of yesteryear?”

They’re right here, in high summer, on Paris’ oldest bridge, the Pont Neuf, where an enormous art installation, a trompe l’oeil inflatable snow-clad mountain range, has arisen over the river Seine.

Using about 200,000 square feet of printed fabric, Paris-born street artist JR has created “La Caverne du Pont Neuf.” It’s his version of and homage to the innovative work of groundbreaking environmental artists Christo and Jeanne-Claude.

They’re the fabled duo who first wrapped the arches of this same bridge in straw-colored fabric in 1985. Over the years, they also surrounded 11 islands in Florida’s Biscayne Bay with flamingo-pink cloth, hung saffron-colored fabric “gates” in New York’s Central Park, installed a “running fence” of billowing white material across nearly 25 miles of Sonoma and Marin counties and, in 1991, planted 3,100 yellow umbrellas, blooming like 20-foot-tall poppies, through the Tejon Pass north of L.A.

I interviewed Christo in 2011, and he was eloquent about how his and his wife’s work alters perceptions of nature, and about the deliberately transient character of the art itself. JR, an acolyte of their work, told me in an email that “an ephemeral artwork forces you to come now, and usually to come with other people. The visit becomes a shared moment … and this moment becomes a memory.”

In a city celebrated for artworks that have survived for centuries, this installation was very nearly too transient. A kooky hailstorm in late May, a heat wave in June, followed by ruthlessly ripping winds, delayed the opening by days. At last, beginning one midnight, the air pumps began and the work arose like a limestone-colored soufflé. It will be open around the clock until June 28.

Plus ça change, plus c’est la même chose. Back in 1985, Christo’s engineer on the Pont Neuf project, Ted Dougherty, pointed out that above 25 mph, “wind is not our friend.”

The piece works from two vantage points: from afar — visible from a lot of central Paris — and also from inside it, in the “cave” part. Pedestrians crossing the bridge pass through a fabricated interior, a cavern-like space printed in 3D realism and enhanced with a specially designed scent to evoke the dank, earthy aroma of humankind’s early habitations.

JR and Thomas Bangalter in “La Caverne du Pont Neuf” in Paris.

(Tara-Jay Bangalter)

JR intended it to be both. “From the start I designed two works in one. There is the silhouette — what you catch from the quais, from the bridges, from a boat on the Seine or simply walking past on your way somewhere else. That image belongs to everyone, including the people who never chose to look at art that day.”

And then, he said, “there is the inside, which is slower and more intimate, almost in the dark, hard to photograph.” That aspect is “a journey to cross the bridge, to go from darkness to light.”

When Christo and Jeanne-Claude wrapped the arches of the Pont Neuf more than 40 years ago, it took years of planning and permits to make it happen. “La Caverne du Pont Neuf” was a breeze by comparison.

JR, whose other vast outdoor works have delivered double-takes of humans’ scale and their architecture, told me that cities have come to understand “that public art brings people together and that the image travels around the world. Once Christo showed it could be done safely and beautifully, the conversation changed. It was much easier for me to have my project accepted, thanks to them. They also proved the economic positive impact to the cities they worked in. I believe there should be more large-scale, ambitious public art projects.”

It’s one thing to conceive of such a project and another altogether to make it happen — so much technology, compared to, say, mixing paints and choosing a paintbrush. But the science that “La Caverne” required “is the art, not an obstacle to it,” JR said.

“Trompe l’oeil turns adults back into children,” JR said.

(Elea Jeanne Schmitter)

All the canvas, the engineering, the meticulous assembly, the permits — “none of that is preparation for the work, it is the work. Christo taught me this. The process is visible, and even more after the storm we experienced a couple of days before opening to the public. Nature always reminds you who is in charge. When the wind tore the canvas before we opened, we took it down, re-sewed it, reinforced it,” all in full public view.

“Where I stay careful is in not letting the technology become the subject. The augmented reality by Snap’s AR Studio adds to the project, doesn’t take you away from it.”

That air should be JR’s vital collaborator — no complex and costly scaffolding for these magic mountains — is nothing new in Paris.

The first free flight of humans above the earth, on Nov. 21, 1783, sent aloft two men in a hot-air balloon crafted by the Montgolfier brothers from silk fancifully painted in blue and gold with figures of the zodiac. It wafted across Paris for about 25 minutes at about 3,000 feet. Ephemeral, yes — and unforgettable.

Artists and couturiers are fond of the whimsy of trompe l’oeil, the trick of the eye, the illusion of reality. I am a sucker for it, for fashion like that of clothing designer Elsa Schiaparelli. JR has used it often, as a massive-scale magical deception to make the Louvre Pyramid “disappear” into the old Louvre, and opening up an imaginary subterranean world below the Eiffel Tower.

“Trompe l’oeil turns adults back into children,” he told me. “You know it isn’t real, you know that ‘La Caverne du Pont-Neuf’ is not made of rock, that this is printed canvas. And yet your eye wants to believe it, and for a moment you let yourself. That gap between knowing and believing is where the play happens, and people love being inside that gap.”

Vanessa Feltz has addressed some of her struggles in the early 2000s and argued that while people were very excited by the introduction of reality TV, vetting is now too ‘sketchy’

Vanessa Feltz has called for an end to “sordid” reality TV shows which she said gave her some of her lowest moments in her career.

The broadcaster, 64, shared her thoughts on how the format has changed over the past two decades, while reflecting on some incidents involving reality stars. According to Vanessa, vetting processes on some shows were “sketchy at best.”

In an article for You, the journalist said reality shows often recruit “individuals desperate for exposure” from social media – with women often asked whether they are looking for love, and men asked whether they are hoping to have some fun. Describing the reality genre as “sordid,” Vanessa said things have significantly changed since the early 2000s.

At the time, the idea of having “real people, doing real things, in real time” on TV seemed “revolutionary”, she argued, as demonstrated by the success of Big Brother. “We wanted ‘ordinary’ people scratching their armpits, pairing socks, quarrelling, vying, lying, picking their toenails and getting their rocks off,” Vanessa, who famously broke down and told Big Brother to “f*** off” during the first-ever Celebrity Big Brother in 2001, wrote.

Back then, mental health wasn’t given the same importance it has now, Vanessa said, meaning that many people – including herself – didn’t realise that reality TV posed any risk to participants. But she wrote: “When I said I’d had enough and please could I pack my case and go – we weren’t being paid, we were doing it free for Comic Relief – Big Brother replied: ‘If you leave, Vanessa, you’ll be the most hated woman in Britain.'”

She said that after being evicted, she “shook uncontrollably” and was “disorientated, trembling” until she was able to reunite with her daughters, which made her “remember how it felt to be myself.” She said: “A quarter of a century later people still ask, what the beep happened? I tell them, when you are on a reality TV show it isn’t a game.

Opening up on her experience of filming Celebrity Fit Club in 2004, Vanessa said she was “so scared” of letting her team down that she “stopped all food and water on Friday mornings” and after the weigh-in on Saturday afternoon, contestants “were all shaky and faint with hunger.”

She said that after drinking a glass of water and eating a couple of Ryvita crackers, they would go back on the scales and find they had already gained back the weight presenter Dale Winton had announced they had lost. “It was hell,” Vanessa reflected.

Giving the example of reality star Sinitta, who appeared on her Channel 5 show Vanessa on June 1 and said she needed therapy after I’m A Celebrity…South Africa due to the amount of trolling she faced, the broadcaster said reality TV is capably of leaving people damaged.

Vanessa’s reflection comes after her Channel 5 daytime chat show was cancelled only a year after its debut. According to reports, the presenter was blindsided and left furious by the news. The chat show sees Vanessa talk to guests and people at home who had called in to share their experiences of whichever topic was on the agenda.

But this week, a 5 spokesperson confirmed to the Mirror that the show would be coming off air, saying: “Due to afternoon scheduling changes, ‘Vanessa’ will be rested from July 17th. We thank Vanessa and her team at ITN for 18 months of warm, witty, wise and searingly honest shows. Vanessa remains a valued member of the 5 family and we are discussing future projects together.”

Following the cancellation, a source told the Mail that Vanessa was blindsided when she was told that the show had been axed. They said: “Vanessa was brought into a meeting after her show came off air this week. She had no idea what the meeting was about and certainly didn’t expect to be told it was not being renewed. She feels so blindsided but also let down by bosses.”

The cancellation is thought to be linked to low ratings for the programme, as well as an inability to get the scam callers under control. The source said that producers “tried their best to crack down” on the pranks, but it couldn’t be done.

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JUST two weeks ago, Tina O’Brien was waxing lyrical about going on her first solo holiday as she embraced single life for the first time in years.

It turned out to be rather short-lived, though, as yesterday the Corrie star was spotted kissing a hunky new man in the street.  Now, insiders tell us why her latest fling – with Irish TikToker Rory Martin – has sparked concern amongst her inner circle, who fear her new beau might have an ulterior motive.

Our insider said: “Tina was genuinely trying to enjoy some time on her own after her recent split, but she has really fallen for Rory’s Irish charm. 

“Rory is no stranger to hanging out with famous women – he was linked to Una Healey last year and has gained a bit of a reputation for being a ladies’ man.

“He loves TikTok fame and will really be enjoying the attention he’ll be getting off the back of dating Tina.

“It’s worrying for her friends, because they don’t want to feel like she is being used.

“Tina is someone who loves love and enjoys being caught up in the whirlwind of it all, and they just don’t want her to rush into anything.”

While her last ex, Adam Fadle, disliked the limelight, Rory, in contrast, is said to be very taken with her high profile.

We’re told Tina now lives in a very well-known area where paps often frequent, so it’s unlikely to have come as a surprise to her that they were photographed.

It’s thought Tina, 42, actually met Rory, 30,  through her daughter, 17-year-old Scarlett, who she shares with ex Ryan Thomas. 

They are said to have connected through the music world. Rory also dabbles in singing and guitar playing, as well as doing social media.

He also works for the ambulance service – but is believed to be in the call centre rather than working as a paramedic, as his social media would suggest.

Our source continued: “People think Rory is some kind of sexy paramedic, but the reality is much less glamorous.

“He really plays up to it in his social media because he knows his thirst traps in his uniform attract both women and men to him.”

Last June, Rory surprised fans by posting a video of him singing with Saturday’s star Una in a kitchen.

We’re told the pair were casually dating for some time and really enjoyed making music together. 

Tina’s new romance comes seven months on from her splitting from her millionaire boyfriend Adam Fadle, whom she met in Cheshire following her move there.

The actress, who is known for playing Sarah Platt on the Cobbles, is thought to have been single since her split from millionaire businessman Adam.

At the time, we revealed that it was interior designer Adam who ended things with the star. Rather than being taken with her glam life in the public eye, we’re told it ended up being a huge turn-off for him.

Our insider said: “He was the one who wanted out and ended it. In a brutal swipe, he said it ended up being like something out of a Coronation Street storyline.”

That relationship was hot on the heels of the end of her marriage to personal trainer Adam Crofts. They got together just four months after it ended. 

Tina and Adam Crofts were married for six years and share a son, Beau, together.

Tina also, of course, has her daughter from her relationship with her former Corrie co-star Ryan Thomas.

Her romance with Ryan lasted from 2003 to 2009, with the pair’s very public split fraught and involving a number of public spats. 

Most recently, the pair have been navigating their daughter’s burgeoning singing and social media career together. 

While Ryan has fully embraced that world, Tina’s had a love-hate relationship with social media over the years, vowing to take a break from Instagram in 2020 after calling the site “toxic” and admitting she felt like a “fraud” trying to present a “filtered version” of her life to gain validation. 

But six years on, things are completely different, and she has big plans for the future after signing up to an agency – Alpha Talent Group – which will be helping her land a series of brand partnerships.

Alpha already has a string of celebrity clients. They look after boxer Tommy Fury, The Wanted star Max George, Made in Chelsea’s Miles Nazaire, and Love Island stars Paige Turley, Helena Ford, and twins Eve and Jess Gale.

While Tina is set to branch out on socials, fans shouldn’t expect to see her all over TikTok, like Scarlett and her dad Ryan and his brothers Adam and Scott Thomas are.

Our source previously explained: “She won’t be doing cringe TikTok trends, but there are some exciting brand deals on the horizon.

“And don’t be surprised if she steps out of her comfort zone and does some reality TV – she did Strictly over a decade ago and feels like she wants the public to see her personality.”

And dating another social media star, who has half a million followers on TikTok, is probably not a bad place to start. 

A couple who booked a trip to Barcelona shared their ‘expectations’ of the city, but soon discovered the ‘reality’ was vastly different from what they’d imagined

Barcelona, the capital of Catalonia in northeastern parts of Spain, is a popular for Brits looking for a weekend break or a summer escape, thanks to its mix of buzzing city life, Mediterranean coastline, and world-famous architecture. And it’s not only Brits who are drawn to the Spanish city, as it welcomed around 16 million tourists last year alone, a 2.9 per cent rise from 2024.

But officials in the city have warned that tourism levels have resulted in residents being priced out due to the number of homes being converted into holiday lets. In a bid to tackle the problem, the city ramped up its tourism tax in April 2026, with a charge of up to £10.91 (€12.50) per night for holiday rentals, up from £5.45 (€6.25) previously.

Yet this doesn’t appear to have deterred visitors, as countless holidaymakers regularly flock to social media platforms like TikTok to share their experiences in Barcelona.

But many have discovered it’s worlds apart from what they might have imagined. Among them are Lara and Laurens, a Dutch couple who chronicle their travels on TikTok.

In a recent clip, they revealed how their dream vision of Barcelona had been ‘ruined’ because of the sheer amount of roadworks under way during their stay.

The pair kicked off by outlining their ‘expectations’ for the trip. This included soaking up the stunning architecture across the city, enjoying sangrias, and people-watching while strolling along the lively streets.

And Lara went on to reveal the ‘reality’ of a trip to Barcelona, which featured an abundance of roadworks, building sites, and makeshift pedestrian routes flanked by wire fencing, all making way for construction projects taking place on the pavements and roads.

“Would you still visit Barcelona right now?” Lara and Laurens asked viewers in the caption of the video.

Lara wasn’t alone in her observations either, as viewers quickly descended on the comments section to share their own experiences of visiting the beloved Spanish city. “This! And every single water fountain was turned off when we went,” one person shared.

A second viewer chimed in: “Yep! I was there recently and tons of construction going on!” Another added: “Pffff no nice. I hope you can enjoy your travel.”

Not everyone agreed, however, with one person pointing out: “That’s ONE street.” Another echoed the sentiment, writing: “It’s just one street by the market! Everything else is great!”

“I’m here right now. It’s a beautiful city. All cities have construction here and there,” one further commenter remarked.

“How dare cities upgrade their infrastructure while you’re on vacation!” someone else wrote.

Lara was quick to respond, saying: “Haha no it’s great that they’re doing it. It was just a lot on the same time. Still love Barcelona.”

The “Love Island USA” production team is mourning the loss of executive producer James Barker, who died last week while on set in Fiji.

“Love Island USA” producers ITV America and Peacock confirmed Barker’s death in a media release shared with The Times on Monday. The announcement said that Barker died after “an unexpected medical emergency” but did not provide additional details, including the day of his death and a cause of death. Barker was 40.

“James’ unimaginable loss has been deeply felt across not just the entire Love Island USA production, but throughout all of ITV and Peacock,” the television companies said in a joint statement. “He was a beloved and greatly valued member of our collective family whose kindness, talent and dedication left an indelible mark on all of us and everyone who had the privilege of knowing and working with him. We extend our heartfelt condolences to James’ family, friends and colleagues.”

Barker began his tenure on “Love Island USA” in 2020, first working as a story producer. He has worked as an executive producer on the series for the last three seasons and was also a member of the producing team on “Love Island” companion series “Love Island Games” and “Love Island: Beyond the Villa.”

Barker, according to Monday’s statement, also oversaw the hit series’ pop soundtrack. For an interview with Rolling Stone in 2025, Barker recalled watching the original British “Love Island” series and how pop music supplemented the on-screen romances and heartbreak: “I think that is where my brain immediately said, ‘One, this is amazing, and more shows should be like this.’ And two, ‘How do I work on “Love Island”?’”

Barker also noted in the interview that he drew inspiration for the “Love Island USA” villa sound from his pre-TV career as a nightlife DJ and spoke about the process of hand-selecting music from established pop acts and up-and-coming artists.

“In the past, there was such a stigma about reality shows that a lot of artists didn’t want their music associated with reality shows. And that’s starting to turn around now,” Barker told the outlet. “[Artists are] more and more seeing, well, one, the financial aspect of having your music synced in these kind of shows, and also just the wide reach of viewers.”

Before “Love Island USA,” Barker was a producer on reality series “Pawn Stars,” “Counting Cars” and “Forged in Fire.” He later served as a story producer on “Queer Eye,” “Cosmic Love” and “Are You My First?” Outside of his TV work, Barker often performed as DJ Chaotic at gay bar C’mon Everybody in Brooklyn.

“Love Island USA,” which began its eighth season earlier this month, will pay tribute to Barker in Tuesday’s episode.

He is survived by his mother Malinda.

TEDDY SWIMS says he is glad he was 30 years old before achieving global success – otherwise he could have gone off the rails.

The US star, whose single Lose Control sent his profile rocketing in 2023, said he doesn’t understand how younger stars like Benson Boone have coped with their early fame.

Teddy explained: “He’s crushing it at, like, 23. If they would have gave me that at 23, I would have sent that straight up my nose.

“Thank God it happened to me at the time it did and I’m capable of understanding this and taking it seriously.

“I’d have probably been so terrible about it. I’d have spun out immediately if I’d been given that at such a young age.”

Since then though, Teddy’s had further hits with The Door and Bad Dreams, but doesn’t let success get to his head.

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He said: “I try not to hang up my diamond or platinum records in my house, because I feel like I’ll just be looking at them and be like, ‘My best days are behind me,’ or something.

“So I try just to keep my head down and keep rocking.”

Asked if they’re in storage, he confessed: “A lot of them I’ve given to my family on Christmas. It saves me a little money there too.

“You know, my aunt’s got The Door gold record from a year ago.”

A real beauty spot, Maya

MAYA JAMA is clearly feline fine as she turns up the heat in a skimpy leopard-print mini dress.

The Love Island host sizzled as she fronted the dating show’s ITV2 spin-off Aftersun in the slinky number.

Maya, who previously dated grime star Stormzy, split from her Manchester City footballer boyfriend Ruben Dias in April after 18 months together.

But she clearly isn’t moping around, and has been on holiday in Ibiza, where she flaunted her curves in a tiny bikini.

Maya said of the break-up: “I’m an all-or-nothing girl, I don’t casually date, so yes, I will love loudly or not at all – and if it ends, it ends. I decided a long time ago not to base my life decisions on public opinions.”

Sounds like she’s got the dating game sussed.

JACK WHITEHALL has apologised to Becky Hill for calling her a “Wetherspoons Whitney”, claiming the pair “had a chuckle” about his dig – despite her writing diss track Daddy’s Range Rover about him.

I revealed last month how Becky has penned the song all about him making her the butt of a joke while he hosted the 2024 Brits.

Jack says: “I think my biggest surprise is it’s taken so long for some- one to write a diss track about me. I apologised when I saw her.”

Becky doesn’t sound like she sees the funny side, however – blasting the “privately educated nepo baby”.

Jesy’s hol of a look

LITTLE MIX singer Jesy Nelson celebrated her 35th birthday pondering what is coming next for her.

Holidaying with friends, she mused: “Whatever will chapter 35 bring?”

Well, it is unlikely to bring a reunion with her estranged former bandmates.

Jesy was not a guest at Perrie Edwards’ wedding to Alex Oxlade-Chamberlain in Portugal over the weekend, after Perrie said Jesy made her “blood boil” by claiming she felt unsupported during a mental health crisis.

Whatever comes next, it’s going to be a page-turner.

LEAH LETS LOOSE IN IBIZA

ENGLAND women’s football captain Leah Williamson made the most of her break from the game by enjoying a wild girls’ trip to Ibiza.

I’m told the Arsenal player let her hair down at the White Isle’s most legendary club Pikes last week.

Then on Friday night she let loose at Calvin Harris’ residency at superclub Ushuaia, where she partied with pals and her model girlfriend Elle Smith.

One onlooker told me: “Leah was ­having a great time doing shots with her mates – she was really ­living her best life.”

A calf injury meant she was ruled out of the last Lionesses squad, and it sounds like she is still feeling the effects as Leah wasn’t dancing as much as her mates.

But I reckon a blow-out in Ibiza might be just what she needs before getting her head back in the game.

FRESH off a collaboration with Ed Sheeran, Martin Garrix has teamed up with Madonna.

The Dutch DJ debuted Bizarre, one of the tracks from Madge’s highly anticipated Confessions II album, during a New York party.

From the clip I’ve heard, it sounds like an absolute beast.

ASTON: MY BOY’S READY TO HAVE BITE AT POP STARDOM

JLS star Aston Merrygold reckons he could have the next Justin Bieber on his hands in the form of his talented eldest son.

He revealed that eight-year-old Grayson Jax is already showing serious star potential.

The Beat Again singer said: “My oldest is full-on – he’s ready, he wants to do everything. He’s so much better than I ever was. Little Justin Bieber on the way.”

While fans wait to see if another Merrygold is about to hit the charts, Aston is juggling life as a musician with being a hands-on dad to his three children and setting a good example.

The singer has teamed up with Bupa Dental Care to launch the kids’ story and audiobook The ­Dentist’s Apprentice, aimed at ­helping youngsters overcome fears over check-ups on their teeth.

Aston said: “The whole premise is about trying to get rid of dental anxiety that young people have.

“Having all that pent-up anxious energy is not healthy for anyone. The dentist is about check-ups, it’s about prevention.”

Aston will soon be back on the road with JLS for their UK tour.

They are playing eight more shows, ending in Derby on August 29.

Reality programme The Vardys has wrapped up and fans of the show have one big question

Reality show The Vardys has ended, leaving fans with one question.

The programme followed footballer Jamie as he left Leicester City and moved to Italy alongside wife Rebekah and their family.

As it ended on Thursday (June 4), many fans were left wondering if it would be back for a second series, reports Leicestershire Live.

Spanning three episodes on ITV, The Vardys documented the famous family’s relocation to a luxurious Lake Garda residence, where they adjusted to a new life and were faced with a break-in.

“After a difficult and dramatic five years in the UK, Rebekah is ready for the next chapter – but uprooting and moving to Italy with four kids (plus a superstar footballer husband) is not exactly what she had in mind,” a synopsis stated.

“As she manages the emotional and physical upheaval of the new move, she reflects on her recent challenges in the UK, intent on putting the ‘Wagatha’ drama behind her and focusing on an exciting new chapter.”

Following the finale, numerous viewers expressed their desire for another instalment.

“Watched all three episodes last night, loved it… will there be a second series,” one person asked on Instagram.

Rebekah hosted a Q&A on her Instagram Story, and when questioned about a potential second season, she responded: “We only ever agreed to do three episodes, but we will see. It’s a busy time right now.”

Another viewer mentioned watching the programme on catch-up and thoroughly enjoying it, asking if there would be further episodes. “Ah, thank you, we will see,” the star replied.

One viewer asked whether Rebekah and Jamie might venture onto YouTube, and she teased: “Just wait and see.”

Numerous viewers have suggested the series has revealed a different side of the star, and when one commented that Rebekah was a “great mum and wife”, she responded: “A villain makes a better story than the real person, I guess. Sometimes it’s easier to believe a headline than think for yourself.

“A lot of people built careers on getting me wrong,” she continued. “I’m really not as scary as they want you to believe.”

The Vardys is available on ITVX.

Channel 4 abruptly cancelled plans to reboot the popular competition series

Channel 4 fans have pleaded with bosses to bring back a show they say is “prime British TV.”

The savage reality competition series titled Four Weddings quickly became a huge hit with fans all thanks to its chaotic moment.

The show saw four brides-to-be attend and score each other’s weddings, awarding marks for dress, venue, entertainment and food in hopes of coming out on top and winning a luxury honeymoon.

As expected there were some rather uncomfortable scenes as some contestants were rather harsh with their scores or were clearly opting for shady tactics.

The series originally broadcast on Sky Living between 2009 and 2013. With the success of smash hit shows such as Married At First Sight, it sparked the interest of Channel 4 producers decade later, who planned to reboot the show.

The team behind Come Dine With Me, were expected to run the show and it was said that they would be introducing a big change to the news – the star prize would be switched from a holiday to a £50,000 cash prize.

Despite fans’ excitement at the time, the network abruptly cancelled the reboot just days before it was supposed to start production. No official reason was given for the sudden cancellation of the series.

There are no plans of the show making a return since it vanished from our screens, however TV fans have urged Channel 4 to consider a revival again following a nostalgic post on social media.

One fan commented: “This is prime British TV.” Another said: “We need this show back.” A third wrote: “This was peak UK reality. LOVED this show, so underrated.”

Another commented: “This was the best programme ever.” One fan said: “This was so savage.” One insisted: “This is the best show ever.”

Meanwhile another fan added: “I don’t know why they stopped this show, I would watch it over Corrie.”

It comes as a former bride, who appeared on the show previously opened up about how the show left her completely blindsided.

Linsie Abshire, who was 26 when she was crowned winner, revealed that her honeymoon prize came with one major thing she was completely unprepared for.

The bride took to Reddit and explained that while they were being sent to Tuscany for five nights, with dinner, a spa day, a wine and olive oil tasting, and a $1,000 gift card all paid for, the most significant expense was not covered.

Linsie wrote: “They do not pay for the plane tickets.” Her husband was naturally “kind of upset” because they had been under the impression that the entire trip would be paid for.

Matt Brown, who starred with his family in the Discovery reality television show “Alaskan Bush People,” was found dead in the Okanogan River in Washington state, law enforcement officials said Sunday.

Brown’s body was discovered Saturday by a group of private citizens who were conducting a search, the Okanogan County Sheriff’s Office said in a statement.

Brown’s brother, Bear Brown, said in a video posted Saturday on social media that fellow brother Noah had been with the search team, helped pull the body out of the river and identified him.

The official cause and manner of death is still to be determined by the coroner, the sheriff’s office said. But the Brown family believes Matt Brown died by suicide, Bear Brown said in the video.

Witnesses said they saw Matt Brown in or near the river and that he “took his own life,” Bear Brown said on social media.

“I would have never suspected he would hurt himself, honestly,” Bear Brown said in the emotional video. “He struggled for a long time.”

Bear Brown said his brother had battled with alcohol and drugs and that Matt Brown told him in their last conversation that he had “fallen off the wagon.”

The Brown family and their life in the Alaskan wilderness were the subject of the reality TV show “Alaskan Bush People,” which ran on the Discovery Channel from 2014 to 2022.

At this year’s Sundance Film Festival, filmmaker William D. Caballero won the NEXT Special Jury Award for Creative Expression for his intensely personal, multimedia feature debut, “TheyDream.” During his acceptance speech, he made a powerful statement.

“In case ICE were ever to harm me or kill me, this film will serve as the truth of who I am, and who my family is, before Fox News or this administration ever makes us out to be the villain[s],” he recalls paraphrasing during a recent interview.

Blending live action footage with different animation techniques — as well as the 3-D-printed miniatures that have been a fixture of Caballero’s work for more than a decade — “TheyDream” honors the filmmaker’s Puerto Rican loved ones, particularly his mother, Milly.

She collaborated with him in the making of this one-of-a-kind portrait of loss, resilience and shared healing. Their heartfelt exchanges throughout this process are also shared on-screen.

“Seeing her light up and become transformed throughout was just invigorating, because it allowed us to talk about heavy things and bond throughout the process of creating a story that’s personal [for us] both,” Caballero says. “It’s like, ‘Let’s guide each other and instead of me taking your stories and making magic with them, let’s make this magic together.’”

The brilliantly unconventional piece of autobiographical storytelling will screen as the closing night film of the Los Angeles Latino International Film Festival (LALIFF) on Sunday. Recently, John Leguizamo and Ben DeJesus joined the film as executive producers.

Starting with his 2013 short film “How You Doin,’ Boy? Voicemails From Gran’pa,” Caballero has used miniatures to immortalize his loved ones. That bite-sized introduction to his Boricua grandfather’s humorous wisdom evolved into the HBO Latino show, “Gran’pa Knows Best.”

“When I started working on ‘Gran’pa Knows Best,’ I knew that 3-D printing was this new technique,” he says. “But I’d never seen anyone that looked or sounded like my grandfather in it. I realized that it could be a really creative method to preserve his voice and his story. “

Then came the 2017 short “Victor & Isolina” about his grandparents’ relationship, and more recently in 2022, he debuted “Chilly and Milly,” which focused on his parents. Some of the sets from these shorts, tiny replicas of places familiar to Caballero, and a few of the miniature characters were reused in “TheyDream.”

“Being able to create these things in miniature is almost like getting back in touch with the idea of play,” Caballero explains. “As a child, you invent lots of stories all the time. But now as an artist, I’m able to tell stories that touch upon reality and painful memories, but also hopes and dreams in a way that hearkens back to the innocence of childhood.”

Filmmaker William D. Caballero will screen “TheyDream” on Sunday at the Los Angeles Latino International Film Festival (LALIFF).

(William D. Caballero)

“TheyDream” is a culmination of the eclectic and nimble artistic practice that Caballero has developed since he studied digital art at the Pratt Institute in Brooklyn.

“I’d always just been attracted to new ways of expressing myself and expressing stories. And I say this both in a way that brings me pride, but also brings me a bit of a headache, because I don’t think I’ll ever be a conventional filmmaker,” he says, laughing.

Still, working outside the margins of traditional moviemaking requires great adaptability.

When Caballero received funding for “TheyDream” in 2021, the money wasn’t enough to conceive it as he had originally envisioned it: entirely told with 3-D-printed figures in physical sets. The lack of resources forced him to rethink his approach, and he opted for hiring two Puerto Rican animators, Julisse Tinoco and Frank Martinez, each of whom animate in distinct styles, to help him create some of the sequences needed.

“This all goes back to the resourcefulness that I learned when I was young,” Caballero says. “When you’re born Latino and low-income in this society, you can’t let yourself be written off or you’re already defeated before you even begin.”

Caballero grew up in housing projects in New York City, and later in a trailer in his grandmother’s backyard in Fayetteville, N.C. Both of his parents were disabled.

Filmmaker William D. Caballero poses as his father for a reference shot in the making of his 2026 film “TheyDream.”

For Caballero, he says the arts have provided an escape that he “needed in order to survive and not feel weighed down by American consumerism, by poverty and by feeling trapped.” Whenever grief has perturbed him, Caballero has processed it through creativity.

With “TheyDream,” he wished to extend that vehicle for self-reflection to his mother. The film addresses complicated familial bonds and his mother’s experience caring for others.

“Throughout the years, we’ve lost several of my family members that we were both close to, but my mother especially,” he says. “She feels their absence much stronger than I do. I live in Los Angeles, my mother still lives in North Carolina. Knowing that she was alone in the mobile home, it just made me feel like, ‘That can’t be good for her.’”

His mother, he says, deals with self-esteem issues because her identity has for so long been reduced to being a caretaker for elderly relatives, who, inevitably, pass away — leaving her feeling like a failure. In reality, it was thanks to her devotion that they added years of life.

Caballero’s mother was at the Sundance premiere of “TheyDream,” where she witnessed how others saw her through the film she helped her son craft.

“I wanted her to feel like, ‘Mom, look at all these people that are clapping for you. They’re clapping for you because you are a hero. You deserve to hold yourself high and be strong and know that there’s something incredible in your story that’s indicative of the stories of many low-income Americans, regardless of race,’” Caballero says, visibly moved.

A prolific and highly regarded artist (he is a 2018 Guggenheim Fellow), Caballero has several other projects in the works that he’s trying to shop around. One of them is an episodic series titled “Second Fiddle,” about a 15-year-old Latino boy who gets accepted to a prestigious summer youth orchestra camp — and whose overbearing mother decides she’s going to stay in the camp with him.

Caballero’s mother, Milly, got the animated treatment in “TheyDream.”

“I never saw a Latino playing violin on TV or the big screen. I didn’t see any quirky, nerdy, artsy Latino kids like I was,” he says. “And I felt in my core that [it] was just wrong and something that I could change.”

Another project, “Raúl Playing Game,” is “an adult version of Pixar’s ‘Inside Out,’ ” that takes place in the mind of a closeted bisexual man. Caballero himself is bisexual. In 2022, “Raúl Playing Game” was selected for the LALIFF Inclusion Fellowship, which provided support for a short film version that serves as proof of concept for a potential TV show.

“I always wanted to make sure that I was telling authentic stories even if not necessarily always positive stories,” he says. “I’m very happy that I never lost track of that. Because I do believe that we need to tell our own stories, in our own unique voices, before someone else does it for us.”

Brits planning trips to Portugal this summer have been urged to stay vigilant, as there is a ‘troubling’ scam on the rise that targets tourists

If you’re jetting off to Portugal this summer, there’s one “troubling” threat facing tourists that you need to know about. Portugal ranks among the most sought-after holiday spots for Brits, with roughly 3 million of us flocking to sun-drenched destinations such as Porto, The Algarve, and Madeira each year.

However, for those planning to chase the sunshine in the months ahead, there’s an important warning to heed. According to travel experts on social media, Portugal is grappling with a crisis that sees criminals deliberately targeting tourists to turn a quick profit – all while the nation’s cultural heritage pays the price.

Eric and Josien, a couple based in Portugal who frequently post travel content on Instagram, revealed that thieves across the country are pinching the iconic ceramic tiles adorning buildings and flogging them on the street, mainly to unsuspecting tourists who have no clue about the tiles’ origins.

The tiles, known as azulejos, are hand-painted ceramic pieces used to decorate churches, palaces, train stations, and even some residential properties. They represent a cherished element of Portugal’s culture and heritage, yet according to locals, there’s an “illegal black market” centred around stealing these tiles and hawking them on the street.

They explained: “Azulejos – those beautiful, hand-painted ceramic tiles – are one of Portugal’s most iconic and treasured art forms. Dating back over 500 years, these tiles cover churches, palaces, train stations, and even ordinary homes, turning buildings into vibrant storytellers of Portuguese history, culture, and craftsmanship.

“But behind this beauty lies a troubling reality: an illegal black market that thrives on stealing these tiles.

“Thieves often target abandoned or under-renovation buildings, or even occupied homes late at night, using special tools to remove the tiles without damaging them. Once taken, these tiles are sold as ‘vintage’ or ‘reclaimed’ pieces through online shops, antique markets, and tourist areas – sometimes even shipped abroad.

“Because buyers rarely ask where these tiles come from, and regulations around these sales are limited, thieves profit while Portugal’s heritage suffers.”

Visitors to Portugal can purchase genuine azulejos from local craftspeople throughout the country, and the Instagram duo encouraged travellers to seek out artisan boutiques rather than purchasing from street sellers.

They added: “Never buy tiles without knowing their origin. If it looks like an authentic azulejo, ask questions and proof of its source. And support local artisans and shops that create or sell new, authentic tiles.”

What are azulejos?

Azulejos are intricately decorated ceramic tiles that typically measure around 5 to 6 inches (13 to 15cm) square. They’re most commonly found in Portugal and Spain, where they’ve been crafted since the 14th century. In Portugal, the tiles have predominantly featured in religious architecture, including adorning the Coimbra Cathedral.

While Spain largely stopped making the tiles by the 18th century, Portugal pressed on, eventually shipping them to the Azores, Madeira, and Brazil. They’re now frequently manufactured in Puebla, Mexico, where they’re regarded as the finest in the Western Hemisphere.

Due to their historical and cultural importance, they’ve become a sought-after keepsake for holidaymakers visiting Portugal. That said, you should always ensure what you’re purchasing has been ethically sourced, and its origins can be verified. If you suspect the tiles being offered could be stolen, steer clear of buying them.

The Portuguese National Tourist Board has been contacted for comment.

REBEKAH Vardy insists that “hell will freeze over” before she ever apologises to former pal Coleen Rooney over their Wagatha Christie row.

The wife of footie star Jamie said she must live with her libel loss to Wayne Rooney’s missus.

But Becky, 44 — accused of leaking stories about Coleen — said: “I’m never going to apologise for something I didn’t do. Hell will freeze over before I do that.”

Rebekah says her Wagatha Christie beef with Coleen is “done, it’s over” — and does not care what her ex-pal thinks about her.

The wife of former Leicester striker Jamie insists her own “peace” is more important amid the fallout to their legal battle.

In new ITV reality show The Vardys, she admits to still suffering from a public backlash after losing her libel case against Wayne Rooney’s missus.
Becky, 44, had taken legal action after Coleen claimed stories about her were leaked from her Instagram account.

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And she says: “I’m living with the judgment the judge made but, still to this day, I believe she was wrong.”

The mum of five goes on: “People constantly go, ‘Well, it’s not going to change anything unless you apologise’ — but I’m not apologising for something I didn’t do. Like never, ever, going to apologise for something I didn’t do — it’s never going to happen. Hell will freeze over before I do that.

“It’s over, it’s done, I’m not going to carry on living in the past. I’m so f***ing bored of it.”

The Sun revealed last year that the Vardys had signed a deal for a tell-all reality series, and the cameras followed them as Jamie, 39, left Leicester for Italian Serie A minnows Cremonese.

But before Becky packed her bags, she opened up about the High Court battle which finally ended last May, when she was ordered to pay Coleen’s legal fees of around £1.2million.

She says: “I don’t have any negative feelings towards her whatsoever. Some people might go, ‘That’s bull’, but whatever, that’s your opinion. If I ever saw her or bump into her, people will assume it’ll be like handbags at dawn, or ‘Birkins at dawn’, whatever they want to say. ‘Wag War 4’. I’ve forgotten how many headlines have been ‘Wag War’, but my peace is too important.”

She adds of her one-time friend: “I’ve got no idea what she thinks of me, but I’m not bothered.”

Becky was heavily pregnant when Coleen publicly revealed in 2019 she had turned detective to find out who was leaking stories about her.

Becky’s Prem-winning hubby has stayed silent on it, until now.

He says: “Becky’s a strong woman. If she wasn’t, it would definitely have broken her 100 per cent. But that’s not her.”

He adds: “People thinking that Bex was a villain, it’s just a load of s but everyone close to her knows, that’s all she needs. It was really tough seeing Bex in pain, obviously with all the crap coming her way. As a husband, the only thing you can do is be there for her.”

The couple celebrate their tenth anniversary today — and their close bond is evident during The Vardys’ opening episode.

Whether it’s playfighting in their home gym, Jamie’s disdain for her “banana breath” or Becky’s utter bewilderment at how “chilled out” her husband is, they are perfect reality TV material.

Becky says: “We have five kids, but if you include Jamie in that, we have six.”

Jamie is seen telling his young children about him leaving Leicester after 13 years.

But the transfer was far from straightforward — as he was initially bound for a Dutch club.

Becky rants: “The last 24 hours has been a total s*** show. Yesterday morning we were all on holiday in Portugal, chilling, rosé, life couldn’t get any better. And then Jamie tells me, ‘I’m going to sign for a Dutch team.’ I ask him, ‘Are you sure?’ And he seems pretty sure at that point.

“So I thought, ‘OK, that’s fine then, we’re going to Holland’ and literally, just as we’re boarding a flight home from Portugal, he changed his mind — standard Jamie.

“We landed back in the UK at 3pm, dropped the kids off, went straight back to the airport and back out on a flight to Italy.”

• The Vardys starts on ITV, June 2, 9pm, with all episodes on ITVX.

Kaden Tennyson is a high school senior who works at an ice cream shop to make a few bucks to help pay for Uber drives and a veterinarian bill for his injured dog. He’s also a shotputter and discus thrower at Riverside Notre Dame.

He was suffering from a strained tendon in his right ankle resting at home when his ice cream manager called with a request for assistance.

“It was insanely busy,” said Tennyson, who is 6 feet 6 and 300 pounds. “I took an Advil and served birthday cake, brownie, chocolate fudge.”

There was no way Tennyson wouldn’t answer the call for duty.

“It’s my first job as a teenager,” he said. “It’s good for job experience.”

Tennyson never made it to the Southern Section track preliminaries after winning the league title.

“Every throw, it hurt badly,” he said. “I wanted to push through it.”

He made the decision to protect his future, so he passed on a chance to compete at Saturday’s Southern Section track championships.

He’s enjoyed much success in high school, on and off the playing field. He was back-to-back Skyline League champion. His best efforts were 51-10 in the shotput and 145-7 in the discus. He was admitted to 19 colleges. He was recognized by the Riverside Hall of Fame as a top scholar-athlete. He’s a two-time Principal’s Honor Roll recipient.

And yet, all that pales in comparison to what he has been forced to endure while his mother, Janet, twice battled cancer, affecting everyone emotionally and financially.

“As a mother, it’s been humbling to watch the kind of young man he has become through adversity,” Janet said in a letter she wrote honoring her son.

Fighting cancer is exhausting for everyone involved.

“We didn’t a spend a lot of time together, “ Kaden said. “She was mainly asleep. I wanted to be strong at home and not cry to make her sad. My friends helped a lot.”

Some of the senior activities Kaden hoped to participate in were lost for financial reasons, like going to the prom with his girlfriend.

He’s focused on the future.

“One of my dreams is to raise my own successful family,” he said. “In order to do that, you need to be successful yourself.”

He’ll take his 3.8 grade-point average and giant body to study buisness and compete in track and field at UC Irvine.

His mother is recovering. He intends to walk at graduation on June 5.

His mother says, “Kaden’s journey reflects resilience, family, perseverance and the reality that the effects of a serious illness don’t end when treatment does.”

Kaden’s smile continues. Maybe it’s because he works at an ice cream shop.

Asked he if he gets to sample the products, he said, “Sometimes.”

That’s a happy ending on any day.

REALITY star Maura Higgins has asked former Strictly Come Dancing pro Karen Hauer to help her train for the US version of the show.

The Love Islander will start filming for Dancing with the Stars in America in July.

But she has already begun training in London with Karen, 44, who was axed from the BBC1 show this year.

An insider said: “Maura is a complete novice when it comes to dancing so Karen has kindly offered to show her the ropes and teach her the basics.

“Maura is determined not to be the first voted off so is giving it her all.

“She has her sights set on becoming a huge star in America.”

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Earlier this year Maura, 35, lost out in the final of the US version of The Traitors.

We revealed this week how Maura  is walking away from Love Island USA.

She revealed that she’s ready for a fresh start after three years.

Speaking to Vulture about whether fans would see her back on screens this summer, she said: “You won’t. I’ve done it for three years, and they’ll always be family to me, but I think it’s time to try something different.

“I’ve got amazing opportunities coming in the door.

“I think it’s time to say good-bye. But you know what? I won’t say forever.”

Ted Lasso star Cristo Fernández has taken his role as a footballer on the small screen into real life after signing a contract with the US second-tier side El Paso Locomotive FC.

Ted Lasso star Cristo Fernández has taken his role as a footballer from fiction to reality after signing a professional contract with the US second-tier side El Paso Locomotive FC.

Announcing the news the club said: “The rumors were true. Welcome to El Paso, Cristo Fernández. El Paso Locomotive FC announced today that it has signed forward Cristo Fernández.”

Cristo is best known by Ted Lasso fans as Dani Rojas, a beloved member of the Richmond team in the hit Apple TV+ show about a British team with a coach with an American football background.

However, many TV fans were unaware that outside of his acting career, the 35 year old has been taking part in football training, training with the Major League Soccer side Chicago Fire’s reserves this year, he also appeared in pre-season matches for the Locomotive before signing with the football club.

The actor played youth football in Mexico while growing up but was forced to quit after a knee injury. After gaining fame in the football based TV show, he is now set to return, saying in a statement that football has been a huge part of his life.

“Football has always been a huge part of my life and identity, and no matter where life has taken me, the dream of competing professionally never truly left my heart,” said Fernandez, who also trialled with the second team of Major League Soccer side Chicago Fire earlier this year.

“I’m incredibly grateful to El Paso Locomotive FC – the club, coaches, staff, and especially my team-mates – for opening the doors and giving me the opportunity to compete from day one.

“This journey back to professional soccer is about believing in yourself, taking risks, and continuing to chase your dreams no matter how unexpected the path may be.

“Maybe I’m just a crazy man with crazy dreams… so being here with the ‘Locos’ actually makes perfect sense.”

El Paso is a newer club, founded in 2018. The group is currently fourth in Group B of the United Soccer League Championship standings. “Cristo is a great addition to our roster, adding another attacking threat to our forward line,” the club’s head coach, Junior Gonzalez, said.

“His passion for the game and leadership qualities for our locker room allow us to continue growing the positive culture we strive for as a club.”

While Cristo is best known for his appearance in Ted Lasso, he has also had several appearances in films and TV shows including; Spider-Man: No Way Home and Sonic The Hedgehog 3. He has also featured in the State Farm commercial “Bundle is Life” alongside Patrick Mahomes.

Britain’s first gay surrogate parent, who co-owns Maldon and Tiptree football club, has “strenuously denied” grooming young men for sexual exploitation, a court heard

Britain’s first gay surrogate parent has “strenuously denied” grooming young men for sexual exploitation, a court heard. Barrie Drewitt-Barlow, 57, appeared at Chelmsford Magistrates’ Court on Friday alongside his 32-year-old partner, Scott Drewitt-Barlow.

The men, both of Danbury, Essex, face multiple charges including rape, sexual assault, and modern slavery trafficking for sexual exploitation. The alleged offences, which are said to have taken place in Essex and Manchester between April 2013 and January this year, relate to four different men, who cannot be named for legal reasons.

The defendants are alleged to have “recruited” young men before grooming them and subjecting them to sexual assaults including rape, the court heard.

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Defence barrister Oliver Snodin said the allegations against Barrie and Scott Drewitt-Barlow are “strenuously denied” by them both. Flanked by custody officers, the defendants, wearing hooded sweatshirts, spoke only to confirm their personal details.

The two men were remanded into custody to appear at Chelmsford Crown Court on June 5. Prosecutor Serena Berry said: “Barrie Drewitt-Barlow is in a relationship with Scott Drewitt-Barlow… they are what could be termed to be celebrities, who live multi-million [pound] lifestyles and have featured in many documentaries and reality TV shows.

“They own the Maldon and Tiptree football club, and they have other businesses in the Essex area and also abroad in other countries.

“It is alleged they have both targeted young males, they have recruited them, they have befriended them, they have groomed them. They have invited them to their home and other premises.”

Barrie Drewitt-Barlow became Britain’s first gay surrogate parent in 1999 and made a name for himself in the media. He was due to be in ITV reality show Up The Jammers.

The charges follow co-ordinated searches at premises in Danbury, Maldon and Braintree on Wednesday, Essex Police previously said.

He is charged with three counts of sexual assault on a male, four counts of rape of a man 16 or over, and two counts of arranging or facilitating travel of another person with a view to exploitation.

Scott Drewitt-Barlow is charged with one count of sexual assault on a male, one count of rape of a man 16 or over, and two counts of arranging or facilitating travel of another person with a view to exploitation.

Essex Police are appealing for information on the case and ask witnesses to contact them using the major incident public portal (MIPP) on their website, or by calling 0800 051 4526, or 0207 126 7612 internationally.

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Katie Strick swapped London for Australia, only to find herself returning to the United Kingdom after just 18 months after discovering what life was really like Down Under

A woman who quit the United Kingdom for a sunny life in Australia has decided to move back after realising what life Down Under is truly like. Katie Strick and her partner spent 18 months in Australia before making the decision to move back home.

Katie says she made the decision to swap south London for Sydney after striking up a long-distance relationship with a former university friend. Writing in The Times, she admits the chance to join him in his beachside flat “wasn’t a hard sell”.

With the extension to the age bracket for the working holiday visa being moved from 30 to 35, Katie admits she felt the time was right. She found herself surrounded by “young, free twenty and thirtysomethings” in the Manly area.

But after a year-and-a-half, Katie found herself heading back to London. Her first struggle, she says, was the rental market in Sydney.

She found the cost of a flat is around the same in Australia as London. She also admits “friends and family naturally rank highly when I list the reasons for coming back”.

Katie however says the reasons for the move were much more than that. She wrote: “The reasons are rarely sexy: green space, quality of the press, a low risk of shark attacks and being a short train ride from my parents’ home town don’t quite have the same ring as living next to the beach when you shout them across a pub — but they mattered more than I expected.”

She acknowledges that Australia has “more sunshine” as well as “happier, healthier, more outdoorsy people,” but found herself missing the cobbled streets, country pubs, and British humour. She concedes it’s “hard not to miss those things” when you are “a 24-hour flight away”.

She says the Middle East conflict has also led to a “sense of uncertainty” for Brits flying from Australia. Dubai, once a popular layover, became embroiled in the conflict in March when it was struck by Iran.

Katie expected some “pushback” from her friends in Australia, but admits she was taken aback by the level of confusion from people back home too. She says many joked she would regret it when her boyfriend is “conscripted” or would be making another U-turn soon enough.

While she says it can seem difficult to say “exactly what you feel far away from,” she says “you do”. She accepts she has a “sense of day-to-day belonging” from visiting grandparents or meeting a friend’s baby, things that can’t be replicated through FaceTime.

Having moved back to London, Katie has however found herself wondering if she made a mistake. She recalls one moment she was catcalled by a drunk man at Clapham Junction, and dodging crowds in Soho.

On the other hand, she says there have been “moments of pure nostalgia” as she strolled through her favourite London park on a spring evening, or the appreciation she has for the NHS and architecture of the UK. She says her partner will soon land back in the UK, meaning that she gets to experience the “rollercoaster of emotions” from her return all over again.

Katie isn’t the only Brit who has quit the UK for Australia and found themselves moving back. Manchester-born Jessica McMaster recently made the same move after finding “four problems” with life Down Under.

Jessica cited the cost of living, distance from loved ones, visa and work restrictions, and weather as reasons for her move. Jessica, who lived in Melbourne, said: “Sometimes it would rain for days and be really cold and dark.

“Summer lasted about six months, which was amazing, long, bright days, great cafés, runs by the beach, but people think it’s always 30-degree heat. Melbourne can have four seasons in one day. In winter it was cold and rainy, so at times it felt like being back in Manchester, but without your family and friends.”