role

With the 2026-27 season premiere of “60 Minutes” just two months away, CBS News leadership is getting closer to deciding who will fill the recent departures of longtime correspondents Scott Pelley, Sharon Alfonsi, Cecilia Vega and Anderson Cooper.

Seth Doane, a longtime correspondent based in Italy who is often seen on “CBS Sunday Morning,” is under consideration, along with chief investigative correspondent Jim Axelrod, who currently has a lead role in the “Eye On America” series featured on the “CBS Evening News with Tony Dokoupil.”

Trevor Phillips, a British journalist and former politician who recently joined CBS News as senior global affairs correspondent, is expected to have a role on the program, according to people briefed on the plan. Phillips had a long career in the U.K., producing and writing documentaries and most recently hosted the Sky News program “Sunday Morning with Trevor Phillips.”

Phillips received a knighthood in 2022 for his service to equality and human rights for the U.K. But he also generated controversy over his career for comments about the British Muslim community, which led to a yearlong suspension from the Labor Party in 2020.

A CBS News representative declined comment beyond saying the division is looking at a number of internal and external candidates.

Dokoupil is expected to deliver four “60 Minutes” pieces a season. Major Garrett, the network’s chief Washington correspondent, will also have a contributor role.

Matt Gutman, hired from ABC News last year as national correspondent, is under strong consideration. He is being put in front of test audiences, according to several people at the network.

Holly Williams, a foreign correspondent working out of Istanbul for CBS News since 2012, and Mariana van Zeller, a journalist for National Geographic Channel, are both said to remain in contention.

The newcomers will join Bill Whitaker, Lesley Stahl, Jon Wertheim and Norah O’Donnell, who are all returning as correspondents. O’Donnell will also continue in her role as senior correspondent for the network, occasionally anchoring specials.

The rebuild of the talent lineup comes after the upheaval at the program that has occurred since Bari Weiss joined CBS News as editor in chief in October.

Pelley was fired last month after confronting management about the May 28 dismissal of his colleagues Alfonsi and Vega along with the program’s executive producer Tanya Simon and her second-in-command Draggan Mihailovich.

In February, Cooper decided not to sign a new deal as a “60 Minutes” contributor, as the CNN anchor cited a desire to spend more time with his family. But Cooper has reportedly told colleagues that he does not want to work for Weiss.

The internal disruption at “60 Minutes” followed a highly successful season. In its 57th season, “60 Minutes” was the most watched news program on television with an average of 9.1 million viewers a week, according to Nielsen data. The program bucked the overall decline in traditional TV viewing by growing 9% over the previous season.

After the dismissal of his “60 Minutes” colleagues, Pelley accused Weiss of trying to “murder” the program and claimed she was putting “her thumb on the scale” for more favorable coverage of the Trump administration. He was fired with cause after confronting management at a June 1 meeting.

Weiss came to CBS when parent company Paramount acquired her digital website The Free Press, known for its criticism of progressive policies and its strong support of Israel.

Weiss was hired by Paramount Chief Executive David Ellison with a mandate to move the news division to the political center. The pronouncement has created the perception that CBS News is looking to placate the Trump administration as Paramount sought regulatory approval for its $111-billion acquisition of Warner Bros. Discovery, which will also give the company ownership of CNN.

The noise surrounding Weiss has hurt CBS News despite strong reporting that is often far from being pro-MAGA. This past weekend’s “CBS Sunday Morning” featured a segment from national security correspondent David Martin about the Department of Defense interfering with the editorial independence of Stars & Stripes, the military newspaper.

Trump complained vehemently about his last interview with O’Donnell on “60 Minutes,” — conducted the day after a gunman tried to enter the White House Correspondents Assn. dinner in Washington on April 25.

Death in Paradise fans were left doing a double take as they instantly recognised the show’s guest star

A Widow’s Bay icon once played a huge role in Death in Paradise.

Currently, the BBC is airing repeat episodes of Death in Paradise and Wednesday night saw series 11, episode five play. In the 2022 season, Ralf Little was playing the main character of DI Neville Parker before his exit in 2024.

The repeat episode saw a young popstar found dead at a rehab clinic, where it initially looked like a tragic accident. However, Neville was convinced that there was more to her death than meets the eye…

In the episode, it saw the arrival of Neville’s sister, Izzy. However, Neville wasn’t best pleased to see his sister especially as she had kept her arrival a surprise and she soon interfered in his life.

The character of Izzy is played by actress Kate O’Flynn, who appeared as the character for three episodes. Of course, viewers will instantly recognise Kate, 40, for her iconic role of Patricia Moyer in the recent hit series Widow’s Bay.

Other roles include Fiona Lewis in Everyone Else Burns, Princess Mary in My Lady Jane and Alice in Bridget Jones’s Baby – to name just a few.

At the time of the episode airing, viewers were quick to instantly recognise Kate playing Izzy. One person said: “I recognise Izzy from somewhere!”

While another person wrote: “Where have I seen Izzy before!? @deathinparadise she looks very familiar #DeathInParadise!”

However, it looks like there will be no return of Izzy on Death in Paradise in the future due to her on-screen brother Neville’s exit. Back in 2024, Neville decided to leave Saint Marie for good after four years and explore the world.

Since then, Don Gilet has taken over the lead role as DI Mervin Wilson. Talking about joining the show in 2024, Don said: “Being offered the new lead role in Death in Paradise feels like a deeply loved and incredibly precious jewel has been placed in my hands.

“This is a big show, with a big heart and the love continually grows for it. It is my intention to never lose sight of that and to remain grateful, humbled and dedicated.

“Even during those testing times when every sinew is screaming at me to run off the set and dive into the sea, swimming pool or an ice-cold beer – whichever happens to be closer at the time!”

Death in Paradise is available to watch on BBC One and BBC iPlayer.

Louise Lasser, the star of “Mary Hartman, Mary Hartman,” Norman Lear’s satirical soap opera, has died. She was 87.

Lasser’s friend Susan Charlotte confirmed to the New York Times the actor’s death on Monday in Manhattan.

Lasser was born in New York City on April 11, 1939, to parents Sol Jay Lasser, a tax specialist, and Paula Lasser, a designer. She attended Brandeis University, where she majored in political science and performed in musicals and cabaret. She dropped out her senior year to pursue acting.

“My career started almost too easy,” she told the Times in 1975. “In New York the first agent I met sent me on my first audition, and I was signed for a show-stopping part [a replacement for Barbra Streisand in ‘I Can Get It for You Wholesale’]. After that there was a flood of offers.”

She told the Times that she found it frightening to hit it big with such little training.

“I had to feel prepared,” she said. So, she studied under actor and acting teacher Sanford Meisner and worked hard.

“I feel so strongly that what is worth doing is worth doing the very best you can. But it’s so important to know what you want to do. How you can develop your potentials to the highest, live your life to the richest and fullest.”

Lasser joked in a 1976 article in the Times that her role as Mary Hartman might merit identification beyond being Woody Allen’s ex-wife. The two met in 1962 on a double date — with other people — but their chemistry was potent, and they began working together on various projects, including in her first project for television, “The Laughmakers,” an unaired pilot penned by Allen.

“When we met, I was seeing a friend of his. It was one of those things, well if you think you’re complicated, you should meet so-and-so. And it was Woody,” Lasser told the Toast in a 2013 interview. They “were meant to be in the same playpen,” she said. “Immediately we just connected. He was with somebody … oh, he was married, that’s right. … So, I met him, and it was so clear the whole night the four of us were there, and neither of us are talking to anyone else, do you know what I mean? … We really understood what the other was saying.”

The two were married from 1966 to 1970. Lasser acted in Allen’s “Take the Money and Run” (1969), “Bananas” (1971) and the 1972 film “Everything You Always Wanted to Know About Sex (But Were Afraid to Ask).”

Through the early ’70s, she appeared in various TV movies and television shows including “The Bob Newhart Show” and “The Mary Tyler Moore Show.” Somewhere along the way, the biggest producer in television caught wind of Lasser’s chops and wanted her for his pet project, a parody of sudsy daytime dramas called “Mary Hartman, Mary Hartman.”

During an interview featured in an oral history of American TV by the Television Academy Foundation, Lear said he’d brought the script for the series to a colleague, and they read it and said, “You can’t do this without Louise Lasser.”

“She came in my office, started to read the lines, and forget it,” Lear said. “There’s only one Louise Lasser.”

Lasser, put off by the soap opera nature of the show, turned down the role five times.

“I kept saying, no, it’s just not right,” she said during a 2000 reunion for the show. “I had no job, no money. … I just was that way, so after the fifth meeting, I said to my manager, ‘You mean he’s not going to call again?’

“Then my friend said, ‘You know, I think you really don’t want to say no.’ So I thought to myself my rationalization was, well, maybe it’d be really good for me to work for 52 weeks out of a year.”

Lasser starred as Hartman in 315 of the show’s 325 episodes over the course of an 18-month run.

Jennifer Siebel Newsom was frustrated.

She was standing behind her husband, California Gov. Gavin Newsom, at a February press conference to celebrate a new bill that would give Planned Parenthood emergency funds. A throng of women’s advocates, including herself, had spoken about how the law would help women access healthcare. But now reporters were asking a barrage of off-topic questions, from the California High Speed Rail to the 2028 Olympics.

She paced, she swayed, she laughed with displeasure. Finally, she stepped closer to her husband and gently nudged him aside. She found it “incredulous,” she said, that they had assembled all these allies only for the reporters to ask about other issues.

“This happens over and over and over and over again,” she said as Newsom smiled awkwardly. “You wonder why we have such a horrific war on women in this country and that these guys are getting away with it. Because you don’t seem to care. So I just offer that with love.”

All of a sudden, Siebel Newsom herself was the news. One of Sacramento’s top female journalists, Ashley Zavala, shot back on X that reporters were just doing their jobs and the way they were treated “was not normal.” Right-wing media blasted out headlines from “Gavin Newsom’s wife scolds reporters” to “Gavin Newsom’s wife slams reporters for ‘horrific war on women’ in extraordinary rant.”

The scene underscores Siebel Newsom’s predicament as her husband positions himself as Trump’s chief antagonist and prepares for a possible 2028 White House run.

Jennifer Siebel Newsom with California Surgeon General Diana Ramos.

(Gary Coronado / Los Angeles Times)

She came to Sacramento with a mission to speak up for women, calling herself “first partner” to signal she would carry on the theme of her work as a documentary filmmaker and nonprofit leader: dismantling gender norms. But as her husband raises his national profile with a podcast, a memoir and daily trolling of President Trump, she finds herself under mounting scrutiny.

In June, Newsom accused Trump of weaponizing the Department of Justice to launch a politically motivated attack on his spouse after federal agents knocked on the doors of the Newsoms’ friends and former employees, asking about Siebel Newsom’s taxes and nonprofit businesses.

“To get me, he’s coming after my wife,” Newsom said.

A federal source said the investigation began not with Trump, but after federal officials spoke to whistleblowers in Sacramento. Whatever the origin or merits of the probe, Siebel Newsom has long faced questions about her finances — specifically her nonprofits’ partial reliance on donations from companies that lobby the governor, a strategy that does not violate California law but raises concerns about the influence of large corporations in Sacramento.

Her decision to use the title “first partner” and her work “deconstructing” gender are also attracting criticism from the right in the post-#MeToo era as many Americans chafe against what they perceive as radical attempts to undermine traditional values and policing of what they say and do.

California Gov. Gavin Newsom looks on at his wife, Jennifer Siebel Newsom.

(Mario Tama / Getty Images)

To Siebel Newsom, the critiques of her work and the federal probe are part of a broader hounding of women who enter the public sphere. When federal agents targeted her associates, she was promoting “Miss Representation: Rise Up,” her new film examining the role technology plays in fueling what she describes as “the rising backlash against women’s progress.”

“We are seeing young women hold themselves back from wanting to pursue careers … not just political leadership, and it’s extremely disturbing,” Siebel Newsom told CNN in June. “It is a backlash, a backslide, and it is happening at an unprecedented scale, where ultimately we are silencing women’s voices.”

She disagreed with those who say scrutiny is the price of admission for being in public life. “Women and girls deserve to be protected,” she said. “Anyone aspiring to a public service career deserves to be safe. It should be fundamental.”

Untangling legitimate political criticism from deeply ingrained gender bias is not easy. Women in the public eye are frequently held to a different standard than men. But some political experts question whether a woman who refuses to stand on the sidelines — raising her voice on radioactive culture war issues and benefiting in part from her marital status to fund her nonprofits — can reasonably expect to be excluded from the rough and tumble of her husband’s political life.

Jessica Levinson, a Loyola Marymount University law professor and political commentator, said Siebel Newsom had been subjected to heightened public scrutiny for years. “That I think is likely fair,” she said, “in the sense that she has said that she’s very much a partner of the governor, and she has used this platform to advocate for causes that she cares about.”

Still, Levinson said, Siebel Newsom’s availing herself of the public forum did not mean she had violated the law.

“Does the fact that she has created and run nonprofits that receive behested contributions from Gov. Newsom put her and her actions in a different spotlight?” she said. “Absolutely, but that doesn’t mean that she’s doing anything nefarious. It just means that their life and their finances and their jobs are a little bit more complicated than other first families.”

Raised in an affluent suburb in Marin County, Siebel Newsom, 52, grew up in privilege. Her father was an investment manager and prominent GOP donor, her mother a co-founder of the Bay Area Discovery Museum.

After studying Latin American studies at Stanford and volunteering in Ecuador and Africa, she returned to Stanford to earn an MBA. Then she moved to L.A. to try to break into Hollywood. She got small parts in “Mad Men” and “Rent,” but has said she “was typecast as a trophy wife and kind of put into this box.”

That sparked her interest in getting behind the camera.

Around the time she married Newsom in 2008 and got pregnant with her first child, she began work on “Miss Representation,” her debut 2011 film that examines how mainstream culture limits female potential and power by focusing on youth, beauty and sexuality.

When Newsom was elected governor, she announced she would eschew the traditional title of “first lady.”

The “first partner” title, she has said, is not just gender inclusive and gender expansive. “It disrupts some of the male-coded language we associate with leadership, versus a ‘lady’ who sits on the sidelines.”

Jennifer Siebel Newsom.

(Christina House / Los Angeles Times)

Over the last 15 years, Siebel Newsom has worked on a series of documentaries and founded nonprofits focused on gender equity, the Representation Project and California Partners Project.

“She walks the walk,” said Amy Ziering, a documentary filmmaker whose films Siebel Newsom helped produce. She did not take the role lightly, Ziering said, noting she watched cuts and took notes, made introductions and brought people to screenings. The fact that Siebel Newsom kept pressing women’s issues as her husband became governor, Ziering said, reflected her integrity.

“She’s not diminishing her beliefs, her values, her principles or any other kind of long-term goals” Ziering said. “She shows up, ‘This is what I believe,’ and maybe it’s not politically efficacious to believe this right now, or to say ‘I believe it’ … but she does.”

In 2022, Siebel Newsom took on another public role, testifying in Harvey Weinstein’s sexual assault trial.

“She did not have to do that, she could have been Jane Doe,” Ziering said. “That’s about showing up for other women and for all sexual assault survivors.”

Cristina Garcia, a former assemblywoman who represented southeast L.A. and worked with Siebel Newsom on women’s legislation, said she thought Siebel Newsom would be a target no matter what.

“But I think she sees the power that she has, and it’s like, why should she just sit in the background?” Garcia said. “Why shouldn’t she use her power to uplift women and children … these things she’s been really passionate about?”

In Sacramento and across liberal California, Siebel Newsom’s ideas on women and gender are relatively mainstream.

But as the 2028 election looms, conservatives have dredged up old clips, highlighting Siebel Newsom’s comments about parenting and deconstructing gender roles to portray her as “radical” and “woke.”

In one video, Siebel Newsom said that when she reads to her children she changes the protagonist’s gender from “he” to “she” to show women matter and can center a story.

In another, she raised concerns about boys being exposed to “alt-right socialization online that we know is very, very dangerous.” She and her husband, she noted, were alarmed to find their son had encountered misogynist influencer Andrew Tate while watching sports online.

Some conservatives have noted, with glee, that Siebel Newsom could be a liability for her husband as he seeks national office.

“Jennifer Siebel Newsom is the very avatar of Democrat Woman,” a New York Post columnist wrote. “Haughty, hectoring and pleased with herself, she is single-handedly wrecking her hen-pecked husband Gavin’s lofty political ambitions.”

But former state Sen. Hannah-Beth Jackson (D-Oxnard) pushed back on the idea that Siebel Newsom was some kind of strident activist or woke scold. After working with Siebel Newsom on equal pay and bringing more women onto corporate boards, she said Siebel Newsom was adept at working with corporations to find common ground and recognize what businesses need to be successful.

The scrutiny of Siebel Newsom comes as her husband tries to stake out a more centrist stance on some issues.

Last year, Newsom inspired the ire of some Democrats by launching a podcast in which he chatted with right-wing figures, such as Turning Point USA founder Charlie Kirk and Trump’s former chief strategist Steve Bannon. On its debut episode, Newsom distanced himself from his party’s left flank, calling the dismantling of police departments “lunacy.” Allowing transgender athletes to participate in women’s sports, he said, was “deeply unfair.”

Asked why, Newsom told The Times his party had become out of touch with ordinary Americans. “They think we’re elite,” he said. “We talk down to people. We talk past people. They think we just think we’re smarter than other people, that we’re so judgmental and full of ourselves.”

On this point, it’s not clear whether the Newsoms are in sync.

For all her talk of women as allies, Siebel Newsom portrays conservative women who criticize other women as dupes manipulated by MAGA leaders.

“What’s interesting is that the far right really is using women to go after other women,” she said in June on the “Hysteria” podcast. “So I find it very intentional on their part that they have essentially sent the women out to humiliate, demean, ridicule, mock, silence another women. But that’s just the patriarchy, right? … And that’s what we have to fight.”

Still, she has voiced doubt about whether she would continue to go by “first partner” if her husband were elected president.

Asked in 2023, Siebel Newsom said she didn’t know if Americans were ready for a “first partner.”

“Sadly,” she said, “I don’t know if they are.”

But even as conservatives mock Siebel Newsom’s patrician “girl power” message and activist jargon, she shows few signs of backing down.

As she has taken “Miss Representation: Rise Up” to film festivals in New York and Washington, D.C., she has upped her call for more Big Tech regulation.

An advisor from the first partner’s office said Siebel Newsom had been an advocate for women and girls before she met Newsom. That was unlikely to change, they said, as she faced growing right-wing scrutiny or a federal investigation.

“There’s no strategy change here,” they said.

The just-approved state budget strips authority from the elected state superintendent of public instruction, transferring power in January to an appointee of the governor, dramatically changing the oversight and management of a public school system serving more than 6 million students from preschool through 12th grade.

The change was pushed through by Gov. Gavin Newsom at the urging of academics and education reformers who have long criticized how the state’s $149 billion public education system is governed.

In essence, the change consolidates increased power within the governor’s office — streamlining and largely replacing a diffuse system in which the state superintendent has significant influence, but no direct control over budget and policy.

Supporters hail the move as bringing accountability and coherence — through the governor — to all the departments and agenices involved in education.

“The approval of education governance reform, over a century in the making, is a monumental victory for California’s students that finally establishes a sensible system to best support them,” said Ted Lempert, president of Children Now, an Oakland-based research and advocacy organization. “We commend Governor Newsom for his leadership in making this much needed change a reality.”

Critics called the change an unjustified, undemocratic side-stepping of the state constitution and the will of voters.

“California’s constitutional architecture deliberately established an independent schools chief to ensure that public education answers directly to the voters,” wrote a labor coalition that included the two largest statewide teacher unions. “Replacing an elected constitutional officer with a partisan bureaucrat serving strictly at the pleasure of the executive branch breaks that model, permanently muting the public voice when democratic transparency matters most.”

The critics noted that voters have defeated every attempt to eliminate the elected state superintendent.

The latest effort bypasses the ballot box by keeping the elected position, but stripping most of its powers. The bill did not go through the typically lengthy legislative process; it was instead folded as a trailer bill into the state budget.

School district management groups, such as the one representing county superintendents, were more supportive of the changes.

Diffuse authority and accountability

Authority over education has long been distributed among different officeholders.

The Legislature passes laws related to education. The governor chooses which to sign. The governor also proposes what to pay for in education through his budget plan. The Legislature can amend the plan and has the responsibility to approve it.

The elected state superintendent runs the state Department of Education and serves as the administrative lead for the state Board of Education, whose members have been appointed by the governor to four-year terms. The superintendent does not have a vote on the board and must follow board authority in some areas but not others.

The board approves state education policy and curriculum.

“The current state system of support and accountability for local districts is uneven,” resulting in “islands of high quality surrounded by deserts where nothing much has improved,” said former State Board of Education President Michael Kirst, an emeritus Stanford professor of education. Instruction across the entire state was “unlikely to improve” under the status quo, he said.

How the office will change

All of the state superintendent’s authority will transfer to the education commissioner, who will be named by the governor and then approved by the state Senate.

That means the next governor will gain direct control or control through appointees over developing and spending the education budget — including state and federal grants — and developing education policies.

Under the old system, the state superintendent has overseen grants while also interpreting state education law and making sure schools complied.

The new law sets out the superintendent’s role instead as the “independently elected nonpartisan voice for the public interest in the governance of the state’s educational systems.” This role includes reporting to the Legislature “on the condition of education based on statewide engagement and travel to identify significant trends, challenges, and emerging issues.”

Critics worry that amounts to a whole lot of nothing.

That may be literally the case initially, as the new law gives governor’s new education commissioner until Oct. 1, 2027 to propose further reforms including “the future role and staffing” of the elected superintendent.

Until then, the new law provides for the superintendent to have several deputies and a skeleton clerical staff.

The superintendent also becomes one of 11 members of the state Board of Education and one of 19 members of the Board of Governors of the California Community Colleges.

Change opposed by candidates for the office

The overhaul occurs as two candidates vie to become the elected superintendent in November. Both have strongly opposed the change.

The race pits Republican Sonja Shaw, who finished first in the primary, against Democrat Richard Barrera.

Shaw, who decried the change as a “blatant power grab” that “silences voters,” said she had a game plan for how she intended to use the previous powers of the office if elected.

Sonja Shaw candidate for state superintendent

(Photo courtesy of Sonja Shaw)

“An outsider serving as state superintendent who refuses to simply defer to Sacramento could use the office’s authority over grants, contracts, federal programs, accountability systems, fiscal standards, parent resources, and administrative functions to prioritize results over ideology,” Shaw said.

“In practice, that could mean focusing resources on proven reading and math instruction, increasing transparency, fostering increased parental involvement, protecting fairness and safety for girls in sports,” she said.

If elected, Barrera said he hopes to work immediately to fill in the blanks with a meaningful role for the superintendent and to bring in important education voices that he said have been left out so far.

Richard Barrera, a candidate for state schools superintendent

(Sam Hodgson/The San Diego Union-Tribune)

“The whole purpose of this restructuring is bringing people into alignment, with the focus on goals for student learning, and I’d say we have a long way to go,” Barrera said.

Both candidates said there was potential grounds for a legal challenge to the rewritten duties.

California Teachers Assn. President David Goldberg also was among the opposing voices.

“There’s always tons of issues going on for a governor, and education issues are likely to be put on the back burner.” State voters, he added, “have really wanted an independent voice around public education,” someone willing at times to stand up to the governor.

Supporters of the change counter that the governor — who has to answer to a broad base of interests — would be less susceptible to education special-interest groups, including teacher unions.

The central tenets of the new framework are based on a December 2025 report from Policy Analysis for California Education, a nonpartisan center that brings together researchers from Stanford, UC Berkeley, UCLA, UC Davis and USC.

It’s no joke: John Oliver of HBO’s “Last Week Tonight” is checking into “General Hospital,” the ABC soap opera.

The host of the weekly series that takes sharply comedic aim at government and institutions announced during his June 28 episode that he will appear on the daytime soap “General Hospital” on July 2, 3 and 6. No details about his role were revealed except that it will be a “substantial guest role.”

And that’s not the only soap he’ll be in this summer. He will also have a role on “Days of Our Lives,” streaming on Peacock, on Aug. 11, 12 and 14.

The appearances are the culmination of Oliver’s pleas to soap opera producers during the March 8 installment of his show that they consider him for a part. An unapologetic devotee of the outrageous antics and high melodrama which characterize the genre, Oliver said, “Write me a role and I will be on your set so fast it will make your head swim.”

In a statement, Oliver celebrated the realization of his dream: “‘General Hospital’ was everything I hoped it would be. It’s a true honor to be a small stain on the history of this illustrious show.”

The series’ executive producer Frank Valentini said in a separate statement that Oliver made an offer they could not refuse.

“When John Oliver publicly threw down the gauntlet and said he wanted to appear on a soap, we didn’t hesitate for a second,” he said. “He was everything you’d hope he’d be: prepared, professional, funny, and genuinely kind to everyone on set. He plays an integral character in the story, and I can’t wait for fans to see who he crosses paths within Port Charles.”

“General Hospital,” which airs weekdays on ABC and streams on Hulu, is in its 64th year and stands as the longest-running American soap opera currently in production.

On the March 8 episode, Oliver said he was jealous of celebrities such as Katy Perry, Snoop Dogg and Smokey Robinson who would pop up on various soaps. He was particularly envious of sports pundit Stephen A. Smith who has had a recurring role on “General Hospital,” playing a shady figure known only as “Brick.”

Oliver made it clear that he was not interested in a brief walk-on playing himself. He wanted to play a character, and have a “juicy role” that involved murder or “slapping.” He also required that there be a close-up of his face.

Veteran broadcast journalist Katie Couric has leveled sharp criticism at CBS’ “60 Minutes,” detailing a culture of systemic sexism and marginalization she says she experienced during her tenure at the prestigious newsmagazine.

On this week’s episode of the “Call Her Daddy” podcast, Couric, 69, described incidents during her time at “60 Minutes” when her story ideas were reassigned to her male counterparts. She described the circumstances as “really tough situations.”

The Emmy-winning journalist said she suspected early on that Jeff Fager, the “60 Minutes” executive producer at the time, didn’t take a liking to her.

“I think maybe because he wasn’t really consulted about bringing me over,” said Couric. “I was sort of seen as somebody from a different network coming in and sort of muddying the waters. I hadn’t come up in the CBS system. So I don’t know, he just didn’t like me.”

Couric started her run at the newsmagazine as a correspondent and as an anchor at CBS News in 2006, after spending 15 years co-hosting NBC’s “Today” show. Her role at CBS made her the first female solo anchor of a national weeknight news broadcast. She stayed with the network for five years before taking on a new role as special correspondent for ABC News.

Fager remained at “60 Minutes” from 2004 to 2018. He also served as the chairman of CBS News. He was eventually fired for allegedly sending a “harsh” message to a CBS reporter. At the time, he was also facing accusations of ignoring inappropriate behavior at “60 Minutes.” He previously denied the claims. CBS could not be reached for comment.

Trouble first came to a head when Couric pitched a profile of the rising pop star Lady Gaga. Fager had initially turned down the idea until he decided to pursue the story a year later, as Gaga had gained more notoriety.

Couric said she had proposed a fresh angle on Gaga’s Catholic school upbringing, but when she arrived for the interview, she discovered her name had been replaced with Anderson Cooper’s. His interview with Gaga aired in February 2011.

“It made me crazy,” Couric said.

A similar situation occurred once again when Couric was set to interview then–Secretary of State Hillary Clinton. The confusion began when the State Department reached out to Couric, wondering why fellow correspondent Scott Pelley’s team was inquiring about Clinton.

“So I go to Jeff Fager, and I say, ‘I thought you wanted me to do Hillary. You told me explicitly that you wanted to assign that story to me,’” Couric said. “And he said, ‘Yeah, we decided to change things up.’”

Couric said she was frustrated with Fager, for repeatedly going “behind [her] back.”

“Like, without even the decency to call me and say, ‘Guess what? We decided to reassign the story, and this is why,’” she said. “Talk about getting gaslit. I mean to me, that is the definition of it.”

Couric isn’t the only former “60 Minutes” to call out sexism at the newsmagazine. Meredith Vieira, who worked as a correspondent in the late 1980s and early 1990s, said in 2018, that she’d experienced sexism at CBS.

In the last few months, “60 Minutes” has undergone a massive upheaval. Under CBS News editor-in-chief, Bari Weiss, several correspondents, including Scott Pelley, and the program’s top producers were fired. Anderson Cooper also recently resigned from his post at the newsmagazine. With the upcoming season slated to begin in September, the program is currently under pressure to replenish its ranks.

The U.S. Navy continues to make use of MQ-1 Predators as test and training assets, eight years after the U.S. Air Force retired the iconic drones. TWZ was first to report that the Air Force was looking at transferring some of its remaining Predators to the Navy back in 2019, but it was unclear what came of those discussions in the end. Now we know.

The Air Force officially retired the MQ-1 in 2018. At that time, the service still had dozens of these drones in its inventory. More than 50 Predators were heavily cannibalized for parts they shared with their newer cousin, the MQ-9 Reaper. A number of demilitarized examples were also put on display. Today, 15 MQ-1s remain in storage at the boneyard at Davis-Monthan Air Force Base in Arizona, and are technically the property of the National Museum of the U.S. Air Force. Then there’s the matter of the MQ-1s that went to the Navy.

“In 2019, Naval Air Warfare Center Weapons Division (NAWCWD) received 20 MQ-1 aircraft from the U.S. Air Force,” a spokesperson for NAWCWD, part of the Navy’s Naval Air Systems Command (NAVAIR), confirmed to TWZ. “These aircraft were redesignated as NMQ-1Bs to support our mission.”

The new nomenclature here is notable. In the U.S. military’s joint service designation system for aircraft and missiles, the prefix “N” refers to platforms that have been modified in some way, typically for testing purposes, that are not readily reversible. One of the better-known examples of this is the Air Force’s secretive NT-43A radar cross-section measurement platform, a heavily modified Boeing 737-200 with a completely new and enlarged nose, as well as a huge radome extending from the tail. Other “N” aircraft that various branches of the U.S. military have operated over the years have had far less dramatic modifications. How exactly the NMQ-1B configuration differs from a typical MQ-1B is unclear.

“NAWCWD is an RDT&E [research, development, test and evaluation] command and the platforms were acquired to support our targets department,” they added when asked for more information. “The NMQ-1B platform is being used for test and training. We have nothing further to provide at this time.”

TWZ had reached out to the Navy for more details after the Air Force had also confirmed the transfer of the MQ-1s. We had asked the Air Force about the status of any Predators still in its inventory after U.S. Central Command (CENTCOM) confirmed the loss of an “MQ-1” to Iranian fire at the end of May. By all indications, what Iran shot down was actually a U.S. Army MQ-1C Gray Eagle, a design that evolved from the Predator, but that is distinctly different.

When the Air Force retired the MQ-1, the service still had dozens of airworthy examples. TWZ pointed out at the time that at least a portion of them could end up as targets for air-to-air and surface-to-air weapons, as well as sensor testing and other weapons testing. The fact that NAWCWD says it is still using the drones today would seem to point more to the latter than the former, though anti-air missile testing does not necessarily have to entail the destruction of the target.

For instance, certain kinds of testing of some missile seekers can be done without it ever leaving a rail on an aircraft or a launcher on the ground. The Navy and Air Force test communities also use specialized podded systems to support the development and evaluation of new and improved seekers for anti-air missiles, something we have explored in detail in the past. Even live fire tests do not always result in the target being destroyed if that is not the intended outcome. Just by removing the warhead, missiles will still pass within lethal distance with their proximity fuzes being triggered to confirm a simulated kill. The missile will fly on, and the target will survive to live another day.

As noted, at least based on the NMQ-1B designation, the Navy’s Predators have been altered in some significant way. One possibility is that they have been modified to be able to mimic an array of different radar, infrared, and/or other signatures. In this way, a Predator could offer a lower-cost and long-endurance flying asset capable of replicating a variety of aerial threats to support testing and training requirements. The U.S. military already uses smaller crewed aircraft as surrogates for cruise missiles and long-range kamikaze drones, as can be seen in the TWZ video below. This is in addition to target drones specifically built for this purpose.

These aircraft masquerade as enemy Shahed-136 drones during U.S. military war games

The NMQ-1Bs could also be modified in a variety of other ways to support more specific NAWCWD requirements, or to make them more adaptable to meet changing demands. The standard MQ-1B variant also features two underwing hardpoints that could be used to carry various stores, such as countermeasures and small munitions. This would further expand the Predator’s flexibility as a test and training asset from one sortie to the next. Being able to more readily modify or swap out the drone’s internal systems, as well as the software running them, would also be a boon for its current role.

Despite being housed within NAWCWD’s targets department, depending on their current configuration, the NMQ-1Bs could also help monitor missile and other test activities, or even act as signal relays. Before armed MQ-1 versions arrived, RQ-1 Predators were already flying surveillance and reconnaissance missions using infrared and electro-optical full-motion video cameras in turrets under their noses. The drones could also be fitted with small radars with synthetic aperture modes capable of capturing still imagery, even through cloud cover, smoke, and dust, and at night.

News that the Navy is still using Predators for testing and training purposes certainly comes at a time when drone threats at home and abroad have become firmly top of mind for the U.S. military. For American authorities, the ability of long-range kamikaze drones, in particular, to hold prized assets at risk was just highlighted by the latest conflict with Iran. Russia’s ongoing war against Ukraine, as well as other conflicts globally in recent years, have also underscored this reality. For years now, TWZ has been calling attention to the dangers that various tiers of uncrewed aerial systems pose, which are only set to continue to expand in scale and scope.

Confirmation that NAWCWD continues to operate a fleet of NMQ-1Bs also comes amid a surge in U.S. military flight testing activities, and commensurate demand for supporting test assets. This is being driven heavily by a flurry of next-generation aircraft and missile developments, as well as efforts to modernize existing platforms to keep pace.

Around their retirement, there were rumors that the remaining MQ-1 fleet could be used to test cooperative swarming capabilities, including hardware, software, and communications networks. There is no hard proof that this occurred, but it seems quite plausible considering the timing and how well-known and adaptable the Predator was at the time.

Using surrogate drones in the development of autonomy agents, teaming architectures, and swarming capabilities is now a very well-established practice. The big question is that if these Predators are still flying, or at least have been since their retirement, how is it that we have not caught a glimpse of them? One answer would be that this work was done at clandestine test facilities like Area 51 or even less secretive but still somewhat remote locales. If this is the case, these aircraft likely have historic significance, paving the way to the autonomous air combat revolution currently underway.

Overall, how much longer the Navy might continue to make use of the NMQ-1Bs remains to be seen. The service’s test community has already given the iconic Predator nearly a decade of extra life.

Contact the author: joe@twz.com

Chris Appleton could be about to count on the support of pal Kim Kardashian from the Strictly stands as he gets ready to take on the BBC dance competition

Kim Kardashian could be set for a part in Strictly Come Dancing after playing a key role in Chris Appleton’s sign-up, according to reports. The reality TV star is said to have been a big player in making the celebrity stylist join the current roster of celebs hitting the dance floor.

The hairstylist was the fourth star announced for the upcoming series after Lacey Turner, Dani Dyer and Delta Goodrem. And he is set to get the support from some of his high profile clients, which have included Jennifer Lopez, Kim Kardashian, Sofía Vergara, Ariana Grande, and Katy Perry.

And it’s the Kardashians star who is said to have helped him bag the gig in the first place. A source said: “Kim’s most important advice to him was simple: before you launch a brand or product, make people feel like they know you, are invested in your life, in you.”

It comes as Chris reportedly wants a little more in life, namely, his own brand of hair products. And Kim sees the reality contest as the perfect way to introduce him to the British public.

The source went on to tell The Sun: “It was Kim who pushed him toward Strictly – he’s had a lot of reality TV show invites in the US.

“He was initially very hesitant to put himself out there as a ‘star’ but Kim argued that a successful run on the show would do more for his brand than a year of PR campaigns and huge ad budgets.”

They added: “Being in the Strictly spotlight makes him a household name in the UK, gets him into every room and red carpet event that matters in London, and builds the kind of public warmth that no advertising budget can manufacture – and that’s exactly the diving board you want to launch a brand from.”

And it’s claimed if Chris ventures into the later stages of the competition then Kim could come to the UK to support him from the crowd. The source said Kim has given Chris “free rein” to discuss their friendship too.

After he was announced as a Strictly contestant, Chris said: “I’m thrilled to be joining Strictly Come Dancing and coming home to the UK for this incredible experience. I’ve always believed that the best things happen when you take a chance and try something new.

“I may know my way around a salon floor, but the dance floor is a whole different story – and I can’t wait to get started.”

Chris grew up in Leicester, but he now lives in Los Angeles. But it’s said the UK will always be home to the star and he will be using the contest to be closer to home.

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TWO years after hanging up his football boots to pursue a career in modelling, a major curve ball has seen Romeo Beckham land his first acting role.

The 23-year-old will make his big-screen debut this November in movie Forty Love, which centres on a same-sex romance involving two rising tennis stars.

Insiders say Romeo — the middle son of David and Victoria Beckham — honed his skills during secret acting lessons last year.

A source revealed: “Romeo has long been in demand for film and TV roles, but he made sure to do the work before putting his name to anything.

“Forty Love’s script and the team behind it resonated with Romeo, plus he has first-hand experience of being a professional sportsperson and knew he could bring that knowledge and experience to the role.

“It’s a French film and is currently only slated for release over there, although there will be plans for a wider rollout.

“Romeo had a handful of lessons with acting specialists early last year before they started filming. He has put his heart and soul into this role.”

Forty Love is described as a “sensual, romantic and deeply moving fable and coming-of-age story.”

Most of the movie will be in French, but Romeo plays an English-speaking character, using his native language in his scenes.

It is a far cry from the football pitch or runways across the globe where he has modelled for Saint Laurent, Balenciaga and Burberry.

His fans have applauded his new career, with many comparing Forty Love to HBO Max series Heated Rivalry, in which two professional male ice-hockey players have a secret romance.

But Romeo himself is aware of being branded a nepo baby as he expands his showbiz CV, just like his ex-footballer dad David and former Spice Girl mum Victoria did before him.

And he is not the first famous youngster to move into acting.
Maya Hawke — daughter of Hollywood actors Ethan Hawke and Uma Thurman — is now a screen star following her breakout role in Netflix’s Stranger Things.

And Lily Collins, whose father is superstar singer Phil Collins, plays the lead role in the romantic comedy Emily In Paris.

A source said: “Romeo knows there will be a lot of eyes on him, but his work will speak for itself.

“This film will show people what Romeo can do. He is an impressive actor and this is a great starting point for him.

“He is still working as a model and he has just launched his clothing range Intra, which is a project he has been working hard on in the background.

“Romeo is a grafter.”

Forty Love will be the directorial debut for fashion photographer Pierre-Ange Carlotti, who has cast French actor Paul Kircher alongside Romeo.

Paul plays the leading role of Sacha Gallo, a tennis superstar who is vying to win a major trophy in Paris under the guid- ance of his coach and father.

Romeo will play his rival — and his love interest. The film’s synopsis says of Sacha: “For the first time, he faces an opponent of an entirely different nature — love.

“A force as exhilarating as it is destabilising — and far more dangerous than anything he has encountered on the court.”

Renowned French actress Catherine Deneuve has also been cast in the film, which will be released on November 25. Those close to Romeo say he is being quietly championed behind the scenes by David and Victoria, who are “beyond proud” of his new venture.

A source added: “David and Victoria have always supported all of their children. And seeing Romeo taking on his first big film is a huge moment for them. They couldn’t be more proud of him and what he has achieved.”

News of Romeo’s acting debut had been kept a closely guarded secret.

After turning down a new contract with Brentwood FC’s B-team in 2024, he signed to top French agency Paris Safe Management and returned to working as a model.

Work poured in for the youngster, who made his modelling debut for Burberry in 2012, aged ten.

In the months after his decision to step away from football, he walked on runways for Balenciaga, Burberry and Versace, before he was put forward for the role in Forty Love. Production started on the film last summer and wrapped late last year.

“Romeo didn’t want any fanfare around his new role, so he kept it very quiet,” an insider explained. “He wanted to get his head down and get his teeth into the character and focus on that as best he could.

“Romeo is used to playing a character on the catwalk — it’s why modelling is such a stepping stone for acting jobs because you are playing a role.

“His acting lessons made sure he felt confident and then he got to work.

“By all accounts, he loved the experience and it’s likely there will be more roles to come after Forty Love comes out.” Romeo will be following in his mum’s footsteps with his jump to the big screen.

Fashion designer Victoria was the first in the family to hit the big time in the Spice Girls film, Spice World, in 1997.

To date, it is the highest-grossing film of all time by a musical group, and in the US it broke the record for the highest-ever weekend debut for a Super Bowl weekend, with box office sales of more than £8million.
Twenty years later, David followed suit with a small speaking role in Guy Ritchie’s King Arthur: Legend Of The Sword.

He said of breaking into films: “I am very aware that many sportsmen and other celebrities have turned their hand to acting and failed. I know it is a tough profession, where you need a huge amount of skill and discipline. I wouldn’t want to push myself forward too soon, without learning more about it and doing a lot more practice. But what I have done so far, I have loved.

“I can deal with most things. I am a well-known person, so I have gotten used to criticism. It was nerve-racking delivering the lines, but it actually went really well.

“The thing about sport is that it gets the heart beating faster.

“You focus the mind in order to deliver. Acting has a similar feel.”

Romeo’s sister-in-law, Nicola Peltz, who is married to his estranged brother Brooklyn, works as an actress, too. But she has failed to make her mark on the industry.

Her directorial debut Lola, which she also starred in, came out to much fanfare two years ago. But it was savaged by critics and took just £480 at the box office.

Nicola was blasted for creating a film inspired by “poverty porn”, which a commentator said was “filled to the brim with underbaked, oftentimes harmful tropes”.

Undeterred by the failure, Nicola has spent the past few months filming Prima, which is a debut from famed photographers The Morelli Brothers.

They have worked with a legion of A-list celebrities, including Hailey Bieber, Lindsay Lohan, Gwen Stefani and Kris Jenner.

The indie film will see Nicola playing a ballerina who is raised and coached by her grandmother, played by Faye Dunaway. Prima is expected to be released later this year, although no official date has been confirmed.
Romeo, alongside the wider Beckham family, has had no meaningful contact with Brooklyn since he cut himself off last year.

Insiders joked Romeo was rivalling Nicola by entering the acting sphere, but conceded: “It’s hardly a competition.

“Romeo is carving out his own lane, just as he has done his entire career.”

Brooklyn, the eldest of the Beckham clan, demanded in January that his family only contact him through lawyers.

He later issued a blistering statement insisting he no longer wanted to be a part of the family.

His decision to cut himself off was hugely painful for the Beckhams, including his younger brother Cruz, 21, and his little sister Harper, 14, who was seen delivering a letter to the home he shares with Nicola in Los Angeles earlier this month.

A source said: “Brooklyn has made his position clear and the family have respected that.

“It’s painful for everyone involved.”

Romeo will be supported by family at the release of Forty Love, with promotional screenings being drawn up beforehand.

A source said: “David and Victoria are both so incredibly proud of Romeo.

“They know how hardworking he is and have supported him throughout this project.

“Romeo knows what he wants in life and will work hard to get it.”

Death in Paradise star Ralf Little has been acting for over three decades, and he has reflected on nearly 30 years since his Royle Family journey began.

For four years, Death in Paradise audiences watched Ralf Little portray Detective Inspector Neville Parker in the enduring BBC drama. The actor departed the programme in 2024, with Don Gilet assuming the role as the lead DI in the cherished show.

However, prior to solving crimes in the BBC series, Ralf was recognised as Jonny Keogh in the sitcom Two Pints of Lager and a Packet of Crisps.

His acting journey commenced over three decades ago when he featured as Robbie in the 1990s ITV children’s drama Children’s Ward, which he credits with securing him a part in The Royle Family, the breakthrough that propelled his career.

In a clip he posted on Instagram from the programme Ricky & Ralf’s Very Northern Road Trip, he detailed the audition process for becoming Antony Royle, reports the Express.

He captioned the post: “It’s been nearly 30 years since my Royle Family journey began! It all started after I was on an ITV drama called ‘Children’s Ward’, which also launched the careers of Danny Dyer and Stephen Graham. Here’s the backstory, taken from ‘Ricky & Ralf’s Very Northern Road Trip’.”

Ralf told Ricky: “I’d done a few episodes of that, and I can only assume that Caroline (Aherne) and Craig (Cash), when they were doing the Royle Family, they couldn’t be bothered seeing hundreds of kids, like what normally happens.

“They said, ‘Just send three or four lads that you know’. I walked in, I sat down, and I read the script with them. I must’ve have been in the room more than three minutes, four minutes tops.

“I walked out going, ‘I did nothing, nothing interesting, nothing different’. Got to my car, got a parking ticket that was £50, which I couldn’t afford. It was like, ‘This is the worst day of my life. Got in the car, drove home back to Bury, got in, this was before mobile phones.

“I walked in, and my mum said, ‘Just had a phone call from Granada, they offered you the part’ before I’d even got home! Never happens like that, it was bonkers.”

It didn’t take long for the comments to flood in, with fans quick to reminisce about his iconic past role. One person said: “So glad they picked you to be in The Royle Family, leading to an amazing career for a fantastic actor.”

Another wrote: “Still going strong & still an incredible actor. Well done Ralf.” A third chimed in: “Right choice! And this was just the beginning of a versatile, great career. Thx for so many wonderful TV moments.”

One follower added: “Great story. Time is flying.” While another remarked: “Dang, I can’t believe it is going to be almost 30 years.”

Ricky & Ralf’s Very Northern Road Trip is available to watch on U.

Former Justice Minister Park Sung-jae was sentenced to 25 years in prison Monday after a district court found him guilty of playing a key role in an insurrection through his involvement in former President Yoon Suk Yeol’s martial law bid.

The Seoul Central District Court handed down the heavy punishment for Park, which surpassed the 20-year prison term sought by special counsel Cho Eun-suk’s team. The court immediately placed Park under custody, citing concerns that he may destroy evidence.

Cho’s team earlier indicted Park on charges of playing a key role in an insurrection and abusing his power by calling a meeting of senior ministry officials following Yoon’s declaration of martial law on Dec. 3, 2024.

The court convicted Park on both charges, recognizing the special counsel team’s argument that Park had called the meeting to review dispatching prosecutors to a martial law-supporting body, check the capacity of correctional facilities, allegedly to hold politicians and key figures expected to be arrested under the martial law, and order ministry officials in charge of imposing travel bans to report for work.

“The defendant ultimately turned his back on his duty of upholding the Constitution at the idea that the insurrection could succeed, choosing to instead take part in it,” the court said.

Park joins other members of Yoon’s Cabinet who have been convicted of playing a key role in an insurrection, including former Prime Minister Han Duck-soo and former Defense Minister Kim Yong-hyun.

In February, Yoon was sentenced to life imprisonment for leading an insurrection through his short-lived imposition of martial law. He has appealed the ruling.

Meanwhile, the court dismissed additional charges against Park for violating the anti-graft law, ruling that it did not fall under the special counsel’s investigation mandate.

The special counsel team had also indicted Park on charges of giving inappropriate orders to his subordinates in line with a request from Yoon’s wife, Kim Keon Hee, in May 2024, to check certain details of the prosecution’s investigation into her corruption allegations.

Copyright (c) Yonhap News Agency prohibits its content from being redistributed or reprinted without consent, and forbids the content from being learned and used by artificial intelligence systems.

REESE Witherspoon has officially passed over the Legally Blonde torch – in the form of a pink dress she wore 25 years ago.

Original Elle Woods actress Reese, 50, handed the baton to newcomer Lexi Minetree, who will play the bubblegum princess in a TV series based on the iconic film.

In Amazon Prime’s prequel, out on July 1, we meet teen Elle in high school before she was a fish-out-of-water at Harvard Law School.

Not only is Lexi, 25, stepping into Reese’s shoes she’s also slipping into her dress, wearing the exact Marc Jacobs frock Reese wore to the film’s premiere in 2001.

She borrowed it for an appearance on the Jimmy Kimmel chat show this week.

Reese said Lexi’s audition tape “took her breath away” and paid tribute to the actress this week at a 25th anniversary celebration of the franchise.

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“I just could not be more proud to pass the baton or the pink torch to Lexi Minetree as the new Elle Woods,” she beamed.

“I love you so much. You have no idea. I’m just so proud of you.”

Reese was joined stars Selma Blair, 53, Jennifer Coolidge, 64, and Ali Larter at a special Elle World pop-up event in New York on Saturday night.

Legally Blonde became a cultural phenomenon, celebrated for breaking stereotypes, its iconic pink fashion and making famous phrases like “Bend and snap”.

Based on the 2001 novel by Amanda Brown, the story of a ditzy blonde sorority-girl-turned-lawyer, it was a breakout role for Reese, propelling her to global stardom and earning her a Golden Globe nomination.

Moving from infront of the camera to behind it with her Hello Sunshine company, executive producer of the prequel Reese said: “Twenty-five years after the world met Elle Woods for the first time, it’s a dream come true to share the story of how she became the unstoppable force we all fell in love with.

“I think our series’ themes of kindness, authenticity, and believing in yourself will resonate deeply with fans of the original films and new audiences alike.”

Season one of Elle begins in 1995, where the doe-eyed teen is forced to move from glitzy LA to Seattle.

There she encounters tricky friendships, forbidden romance, and questionable fashion choices.

It’s already been greenlit for a second series despite not hitting screens yet.

Coronation Street fans were left gobsmacked after discovering that Ryan Connor star Ryan Prescott previously appeared on rival soap Emmerdale

Coronation Street viewers have been left stunned after only just discovering Ryan Connor actor Ryan Prescott previously featured in rival soap Emmerdale.

On Thursday, ITV’s Instagram account posted an entertaining soap crossover feature, highlighting all the Coronation Street and Emmerdale stars who’ve graced both programmes.

While fans recognised familiar soap-hopping actors including Claire King, who portrays Kim Tate on Emmerdale and played Erica Holroyd on Corrie, alongside Chris Bisson, who plays Jai Sharma in Emmerdale and portrayed Vikram Desai in Corrie, audiences were astonished to spot a ‘forgotten’ performer.

The post featured Corrie’s Ryan Connor actor Ryan Prescott, who played Flynn Buchanan in Emmerdale back in 2011.

Throughout Flynn’s stint in the village, he briefly romanced Aaron Dingle, portrayed by Danny Miller, though Aaron remained hung up on his former boyfriend Jackson Walsh, played by Marc Silcock, reports the Daily Star.

Reacting in the comments section, soap enthusiasts were left astounded by the revelation, with some having completely forgotten Ryan’s Emmerdale appearance while others were unaware of the soap crossover altogether.

One viewer exclaimed: “Omg I forgot Ryan was in emmerdale!” to which another account responded: “Such a throwback!”.

Meanwhile, another account posted: “Wow x” with a different fan contributing shocked emojis.

Another enthusiast wrote: “The only one I remember being in another soap is Jai!” while a separate viewer commented: “Wow that’s insane to look at in the Past and the Future.”

Coronation Street’s Ryan first appeared on the ITV soap back in 2006, with the character originally played by Ben Thompson – Ryan Prescott, 37, stepped into the role in 2018. As the son of Michelle Connor (Kym Marsh), it wasn’t long before Ryan became entangled in a host of dramatic storylines.

In forthcoming scenes, Ryan heads out on a date with fellow Weatherfield resident Jodie Ramsay (Olivia Frances Brown) – who has caused quite a stir since making her soap entrance earlier this year.

According to spoilers for next week, Jodie lets slip that she’s lined up a date. When David Platt (Jack P. Shepherd) inadvertently mentions he’s due to meet Nick Tilsley (Ben Price) at the bistro, Jodie devises a cunning plan.

Jodie meets her date, Ryan, at the bistro, and when David arrives, Jodie turns on the charm in a bid to ignite David’s jealousy…

Coronation Street airs Monday to Friday at 8:30pm on ITV1 and ITVX

Actor and racing driver Michael Fassbender is returning this month as CIA Agent Martian in season two of The Agency. He talks sociopaths and obsessive preparation on set.

Leading a double life is nothing new for Michael Fassbender, who is returning as CIA agent Martian in season two of spy thriller The Agency. An actor and a professional racing driver, Michael, 49, has reached an optimum level in both careers. Yet, despite this enviable skill set, achieving success and fitting in perfectly in two very different worlds, it would not mean he would make a perfect spy.

For that, according to a real life agent, who he spoke to while researching his role, Michael would need to be a sociopath. He says of this revelation: “That was a real gateway into the character for me.”

The Agency, starring Michael as Brandon Colby, codenamed Martian; Jodie Turner-Smith as his lover Dr Samia Fatima and Richard Gere as CIA chief James Bradley, launches season 2 on Saturday June 21 on streaming service Paramount+. A dramatic trailer for the series hears Martian saying: “I betrayed my country, did I cause harm? Yes. I lied to my friends, my colleagues. I sacrificed people. I deserve my fate. If I had to do it again, I wouldn’t hesitate.”

Season one saw CIA covert operative Martian being suddenly ordered to abandon his long-term undercover assignment in Ethiopia – where he fell in love with Samia – and return to London. In Africa he was working under the false identity – known in the world of espionage as a ‘legend’ – of Paul Lewis.

Michael picks up the story in season two, saying: “Then she [Samia] arrives in London. Then he meets up with her, which he shouldn’t do and then he compromises her. She gets captured and his new objective is to basically get her to safety. But by doing that, he becomes a double agent and betrays his country, becomes a traitor and the walls are closing in on him.”

Born in Heidelberg, Germany, Michael’s mum, Adele, hailed from County Antrim, Northern Ireland, while his dad, Josef, was a chef, who had worked at The Savoy in London. Together with his older sister, Catherine, now a neuropsychologist, the family moved to Kilarney in County Kerry when he was two, where his parents ran a local restaurant, West End House.

A Catholic altar boy when he was young, Michael says this trained him to perform to an audience. And, after initially harbouring ambitions to be a heavy metal guitarist – growing his hair and listening to thrash metal – aged 17, he appeared in a local play and changed direction.

Relocating to London, aged 19, he enrolled at the Drama Centre, but dropped out before completing his third year to start his professional career in a touring production of Three Sisters by Anton Chekhov. Launching his film career in 2001 in Steven Spielberg’s Band of Brothers, his credits since include Hunger (2008) Shame (2011) 12 Years a Slave (2013) – for which he was nominated for a best supporting actor Oscar – and X-Men (2011).

He was also nominated for a best actor Oscar for playing the Apple co-founder in the 2015 movie Steve Jobs. Married to Swedish actress Alicia Vikander, 37, the couple and their two young sons live in Lisbon, Portugal, but retain strong ties with London, where they spent many years.

Known to completely immerse himself in a role – for example, losing 40 lb to play an IRA hunger striker in Hunger – when preparing for the role of Martian, he also met up with two genuine spies. Speaking on The Arts Hour, he says: “The first guy I talked to, I felt like I wasn’t going to need dirt or negative aspects, let’s say. Then I spoke to another guy. We were going through the character and I was like ‘is this guy a sociopath?’ And he was like ‘well let’s go through the characteristics of a sociopath.’”

Clinically diagnosed as antisocial personality disorder, sociopaths have a persistent disregard for the rights, feelings and safety of others – feeling neither empathy, nor remorse. Returning to his conversation with the spy, Michael continues: “We went through the list [of characteristics] and he was like ‘we’re ticking a lot of boxes here.’ I was like ‘yes, ok, so he is.’ And he was like ‘well, it’s a good thing to be in that job.’”

In the new season of The Agency, Martian will be seen desperately trying to claw back some semblance of humanity after being out on his own, as a covert operative, for 7 years. Michael explains: “A lot of spies work in the embassy, so if the heat comes on them, they have a passport and they can get out. But a non-official covert doesn’t have that.”

Describing Martian’s relationship with Samia and with his daughter in London, who he hasn’t seen for many years, he continues: “It’s sort of his fight for humanity. He’s been in the business for about 20 years, so he’s quite jaded. He’s crossed a lot of moral lines he didn’t think he’d do at the beginning of his career.”

As for his own career, for 10 years, Michael has pursued parallel interests in racing driving and acting. Between 2019 and 2023, he stepped away from Hollywood, pursuing a serious career as a professional sports car racer. Joining a development programme with Porsche back in 2018, his greatest racing achievement has been completing the 24 Hours of Le Mans endurance classic in 2022.

The 2023 documentary Road to Le Mans follows his journey. Michael has said of racing: “My first dream has always been to go racing. Even before acting.” Someone who doesn’t do anything by halves, it is unsurprising that Michael would never have been content to keep racing as a hobby. His desire to give everything his personal best applies both to racing and acting.

Reputed to have read the script for Shame around 350 times, so he could get inside the head of a sex addict, he claims to have reined in his obsessive preparation for The Agency. He laughs, saying he read the script “150 times.” He says: “I try and do it 10 times a day.”

Explaining the need for this degree of intensity, he shrugs: “I’m a slow learner! It’s just something I’ve always done. If I keep reading it, I feel like the dialogue is seeping into the bones and I’m thinking about the character as I’m reading.”

Hugely professional, Michael adds: “I just don’t want to turn up on set unprepared. A lot of things can fall through the cracks that are out of my control, but the worst thing is if I leave set and I’m ‘oh I messed up because I didn’t do my homework.’“ An anathema to the average sociopath, this sense of duty and consideration for others would probably make Michael a lousy spy.

*This interview has been adapted from The Arts Hour on the BBC World Service, available on BBC Sounds.

Jude Bellingham is set to start in England’s coveted number 10 role for their World Cup opener against Croatia.

There has been conjecture over who will play in the central attacking berth for England after the emergence of Aston Villa’s Morgan Rogers as a viable option in the position.

However, it is understood England manager Thomas Tuchel is likely to select Bellingham, 22, for Wednesday’s Group L encounter in Dallas (21:00 BST).

The Real Madrid star is expected to have Arsenal’s Declan Rice and Elliot Anderson of Nottingham Forest alongside him in midfield.

Elsewhere, Ezri Konsa is likely to get the nod at centre-half alongside John Stones – with Marc Guehi in line to start on the bench.

Reece James and Nico O’Reilly are set to start at full-back.

Harry Kane will captain the side and lead the attack. Anthony Gordon is expected to play on the left wing with Noni Madueke in line to play on the right in place of Bukayo Saka, who is working his way back to full fitness from Achilles tendinitis.

Predicted line-up: Pickford; James, Stones, Konsa, O’Reilly; Anderson, Rice; Madueke, Bellingham, Gordon; Kane

One of the most devastating moments in world history will be brought to life on Disney+ by a beloved star of The Night Manager and Marvel blockbusters

It’s shaping up to be one of the year’s most gripping docudramas.

BBC The Night Manager star Tom Hiddleston will be playing time detective in an immersive new historical series coming to National Geographic and Disney+ later this year.

Pompeii: Out of Time will reunite the iconic Marvel star with Loki executive producer Kevin R Wright for the three-part series that promises to lift the lid on the explosive historical moment.

The first-look trailer has given fans a glimpse of Hiddleston stepping into his new role as he makes the case that the eruption of Vesuvius wasn’t just a catastrophic day of death and destruction.

His latest series will feature an eye-opening investigation into those who may have survived the blast, brought to life with immersive and thrilling dramatisations.

Along for the journey is a team of ancient Rome experts, from archaeologists and historians to geologists and disaster experts, who will uncover remarkable real-life stories that challenge assumptions people have about the fateful day in 79 AD.

A teenage apprentice, a powerful businesswoman and a mysterious Praetorian Guard are all vital pieces of the puzzle as Hiddleston steps back in time to explore the hours before and during Vesuvius’ eruption in what is shaping up to be an essential watch for any history buff. A synopsis from Disney+ teases: “As the volcano awakens and the countdown to catastrophe begins, the evidence converges in a gripping race against time to uncover who survived, who perished, and what determined their fate.”

Hiddleston says in a statement: “The ancient world has compelled my imagination and curiosity for as long as I can remember: I’ve been fascinated by it all my life.

“Classical Antiquity is the foundation and cornerstone of Western and European culture. To visit Pompeii is to feel the distance of the 2,000 years between now and then compress. The past becomes the present; the past feels so close. Tangible, honest and real.

“Our relationship with the past is alive — studying who we were in order to understand who we are. Pompeii is a gateway for that conversation. It’s a privilege to host this visually immersive and dynamic series.”

He added: “Pompeii is often remembered for how its story ended. But by looking closer, we can uncover the details of people’s lives, the choices they made, and the moments that came before the city was buried.

“To revisit the final hours of those ordinary people, caught in an extraordinary moment, and to help bring these remarkable human stories back into the light, is a genuine honour.”

The upcoming series is already generating excitement amongst fans, with one user commenting below the trailer on YouTube: “Omg this seems so interesting.”

“This is absolutely fascinating — Pompeii is an incredible place, and this approach brings its story to life in a very powerful way,” someone else replied, adding they’re “really looking forward” to tuning in.

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“I want to see it NOW!” another fan exclaimed, and a final fan wrote: “For someone who’s survived Ragnarok, Tom Hiddleston couldn’t be better suited for this doc. Looking forward – or back – to it.”

Mark your calendars, as all three episodes will be available to stream in just over a month’s time.

Pompeii: Out of Time with Tom Hiddleston premieres Thursday, 23rd July on National Geographic and Disney+.

Few people do simmering panic as nimbly as Sarah Goldberg.

In her role as Dr. JoAnne Felder, a performance psychologist tending to the mercurial psyches of the billionaire man-children of Silicon Valley on the new AMC satire “The Audacity,” Goldberg careens from serene to slapstick as she tries to keep a lid on her increasingly unruly life.

It is the latest in a string of enviably layered characters for the Vancouver native, including her Emmy-nominated breakout turn as aspiring actor Sally Reed on the HBO contract killer dramedy “Barry” and the coolly calculating portfolio manager Petra Koenig on the network’s drama “Industry.”

“I’m definitely learning some large tech and finance words that I didn’t know,” she says with a laugh about her recent wealth-adjacent roles on a Zoom from London, where she makes her home. “I’m not sure if I’ll retain them.”

Given the accolades, it seems likely Goldberg only needs to memorize her lines and the rest will follow.

While she has given a distinctive performance in each of her roles, one of several threads tying the characters together is a moment when fear, rage, excitement, ambition or all of the above collide but must be contained. While that discipline sometimes devolves into delicious displays of apoplexy — witness Goldberg’s incredible, expletive-littered elevator meltdown in “Barry” — the 40-year-old actor is more often the face of diplomacy while telegraphing cortisol levels in the red beneath her placid exterior.

“As a blond Canadian, I really ran the risk of being the girl next door,” she says of her attempt to dodge typecasting onscreen after cutting her teeth onstage in London and New York in the mid-2010s. “I didn’t want to be the girl next door … maybe the girl next door with bodies in the basement.”

While the only bodies to be found in JoAnne’s basement on “The Audacity” are her eavesdropping son and his friends, the London Academy of Music & Dramatic Art (LAMDA) graduate has accomplished the mission of subverting what might have been a perky ingenue image with the role. (One she will continue, since the series has already gotten a Season 2 order.)

When the ethically challenged therapist starts dabbling in insider trading thanks to info gleaned from her patients — including bold tech names Duncan Park (Billy Magnussen) and Carl Bardolph (Zach Galifianakis) — the slippery slope awaits.

Goldberg with “The Audacity” co-star Billy Magnussen.

(Ed Araquel / AMC)

“I think that she started her career with a desire to help people and somewhere along the line she’s become incredibly jaded and she’s exhausted by being the most intelligent person in the room and yet having no material wealth to show for it,” says Goldberg of her character, whose struggles extend to motherhood of son Orson (Everett Blunck) and marriage to child psychologist Gary (Paul Adelstein).

It does not help that JoAnne is surrounded by people who have no trouble sliding headfirst down the slope as if it were an Aspen trail.

“She’s working with people who have so many houses that if one burns down, it doesn’t matter, and yet she’s struggling to keep the roof over her own head. So somewhere along the line she starts making these little contracts with herself thinking, ‘In this sea of moral bankruptcy, is my tiny little transgression really so bad? Or is it even justified?’ But these little small pacts start to snowball. You can see somebody torn between their better judgment, their core instinct, their humanity, and someone who is so frustrated that they’re stepping toward a kind of nihilism.”

That sense of inner conflict appeals to Goldberg, who says she knew instantly that she had to play JoAnne when she read the script by showrunner Jonathan Glatzer. “It’s rare for me to go out and be like, ‘I have to play this role!’” she says, adding with a laugh, “I can be quite passive. I can be quite Canadian in the American market. I felt like he’d found this incredible line of satire with pathos, which is my favorite kind of style.

“I’m always interested in playing characters on the precipice of losing their moral compass and which way they decide to go,” she continues. “And if JoAnne has anything in common with Sally from ‘Barry,’ because they’re such different characters, it’s that. … I love that Jonathan’s given JoAnne very mundane relatable problems in a world where the scale is so off and there’s a lot that the average person can’t relate to in that bubble.”

Goldberg has also been busy creating her own bubble, writing, producing and starring in the Canadian-Irish series “Sisters” — which just concluded its second season on AMC — with Irish actor Susan Stanley, her best friend since their LAMDA days. The odd couple sibling comedy finds Goldberg playing Sare, a buttoned-down Canadian who goes to Ireland to find her long-lost biological father (Donal Logue) and discovers shambolic half-sister Suze (Stanley).

“I was pretty shocked at how hard it is to get something made,” she says of the series’ six-year journey to screen. “And then to be in a leadership position where you’re inviting everyone to dinner and you’ve got to make sure there are three courses and being responsible for everybody’s well-being — it was wildly challenging, but absolutely thrilling.”

While she prepares to return to JoAnne’s world in Palo Alto — her hometown of Vancouver serving as a double — Goldberg feels very fortunate about where she’s landed.

“I’ve been so lucky at this stage in my career to work on scripts that I feel are really saying something and characters that I feel are morally complex and also to be in the business at a time where female characters are more complicated.”

Summer, and all the vacation days and potential travel that implies, is upon us. And whether flying internationally or taking time off at home, you can’t beat a good British crime drama as the ultimate self-soother (especially in summer when the U.K.’s inevitable drizzly city streets and windswept moors can provide at least visual relief from the heat). The genre is varied, the casts inevitably fine and justice almost always prevails. So here are 15 shows, new and old, to watch. (And if that’s not enough, you can find 15 more here.)

‘Young Sherlock’ (Prime Video)

Will we ever tire of reimagining Sherlock Holmes? Not anytime soon, apparently. Created by Matthew Parkhill and developed by Guy Ritchie (who directed two episodes), this version gives us a college-aged Sherlock (Hero Fiennes Tiffin) banished to the role of Oxford University porter by his fed-up older brother, Mycroft (Max Irons), who hopes to put the arrogant young rip on a steadier path. Alas, before you can say “Sir Bucephalus Hodge” (the Oxford bigwig played by Colin Firth), young Sherlock is up to his flat cap in murder and mystery, which he is determined to solve with the aid of his new best bud — wait for it — James Moriarty (Dónal Finn). An over-the-top romp that proves, if nothing else, the near-miraculous elasticity of Arthur Conan Doyle’s iconic creation.

Mark Gatiss stars as Gabriel Book in “Bookish.”

(PBS)

‘Bookish’ (PBS)

Speaking of Holmes, “Sherlock” co-creator and co-star Mark Gatiss is up to it again, this time in the leading role. In post-World War II London, Gabriel Book (Gatiss) runs a secondhand bookshop, above which he and his beloved wife, Trottie (Polly Walker), live. But all is not what it seems, as Jack (Connor Finch), the young orphan ex-con they take under their wing, soon discovers. Gabriel apparently did something so important during the war that he is now the neighborhood’s go-to crime solver (with a letter from Winston Churchill to ensure VIP access). He also has a personal stake in Jack’s reclamation, which gives the series a fascinating and pathos-filled LGBTQ-history subtext.

Rishi Nair as Alphy Kottaram, left, and Robson Green as Geordie Keating in the 11th and final season of “Grantchester.”

(PBS)

‘Grantchester’ (PBS)

The sacred meets the secular in this long-running pairing of a young vicar with a worldly police detective in the titular idyllic Cambridgeshire village during the 1950s and ‘60s. In Seasons 1-4, that vicar is Sidney Chambers (James Norton), a jazz enthusiast plagued by memories of WWII who offers unsolicited insights to gruff and initially ungrateful Det. Inspector Geordie Keating (Robson Green). Friendship inevitably blooms, and when Sidney leaves the scene (and Norton the series) at the end of Season 4, many hearts (including Geordie’s) are broken. But subsequent replacement vicars — Will Davenport (Tom Brittney) in Seasons 5-9 and Alphy Kotteram (Rishi Nair) in Seasons 9-11 — each find their way to Geordie’s side, bringing their own charms, detectival insights and personal woes. The final season premieres June 14.

‘Touching Evil’ (BritBox)

DI Dave Creegan (a young Robson Green) is brought in to help DI Susan Taylor (an even younger Nicola Walker) of the Organized and Serial Crime Unit solve a series of abductions that Creegan comes to believe have been committed by a serial killer. The relationship sticks and the pair goes on to track down all manner of nasty killers with a combination of unconventional techniques and good police work. Green’s Creegan gets top billing, and a deeply resonant personal story, but seeing Walker (who would go on to star in so many fine series, including the terrific crime dramas “River” and “Unforgotten”) play a finely tuned second fiddle is great fun too.

‘Karen Pirie’ (BritBox)

For fans of Scottish crime drama (see also “Case Histories,” “Shetland” and “Dept. Q”), Det. Inspector Karen Pirie (“Outlander’s” Lauren Lyle) is a refreshing historic cases hero. Smart, ambitious and dogged, she is not burdened by a dark past or traumatic pain or the generally dour outlook that plague so many of her peers. Based on the books of Val McDermid, the series is set on the Scottish peninsula of Fife (the first season involves the picturesque town of St. Andrews) and all the gloriously broody scenery that implies. Murder mystery plus vicarious international mini-break.

‘Sister Boniface Mysteries’ (BritBox)

This cheeky spinoff of the iconic “Father Brown” puts a sweet-faced Catholic nun (Lorna Watson) at the center of all manner of murder in the fictional 1960s Cotswolds town of Great Slaughter. Sister Boniface is, of course, not just any nun. Having served as a codebreaker at Bletchley Park during WWII before entering the convent, she holds a PhD in chemistry, which makes her the perfect, if most unlikely, forensic specialist. (She also rides a red Vespa and serves as the convent’s vintner.) Unflappably brilliant and sincere in her vocation, she proves that faith in action can be both serious and great fun to watch.

‘The Bletchley Circle’ (BritBox)

Like Sister Boniface, Susan Grey (Anna Maxwell Martin) served her country as a codebreaker, but she is finding post-WWII life a bit more, well, boring. Forced back into the traditional roles of wife and mother, Susan tries to make do until a series of murders suggests to her a pattern unnoticed by the police. Gathering her former and still formidable colleagues who are also languishing in a sexist world, she creates, for two marvelous seasons, her own private crime unit. (See also, the one-season spinoff, “The Bletchley Circle: San Francisco.”)

‘Sherwood’ (BritBox)

When truculent Gary Jackson (Alun Armstrong) is murdered by an arrow outside his home in Nottinghamshire, near Sherwood Forest, Det. Chief Supt. Ian St. Clair (David Morrissey) is quick to put down any Robin Hood references and look instead at the town’s 30-year-old but still roiling divisions over the U.K.’s 1984-85 miners’ strike. Based on real events, “Sherwood” is both a murder mystery and a contemplation of the damage done by class-based strife and longheld grudges, often based on misinformation. With an incredible cast, including Lesley Manville, Kevin Doyle and Lorraine Ashbourne, it is deeply moving drama that illuminates the personal price of social divisions. Season 3 premieres this year.

Lesley Manville as Susan Ryeland and Timothy McMullan as Atticus Pund in “Magpie Murders.”

(Nick Wall / Eleventh Hour Films / PBS)

‘Magpie Murders’ (PBS)

Season 3 of “Magpie Murders” — titled ”Marble Hall Murders” — is also set to bow this year, so now is a good time to catch up on the previous adaptations of Anthony Horowitz’s Susan Ryeland novels, which both satirize and honor the murder-mystery genre. Ryeland (Lesley Manville) is a book editor whose most famous — and tiresome — author, Alan Conway (Conleth Hill), has just turned in his final murder mystery called “Magpie Murders.” Only the last chapter is missing and Conway has just been found dead at his country home. So it’s up to Ryeland, working with Conway’s literary detective Atticus Pünd (Tim McMullan), to figure out what happened, both in real life and in the book. This mystery-within-a-mystery launches two vivid characters, Ryeland and Pünd, working separately and together to solve crimes, sometimes in two different timelines.

Bill Nighy as headmaster Alan Lockwood, from left, Sharon Small as Det. Sgt. Barbara Havers and Nathaniel Parker as Det. Inspector Thomas Lynley in “The Inspector Lynley Mysteries.”

(Alex Bailey / BBC)

‘The Inspector Lynley Mysteries’ (BritBox)

The many, and voluminous, novels of Elizabeth George are being adapted in “Lynley,” a new series that has its charms. Still, I’m sticking with the older version, which ran from 2001 to 2008. Over six seasons, the unlikely partnership of Det. Inspector Thomas Lynley, eighth earl of Asherton and generally natty guy played by Nathaniel Parker, and his distinctly working-class and perpetually disheveled sergeant, Barbara Havers (Sharon Small), creates a classic odd-couple mix that allows some actual insight into issues of class and gender. But mostly, they make a great detective team, often using their differences to their advantage. The mysteries range far and wide over the U.K., from gritty streets to posh country homes, and 24 90-minute episodes are enough to keep you going all summer long.

Derek Jacobi in the title role of “Cadfael” in 1995.

(ITV)

‘Cadfael’ (BritBox)

Though the oldest series on this list (1994-1998), “Cadfael,” based on the books of Ellis Peters, remains a classic and constant recommendation. The great Derek Jacobi plays the titular 12th century monk who was once a soldier of the Crusades. Now a botanist and apothecary, Cadfael aids the local sheriff in solving all manner of crimes committed in and near Shrewsbury Abbey during England’s 15-year civil war known now as the Anarchy. Though the series does not delve as deeply into the politics of the time as the novels do, it creates an uncertain world in which violence runs rampant. Mercifully, there is a monk who knows his stuff, and if Jacobi isn’t enough reason to watch, the costumes and landscape are pretty great too.

‘No Offence’ (BritBox)

Joanna Scanlan was punk rock long before her turn in “Riot Women,” especially as the wildly frank, slightly raunchy, take-no-prisoners DI Viv Deering in this blackly funny depiction of the wayward Friday Street division of the Manchester Police. They are not misfits exactly — Deering knows what she’s doing as does her team, including the ambitious Det. Constable Dinah Kowalski (Elaine Cassidy), the self-doubting Det. Sgt. Joy Freers (Alexandra Roach) and Paul Ritter’s wise-cracking Randolph Miller (OK, maybe he is a misfit) — but they are much more recognizably human than most TV coppers. We know they’ll get their man, but it will take some time, and more than a few hilarious and heartbreaking misfires.

‘Inspector George Gently’ (Acorn TV)

After the murder of his wife, Inspector George Gently (Martin Shaw) leaves London’s Metropolitan police force in search of a more peaceful life in 1960s Northumberland. But as anyone who has seen “Vera” could tell him, Newcastle Upon Tyne is far from peaceful. Still brokenhearted, Gently finds himself solving crimes, and trying to teach his sergeant John Bacchus (Lee Ingleby) to be an honorable man in a time of shifting social mores and political upset.

‘Whitechapel’ (Hulu)

Come for the Jack the Ripper overtones, stay for the always great character actor Phil Davis (“Trying,” “Vera Drake”). He plays old-school Det. Sgt. Ray Miles, a member of an East End squad that is less than thrilled by their new guy, opposite the smooth and ambitious Det. Inspector Joseph Chandler (Rupert Penry-Jones), who shows up to his first crime scene in a tux and doesn’t appear to understand that this is the East End. But with what seems like a Ripper copycat on the loose, everyone needs to put aside their preconceived notions and figure out what’s going on. The series is wildly atmospheric with plenty of gallows humor and more than a few truly loopy plotlines, but great fun with Davis managing, as ever, to sell even the most preposterous scene.

James Norton as Henry Alveston, from left, Matthew Rhys as Darcy and Matthew Goode as Wickham in “Death Comes to Pemberley.”

(Robert Viglasky / PBS)

Death Comes to Pemberley (PBS)

This adaptation of P.D. James’ sequel to “Pride and Prejudice” is a miniseries, and just three episodes long, so this might be a bit of a cheat. But if you haven’t seen it, you should. Elizabeth Darcy (nee Bennet) (Anna Maxwell Martin) and Fitzwilliam Darcy (Matthew Rhys) are happily married and planning a ball. Sure, a couple of servants see a ghost in the woods (where Elizabeth encounters a suspicious woman), and Col. Fitzwilliam (Tom Ward) clearly wants to marry Georgiana (Eleanor Tomlinson), who doesn’t seem too keen, but what of it? Then Elizabeth’s sister Lydia (Jenna Coleman) shows up uninvited and hysterical; her still-caddish husband, George Wickham (Matthew Goode), had an argument with his friend Capt. Denny (Tom Canton), and the two vanished into the woods where shots were subsequently heard. Once again, Mr. Darcy must do what he can to protect the dreaded Wickham, and in doing so all manner of secrets are revealed. Jane Austen meets Agatha Christie with a cast either writer would kill for.

In this week’s episode of The Envelope podcast, Riz Ahmed talks about drawing on his own experience for “Bait,” his Prime Video series about a British Muslim actor whose life is upended when he’s rumored to be the next James Bond.

Kelvin Washington: Hello, everyone, and welcome to the next episode of The Envelope. Kelvin Washington, Yvonne Villarreal, we have Mark Olsen. And Mark, I’ll stay with you for a second. You had a chance to speak with Riz Ahmed, who is the creator and the star of “Bait,” which centers around the idea of who could be the next James Bond. So then, dang it, I’m asking you two the same question: Who could be, should be the next James Bond? Is there somebody or somebodies that you’ve thought about for a while and said, “Well, that would fit, that could work”?

Mark Olsen: It was recently announced that they have begun the casting process to replace Daniel Craig in the beloved and long-running James Bond franchise. And there have already been at least one sort of confirmed person, the actor Tom Francis, auditioned. But then there’s a lot of other names being thrown around, like Callum Turner, Jacob Elordi, Aaron Taylor-Johnson. Kind of everybody about that age bracket you could think of. You know, it’s funny, in the last movie, “No Time to Die,” Lashana Lynch was given the number 007, so she was not James Bond, but she was 007. And I always thought, actually, in the last couple of movies, that Léa Seydoux would make a perfect [00 agent] — she’s cool, she feels kind of dangerous. She would have seemed to me like a great person for that kind of role. But then also, that’s obviously not James Bond. So who knows who it could be. Yvonne, what do you think? Do you have anybody in mind?

Yvonne Villarreal: Can it be a toss-up between you two? How would you fare?

Olsen: I don’t know if I’d pass basic training.

Washington: They have doubles, OK? They got stunt doubles and CGI and AI for all of that and for you, OK.

Villarreal: It’d be like the Leslie Nielsen version.

Washington So it’d be like 007 with a question mark: 007?

Villarreal: More seriously — not that I don’t take you two seriously as candidates — I would throw my enthusiasm around Jonathan Bailey or Damson Idris.

Washington: I’m gonna one-up your Idris and just go [with] the obvious, Idris Elba. It’s been sitting there for the last 15 years or so.

Villarreal: That’s why I didn’t [say that], because I’m like, “It’s been sitting there and they still haven’t.”

Washington: But sometimes it just makes sense. Sometimes it’s just sitting smacking you in the face, or shooting you with a silent 9mm — whatever he uses, James Bond. It just makes sense, and to be honest, it’s one of those, he’s probably passing [on the role] because you wanna have a franchise you can hold on to for 20 years with a particular actor, give or take, and he seems like he’d be probably too senior for that at a certain point. The podcast, the conversation behind what really happened there is going to be fascinating because, to your point, it just seems like the momentum was building for it and it didn’t happen. So it would be interesting to hear what actually comes out of that. But those are my are my guesses right there.

All right, Mark, you had a chance to speak with Riz Ahmed, obviously the creator and the star of “Bait.” Fascinating to me, just the concept of the show as a whole.

Olsen: Riz Ahmed is someone who, he’s so thoughtful about his own career, but also his place in the world. And so he does such a great job with this show and taking this idea of like, “Could an actor like Riz Ahmed, could he be James Bond? Should he be James Bond? Why not?” And so the show is just so thoughtful and finds all these really inventive ways of exploring that idea. He’s playing a little-known actor who it becomes public that he’s auditioned for the role and that throws his whole life into tumult both within the industry, with sort of like online hate towards him, but then also with his own family. And the show is also meant to be kind of a real love letter to the South Asian communities of London. Riz in the conversation talks about how they went out of their way to shoot in parts of London that you don’t normally see. So the show, it’s just so inventive and fun in a lot of really terrific ways.

Washington: Well, let’s hear more of your conversation with Riz now.

Riz Ahmed.

(Christina House / Los Angeles Times)

Mark Olsen: On the show, you play an actor who auditions for the part of James Bond. It leaks to the press, and then his whole world turns upside down. For you, is the premise of the show predicated on the idea that someone like you would never get that part, or is it that, of course you should get that? Which end of the telescope are you looking at it from?

Riz Ahmed: Kind of neither, really. The premise of the show was something a bit more emotional than that. The James Bond thing came right at the end, to be honest, of the creative process. Really, the heart of the show is the idea of auditioning. James Bond really serves as a symbol in the show, a symbol of aspiration, pinnacle of achievement in this industry and also of alpha masculinity and all this kind of stuff. And so it’s really the idea of trying to be that guy, which on some level, we’re all trying to be this kind of preferred version of ourselves, right? We’re all performing. We’re actually all always auditioning. So it’s about that feeling, [which] I think extends outside this industry. We’re doing that on LinkedIn or social media, on this podcast right now. We’re performing a version of ourselves. When actually the true version of ourselves is kind of messy, chaotic and vulnerable. So it’s that distance between the public and private self that I was really interested in, and James Bond just served as an aspirational symbol of that public way that you would love to be seen.

Olsen: But Bond, because of the specific cultural baggage that comes with that franchise, did you feel like it fit thematically with what you were trying to do?

Ahmed: Oh, perfectly. It was a godsend. It was like one of those moments where it’s like, “OK, so we want to do something about, like, aspiring to be anything but yourself. We want to do something about feeling like life is one big audition, but we need something that encapsulates success and cultural acceptance.” And it was like … Of course: Bond. And because the process of making this show was one of pulling so much from my own personal life, there was a moment or two when my name was mentioned in that conversation. I mean, along with, you know, everyone and their dog. But it was an interesting kind of thought experiment, it was an interesting, as I said, kind of vessel to place all of the themes into. And so when that idea came about, it was like, “This is perfect. We can talk about everything we want to talk about using this symbol.” We’re like, “OK, now how are we gonna get it?” And everyone told us Barbara Broccoli would never let us use it. Rightly so, she was very protective of this IP. But I wrote her a letter, sat down with her, showed her the scripts and she understood. She understood that it’s not really about Bond. It’s a show about self-love, and she really kind of vibed with that. Shout out Barbara Broccoli, thank you for letting us use Bond exactly how we wanted to.

Olsen: You recently hosted the new “SNL UK” and in your monologue, you made this joke that you don’t just play intense roles, that there’s this image of you that it’s all that you do. Did you purposely want to make “Bait” as a way to break you out of that perception?

Ahmed: It wasn’t that careerist and calculating, to be honest. I was just trying to make something that was authentically me. And I think the people who know me know that I’m a lover of comedy. My first rap song was a comedy rap song. I got banned on British radio back in the day because it was a quite an acerbic kind of satire. And actually it’s funny because I think that’s an American perception of me. In the UK, nine times out of 10, when I get stopped is for a British comedy I did called “Four Lions.” Which is like a kind of cult classic British movie. It’s a very British comedy. That’s like me, that’s like how I am in real life. And so when I wanted to make my own show, it just stands to reason it would be a reflection of my taste. So the overall frame was comedy, but I kind of have quite a maximalist sensibility. I want to have my cake and eat it. So I also wanted it to be a spy thriller and a family drama and quite surreal and psychological thriller and all of these elements kind of put together, but the frame of it all, I would say, is comedy. And yet it was really actually important to us that we tried to defy genre and defy categorization in that way.

Olsen: Did you feel like this was a role that, like, nobody was going to give you, like you had to write this for yourself?

Ahmed: It wasn’t so much out of a kind of frustration or a desire to create work for myself or break out of a pigeonhole or anything like that. Honestly, I just tried to make something as honest and authentic and vulnerable as possible, if that doesn’t sound too eye-rolly. I guess I reached a point in my life as a creative where I realized, actually, performance isn’t about putting on the mask, it’s about taking it off. It’s about sharing with the world who you are, sharing your privacy and your insanity. And if you do that, people will connect with it because it’s honest. And if you name your pain and your craziness, there’s something healing in that for yourself and others. I had kind of gotten to that place in my life. And so I wanted to kind of follow that through to a place that felt quite scary and pull on the most personal aspects of my own neuroses and my life and my neighborhood that I grew up in — so many locations are literally where I’ve grown up. So many moments in the show I pulled very directly from my life experience. My character has a panic attack at the end of Episode 1 at this particular music venue in North London. I had a panic attack in that venue in North London when I was supporting Wu-Tang Clan. My character is approached by MI5 and MI6. They say, “Hey, you’re a rising actor, do you wanna work with us, help with messaging?” That happened to me specifically once I started to become a bit more well known. There’s just so many things that kind of came from that place, and it was all based on this idea of like, “If I wanna make a show about a character who needs to learn how to take off the mask, then I need to do that as well.” And we kind of had a mantra in the room, which was like, “If it feels scary and it’s true, do it.” And there were times when I didn’t want to do it, definitely times when I wanted to kind of hide, but I just increasingly have this feeling that if you can offer up a part of yourself, then that’s one of the most liberating things you can do as an artist. And also for an audience, it just feels honest. That’s where you can connect most with people, if you’re willing to share that vulnerability.

Olsen: What was the writing process of the show like for you? Was there a moment where you had like a whiteboard with a list of awkward things that had happened to you?

Ahmed: That whiteboard would be very, very big, very, very large. Let’s say we’ve got a lot left in the tank if we ever do another season. The writing process was a learning curve for me, never having been in an American writers’ room system before. Hugely grateful to my co-showrunner, Ben Karlin, who’s got himself a really eclectic background. He’s one of the founding writers of the Onion, the satirical website. He has this track record, “The Daily Show With Jon Stewart” and “The Colbert Report,” but also “Modern Family.” And so I wanted someone who had that eclectic background, and we had a writers’ room that was similarly very eclectic. We had stand-up comedians. We had novelists. We had playwrights. We had experienced TV writers. We had U.S. [people], we had UK people. I just knew that I wanted this to feel quite eclectic, and as I say, kind of genre-bending. And so I wanted that breadth. So actually the writing process for this was like, “How do we make this feel as chaotic and messy and unpredictable as possible?” That requires a crazy amount of craft. And there were a lot of late nights, there was a lot of hair being pulled out. And it was, I think, one of the most intense periods, more so than the shoot, even. It was just trying to figure out what this show was. And I came to this realization, which is, Shah Latif, my character, is having an identity crisis. He’s trying to work out who he is. So it stands to reason the show should also be trying to work out what it is. The show needs to be having an identity crisis. So then we gave up on this mission of trying to make it feel coherent and consistent. And we said, “Of course, he’s an actor trying to work out who he is. Every episode should be a different genre. We should have our James Bond-goes-to-the-gala-in-a-tux episode. We should to have our Bollywood-proper episode. We should have our Linklater walk and talk. We should have our Greengrass does a spy thriller.” So we really deliberately and really defiantly tried to embrace the identity crisis of the character in how we told the story. And when we did that, everything fell into place. We would stop trying to straitjacket this into something more predictable.

Olsen: And what was it like for you to be filling this role of not just actor but also writer, producer, showrunner? How did you feel about taking on all those roles?

Ahmed: I felt scared. I felt out of my depth. I felt like I needed the help of people much smarter than me. Luckily, I had that help. And more than that help, their patience. I continually said, “No, we’ve got to go back and do it again. We’ve got to rewrite that episode. We’ve gotta redo this whole section,” as it felt so personal to me. Not just because it’s my personal experiences, but because there’s a world that hasn’t quite been put on screen before in this show, and I felt a tremendous sense of responsibility and emotional connection to that world and these characters. So at times it felt overwhelming. ButI’m of this philosophy that usually when you’re making something, you kind of end up feeling how the character is feeling. The character feels out of his depth, feels overwhelmed, feels like he does not quite know what he’s doing, it stands to reason I should feel like that. If I really feel like I’ve got it all worked out and I’m in control, we’re doing something wrong. So as far as possible, I tried to remind myself that that was a sign of almost being in touch with the material. At least that’s how I tried to talk myself off the ledge, man.

Olsen: Can you just talk to me a little bit about the title? As I understand it, “Bait” is UK slang?

Ahmed: The title actually has many different layers to it. I always say this is a show that’s hard to sum up in a sentence, but it’s really easy to sum up in one word, and that word is bait, because it has like five or six different meanings. So one key meaning is British slang. It means really blatant and in your face. So if you’re blowing up someone’s spot, you’re baiting them up. You’re being really kind of, “Look at me, look at me,” you’re being bait. So that speaks to Shah Latif, the character, and his attention seeking. But bait also means, online, trolling. It also means, in Urdu, your loyalty or your allegiance. It also mean in Arabic, in Hebrew, home. And it also, in literal meaning, it’s something used as part of a trap, which speaks to the spy thriller element to the show. So all these different layers to the word bait correspond to a different layer of show, correspond to each different episode. That’s exploring that meaning. And I wish I could tell you we had this all worked out upfront, but we struggled with the title for so long and it kind of like hiccuped itself up into the ether in a late-night kind of hair-pulling session. We realized, “Oh, my God, that’s it. That’s exactly what it should be.” So yeah, the title I think encapsulates how we’re trying to explore these different genres and all the different narrative threads in the show.

Olsen: All the things that your character of Shah Latif is going through trying to move forward in his career as an actor, remaining true to his community and his sense of self, how much of those are your own issues? Are there things that you feel like you’re on the other side of now? Are those things that you’re sort of constantly trying to figure out for yourself?

Ahmed: Of course, like this idea of searching for your identity in a world that either commodifies it or punishes it, that’s something I relate to. But I also kind of feel like that’s something we all relate to. There’s a lot of me in Shah Latif, but I actually think there’s a lot of Shah Latif in all of us. This idea of feeling as though you’re not enough. This idea of trying to cultivate a public version of yourself because you’re ashamed of the private version of your self. I think that’s such a universal feeling right now in this performative culture that we live in. We all wanna be looked at, but we don’t wanna be seen. And somebody once told me that the distance between your public and private self is the amount of shame that you carry. I think it’s true, more or less. I’m not saying you shouldn’t have a private life and some things shouldn’t be kept private. It probably should. But in a kind of deeper sense, I think there’s a truth in that. So I wanted to make a comedy in this playground of shame because it’s something that I can relate to, but I just had a sense that this is a very universal feeling.

Olsen: How much of these are issues or things you were going through in your career maybe five years ago, 10 years ago? What are the the sort of top-line things that you feel like you’re struggling with now?

Ahmed: This is where it becomes a full-blown therapy session. I would say that there was a period of time when I was just really desperate to be in the room. And now I’m in a place where I’m really excited to try and build my own room. And that, in a way, is a journey that the character goes on. I think it’s a journey that I’ve gone on, and the show, in a way, is a culmination of that journey. You know, it was just such a privilege to be able to create a playground and bring together this kind of ensemble. I don’t think there’s ever quite been a brown ensemble like this on screen before and [to] showcase all that talent and create that sense of family and specificity. And yeah, as I said, kind of build my own room rather than asking for a seat at someone else’s table. So I think that journey is one that I’ve been on and one that, I think, the show is exploring.

Olsen: There are these title cards throughout the series that give you these neighborhoods and locations, and I don’t know London super well, but like, it feels like it’s a very specific version of London. What was the importance of those locations for you?

Ahmed: The shows that I really adore and the ones that really inspired me on this journey are ones that are unapologetically specific. The Holy Trinity in my mind was “Atlanta,” “I May Destroy You” and “Fleabag.” These half-hour shows that are super personal, but also super specific in the world they’re exploring, whether they’re a city like Atlanta or a certain kind of Black London, or a very particular kind of white, middle-class British family in “Fleabag.” And so I wanted that unapologetic specificity. I wanted it to be a love letter to my London. And so I wanted to shout out these neighborhoods that really mean something to me. But more than that, I wanted to give a nod to the spy genre with those title cards. You know, in a Bond movie it says like, “Somewhere in the Caribbean,” you know, “Mexico City.” I wanted do that with Kentish Town, with Brick Lane, with Wembley. I wanted to elevate our daily experience and those neighborhoods to that kind of grand stage and those epic stakes and say, “Actually, this is as magical, as important, as exotic, as thrilling as any of those locations within that kind of genre.” Jordan Peele, when he made “Get Out,” said, “Being Black in America is like living in a horror movie. That’s why I made ‘Get Out.’” I can add this thesis that being brown in the West is like being in a spy thriller. And that’s why we made this. So I wanted those neighborhoods to feel like those chyrons you have in a spy thriller.

Olsen: You’ve often mentioned in the past, it’s a phrase I’m very taken with, “stretching culture,” expanding the idea of what’s possible. And I’m just curious, like, how is that going for you?

Ahmed: There’s the idea that the universe is expanding in all directions at the same time. I feel like that with culture. I feel like things are getting crazier and better at the same time simultaneously at an accelerating pace. You know, that’s kind of how I feel about it. And it’s like our consciousness, right? You get a little bit crazier, even as you get smarter. It’s that kind of feeling. For whatever it’s worth, it may sound pretentious, but I kind of feel it’s important to try and anchor myself in some sense of purpose. And I think that’s the purpose of storytelling, is to kind of constantly expand horizons of who is considered human and what is considered human. And I think for me, at least in this moment in my journey, I want that to be about telling stories that haven’t been told before, portraying worlds and communities and characters that maybe we haven’t been that familiar with.

Olsen: You’ve expressed some frustration recently with the phrase “representation” — that it’s become kind of a hollow gesture. What would you like to see happen moving forward?

Ahmed: Well, I was really proud to be part of the conversation, when we were kind of collectively coining that term, right, going from diversity to representation. But I do think it’s not an end in itself. Like I said, being in the room doesn’t necessarily change anything. It’s what are you allowed to do in that room? Does the room change you, or do you change it? It’s what the show’s exploring. And so at least for me right now, the kind of representation I’m interested in is how authentically we can represent ourselves. Do you know what I mean? Like, do I have to code switch? Do I have put on a mask or do I get to take it off? That to me is, I think, the most exciting kind of knot to unpick right now. And as I said, that’s kind of at the heart of the show.

Olsen: I want to be sure to ask you about some of the other cast on the show, specifically Guz Khan. I feel like I could watch the two of you just driving around in a car together for hours.

Ahmed: I’ll send you the rushes.

Olsen: Did you two have an immediate chemistry?

Ahmed: Can I tell you, the story of me and Guz is its own bizarre bromance. Here’s how I thought I knew Guz. Guz went viral in the UK because he did a joke, kind of like [a] shout-out against Steven Spielberg, right? Because there’s a kind of dinosaur in his “Jurassic Park” reboot that sounds like a racial slur in the UK. I’m just gonna let people check it out for themselves. I’m not gonna say more than that. This is like 10 years ago, something like that. He goes viral, he starts blowing up, people start offering him his own TV show. He DMs me on Twitter and he’s like, “Bro, like, what’s the industry like? Is it like crazy Illuminati vibes?” I was like, “Yes, but the Illuminatis are actually very fun, come and join us.” And just started this banter with him, and he goes on his journey, becomes one of the most beloved comedians. I’m on set with him, shooting “Bait.” And he goes, “You don’t remember the first time we met and we spoke, do you?” I said, “I remember, you DM’d me like a crazy guy.” And he was like, “No, no. We met 20 years ago.” I was like, “What are you talking about?” I was doing a spoken-word performance in the Midlands in the UK. No one was coming to see it. It was a completely empty club. So I take it upon myself to go outside and start flyering passers-by. Down a dark alley, I see guys with some of his friends engaged in a business of some sort. His legal team have asked me to refer to it as “selling tulips.” They were selling tulips, OK? I go down to this alleyway, I hand him flyers, him and his friends. I’m like, “How are you doing there, gentlemen? Would you like to come and see me do some spoken word?” They’re like, “What the hell? We’re in their mid-tulip transaction.” He decides out of the kindness of his heart with his boys to come and watch me do spoken word at Coventry Student Union. And he said it was the first time he saw someone that looked like him doing something like that in a space like that. … Twenty years later, we’re on set together. We met when we were like 20 years old and I’d completely forgotten him, but he remembered. We have like a brotherhood and a friendship in real life. I wrote that role for him. He is someone who constantly reminds me that as an artist, your art can only be as expansive as your heart is. He’s just that guy on set you want to be around. He brings the positive energy, he reminds you this is meant to be fun. And actually, when you’re having fun, you’re feeling relaxed and loose, you do great work. He’s evidence of that. And so I just have so much love for him, but I would only say that because he’s not here. If he was here, I would be making fun of him aggressively.

Olsen: Now that to me seems like this notion of stretching culture, where you’ve had this influence on him that you kind of didn’t even know.

Ahmed: I would love it if he would say that publicly, rather than me having to tell the world that I’m responsible for his career. Thank you for saying it. If we can clip that bit, that would be great. Send it to Guz, yeah? Email that to him. I don’t know, man. I kind of feel like we’re all in this relay race, right, and we’re just fumbling the ball to one another and trying to move forward. And one of the great things about this show was being in community in that way. I think for some people, particularly in the UK, they’re familiar with the world that’s portrayed here. I think, for a lot of Americans, they’re really not. Interestingly, I’ve had a lot of Latin viewers and Latina viewers approach me saying, “That’s my family, I get that, I know what that is.” And so I don’t know, I just think it’s kind of exciting. One of the things I love most about storytelling on screen is we can bring people into worlds they haven’t been to before. That’s what I remember falling in love with when I watched “Goodfellas” and “Mean Streets” in that world that Scorsese creates. So yeah, I think as long as we’re all leaning into this specificity, doing so in community, maybe that’s how we get to stretch culture.

Olsen: In a recent profile on you, the actor Sandra Hüller, who you work with on the upcoming movie “Digger,” she said that one of the things she most admires about you is that you take yourself and your work seriously. And I think I feel the same way, like there’s an intentionality to what you do, there’s a sense of purpose to what do.

Ahmed: It sounds so boring, though, when you put it like that. Doesn’t it? I hope I don’t take myself too seriously. I guess I take it seriously that I’ve got this opportunity to try and tell stories, and I believe that they matter. But I actually hope I don’t take myself seriously, very seriously. I hope this show in a way is evidence of that. That’s Exhibit A. Yeah, you got Hüller’s testimony here and then you got “Bait” over here. Who do you believe?

Olsen: Is there anything you can tell me about “Digger”? It’s a new film from Alejandro González Iñárritu, it stars Tom Cruise, and it has quickly become, I think, one of the most anticipated movies of the year. People are very excited about it. And there’s very little known about it, is there anything you can say about it?

Ahmed: It’s funny you should say that because I spoke to Alejandro today and he gave me permission to reveal something exclusively to you on this podcast. No, not really. There’s nothing. Absolutely nothing. I actually might get assassinated for just saying that even.

Olsen: And have you seen it?

Ahmed: I feel like anything I say, there’s like a bomb on my leg that might go off. I’ll say this, it was a really unique and incredible experience. Alejandro is this crazy genius and being around that level of — Tom Cruise as well — they’re all obsessive perfectionists that have just like endless rocket fuel in them. It’s just inspiring to be around, honestly. Really, really unique. I don’t know if I’ll ever have an experience like that again.

Olsen: And then you were nominated for an Academy Award for acting for “Sound of Metal,” but you won an Academy Award for the short film “The Long Goodbye” that was based on an album that you put out. As you’ve become busier in your acting career, has it become difficult for you to still make time for your music?

Ahmed: The projects that I have out right now with “Hamlet” and “Bait” are things that I’ve built. I’m not saying this is the way, necessarily, it’ll always be, but at least over the last several years, acting is like this cherry on the cake. I’m spending all this time building these other things and writing these things and producing these things. And in a way making music is part of that. It’s like being in a writers’ room, with musicians in a studio. And one of the things that I’ve enjoyed most is bringing the development of stories together with the development of albums. “The Long Goodbye” short film is an example of that. But I mean, I joke about this to my friends, one of the main reasons I made “Bait” as a TV show is so that I could make a soundtrack. You know, I grew up on Bollywood where, in a way, the movie was just an excuse for the music. I partly almost feel the same way here. We’ve got a soundtrack for “Bait,” which I’m very, very proud of. And it’s a reflection, I think again, of that eclectic, multicultural London that I know and love. It pulls together artists from across the diaspora, from the Bay Area and the U.S. through to India and Pakistan, from Trinidad and Bangladesh and Karachi and London. And it’s something that I think kind of speaks to the genre-bendiness of the show as well. So in a weird way, as I’m developing more of my own stories, I’m able to incorporate music into that process more.

Olsen: But are you making music of your own?

Ahmed: Yeah, I’ve got two tracks on that soundtrack, for example. Yeah, one of them with a rapper who I’ve been a huge fan of for many, many years. So that was a lovely moment. His name is Casisdead, makes very kind of cinematic UK hip-hop. So I’ve got two tracks on that and yeah, I mean, watch this space. Hopefully I’ll have some more time.

Olsen: And then, this is a moment in the show, and I know it’s something that’s happened in the past, but are you still ever mistaken for Dev Patel?

Ahmed: Honestly, every time I’m mistaken for Dev Patel, I’ll take the flowers. I’m such a fan of his, personally, and he’s actually also from that very particular pocket of Northwest London where I’m from, that this show is almost a love letter to. That pocket of London has produced, if I may humbly put myself in that bracket, myself, but also Dev Patel, Jay Paul, Jay Sean and Jay Shetty. All the Jays. All of them. So I’m very proud of Dev and everything he’s doing, and he’s telling his own stories as well in a way that I find really inspiring.

Actor Anthony Head died last week at the age of 72 after complications due to pneumonia.

Last week, the world was shocked and saddened to hear the news that actor Anthony Head had died.

The star was best known for his roles as Giles in Buffy the Vampire Slayer and Rupert Mannion in the comedy series Ted Lasso.

On Wednesday’s episode of The One Show (June 10), BBC presenters Angellica Bell and JB Gill spoke about his death to actor Colin Morgan.

The 40-year-old starred alongside Anthony during his time on the children’s fantasy show Merlin, which ran from 2008 to 2012.

Anthony played King Uther Pendragon in the series, while Colin played the title character in the beloved show

Addressing the news of his death last week, host Angellica said to Colin: “Your big break was in the BBC series Merlin alongside the late Anthony Head, and you must have some fond memories of working with him?”

He said: “Yeah, I was so shocked and heartbroken to hear about his loss last week. He was such a pinnacle of a role model to me and all the young cast of Merlin.

“I have such incredible memories of working with him. Right now, my thoughts go out to his daughters, Daisy and Emily.”

JB added: “Yeah, condolences to his family as well.”

The news of his death was confirmed by his daughter in a statement which was released on Friday, June 5.

The said: “It is with heavy hearts that we announce the death of our extraordinary father, Anthony Head.

“He passed away peacefully of complications due to pneumonia, surrounded by his family. It has been, and forever will be, an honour and a privilege to be his daughters, and to have witnessed first-hand the impact both he and his work have had on so many.”

Since the announcement of his death, tributes have been flooding in from his former co-stars, including Matt Lucas, Charisma Carpenter and Sarah Michelle Gellar.

Alongside a photo of them all years ago, the actress wrote on Instagram: “Tell Giles I figured it out and I’m ok” Well I don’t have it figured out and I’m not ok. But I know I’m the lucky one because I knew you. Thank you to Daisy and Emily who not only shared their dad with me, but with the world.

The One Show is available to watch weeknights on BBC One from 7pm