Coronation Street fans were left gobsmacked after discovering that Ryan Connor star Ryan Prescott previously appeared on rival soap Emmerdale
Coronation Street fans were left gobsmacked after discovering that Ryan Connor star Ryan Prescott previously appeared on rival soap Emmerdale(Image: ITV)
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.
Michael Fassbender, who is returning as CIA agent Martian in season two of spy thriller The Agency(Image: Nadav Kander/Paramount+)
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.
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.
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
The Night Manager star bags role in ‘gripping’ period drama(Image: BBC)
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.
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“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.
20:37, 10 Jun 2026Updated 20:40, 10 Jun 2026
Colin Morgan paid tribute to his former co-star(Image: BBC)
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
Tomorrow marks the start of Emmy nominations voting, and we’re marking the occasion with with not one but two issues this week.which means twices as many series, and stories, to catch up with. So let’s get to it!
Cover stories
(Christina House / Los Angeles Times)
It’s rare for an awards roundtable to spark a real debate, but the thoughtful group of actors to appear on our 2026 Emmy Drama Roundtable — Katherine LaNasa (The Pitt”), Billy Magnussen (“The Audacity”), Zahn McClarnon (“Dark Winds”), Tom Pelphrey (“Task”), Michelle Pfeiffer (“The Madison”) and Karolina Wydra (“Pluribus”) — captured my attention with their layered conversation about runaway production.
Considering the economic boon Hollywood has brought to popular shooting locales like Atlanta and New Mexico, the dire consequences for the L.A. film industry and the increasing threat from production zones overseas, the group didn’t agree on one diagnosis, much less solution, to the problem. But in their conversation, these top names in the industry all showed deep concern about what such changes mean for showbiz’s shrinking middle class. “Our crew doesn’t get to go — the people that we know that we need, that we work with, that we make these things with,” as Pelphrey acknowledged. “We get to go wherever the f— we want, actors, directors, but the crew doesn’t.”
(Christina House / Los Angeles Times)
For the guests on our 2026 Emmy Limited Series/TV Movie Roundtable — which included Jamie Bell (“Half Man”), Linda Cardellini (“DTF St. Louis”), Camila Morrone (“Something Very Bad Is Going to Happen”), Michael Peña (“All Her Fault”), Andrew Rannells (“Miss You, Love You”) and Constance Zimmer (“Love Story”) — there’s no predicting which performances will resonate with viewers — or when.
The 2002 live-action adaptation of “Scooby-Doo,” in which Cardellini starred as Velma, has taken on cult status since its premiere, and enjoyed a revival of interest as a new Netflix version announced the cast. Rannells (“Girls”) and Zimmer (“Entourage”) have each seen their roles in epochal HBO comedies revisited by younger generations, who are often viewing the series through a very different lens. Peña, whose comedic flatulence on an “Eastbound & Down” blooper reel is now a viral meme, even wonders if he’ll be remembered for that over more serious fare like “Crash” and “World Trade Center.”
“Is that going to be your In Memoriam thing?” Rannells jokes.
At least Peña, laughing, takes it in stride: “Can you imagine?”
Digital cover: ‘The Boys’
(Bexx Francois / For The Times)
There’s plenty to chew on in contributor Max Gao’s digital cover story on Prime Video’s twisted superhero satire after the conclusion of five gloriously gory seasons, but my personal favorite feature may be the sidebar of memorable from key cast members. Chace Crawford’s on-set snacks of choice? Check. Jack Quaid’s surprising craftiness? Also check. Karen Fukuhara’s struggles with nausea? Ditto. If you are already missing “The Boys” and want to re-live it vicariously through some of its central figures, be sure to read the full piece, which already includes creator Eric Kripke and actors Laz Alonso and Erin Moriarty.
The mayor is in
(Ebru Yildiz/For The Times)
Speaking of double duty, Welsh actor Matthew Rhys showcases his range this season in two very different performances, last fall as a real estate scion suspected of killing his wife in Netflix’s “The Beast in Me” and right now as the put-upon mayor of a possibly cursed island town in Apple TV’s “Widow’s Bay.” One man is menacing, the other faintly absurd, but Rhys embraces the challenges of each role with aplomb — in particular, his physical comedy in the latter has gotten several big laughs out of me.
As contributor Emma Fraser reveals in her interview with Rhys, though, there is one stage direction capable of sending a chill up his spine: dance. “That still makes me shudder,” he says of a line-dancing scene in “The Americans” from 8 years ago. Let’s hope Widow’s Bay doesn’t have an underground swing dancing club.
Former EastEnders star Ben Hardy is returning to screens in an Agatha Christie film that also includes a Game of Thrones actor
21:09, 09 Jun 2026Updated 21:09, 09 Jun 2026
Ben Hardy played Peter Beale in EastEnders more than 10 years ago (Image: BBC)
Former Peter Beale actor Ben Hardy is set to start filming an exciting new ‘whounnit’ based on real-life events.
The new film Eleven Missing Days will also star Vincent Cassel and Felicity Jones and tell the story of Agatha Christie’s real-life disappearance.
The novelist’s disappearance made national and international headlines during the 1920s, with famous names joining the search to find her, including leading politicians and fellow writers such as Arthur Conan Doyle, according to Deadline.
The synopsis reads for the film: “In December 1926, at the height of her fame, Agatha Christie became front-page news when she vanished in bizarre circumstances from her home.
“In a case of life imitating art, this whodunnit explores the investigation behind her disappearance, strangely resembling an Agatha Christie novel itself, where everyone in her life became a suspect.”
A stellar cast joins Ben Hardy in the forthcoming movie, including Say Nothing star Ryan McParland, Game of Thrones’s Alfie Allen, The Brutalist’s Stacy Martin, Nicole Elizabeth Berger from He’s Watching You, and The Gorge actor Oliver Trevena.
Currently in pre-production, the picture is on course to shoot this summer in the UK.
Who did Ben Hardy play in EastEnders?
The 35-year-old found fame on the BBC soap in 2013 when he arrived in Walford as legendary character Peter Beale. He had taken over the role from Thomas Law, who had played the part between 2006 and 2010 before returning in 2023.
Ben’s version of Peter was most memorable for being caught up in the ‘Who Killed Lucy Beale?’ saga and for dating Lola Peace (Danielle Harold) before rekindling his romance with Lauren Branning (Jacqueline Jossa).
After finding out his own brother Bobby (Eliot Carrington) had killed Lucy, Peter struggled with life in Walford and moved to New Zealand to start a new life in 2015.
In an interview with The Independent, Ben said that he had “been battling it for a year, how to make things work” before ultimately deciding to leave the show.
“I have so much respect for everyone who works on that show, I felt myself getting lazy as an actor,” he explained. “I felt myself constantly going, ‘This scene doesn’t work’.”
Ben went on to say: “That laziness scared me. I said, ‘I have to get out of here’.”
He has since traded in his fruit-and-veg market stall for the bright lights of Hollywood and landed a role in the 2016 film X-Men: Apocalypse.
He also played Roger Taylor in the biopic Bohemian Rhapsody and portrayed the role of Four in the Netflix movie ‘6 Underground’ alongside Ryan Reynolds.
Ben also played Frank McCulled in the film Pixie, Seb in The Voyeurs, Simon in The Girl Before, and Tre in Tagged.
Most recently, he starred as Oliver Jones in the Netflix movie Love at First Sight (2023) and the 2025 horror movie The Conjuring: Last Rites.
EastEnders airs Monday to Thursday on BBC One and iPlayer
Netflix’s new hit drama which is climbing the charts stars the late Song Young Kyu as Ryu Gwang-pil.
Song Young Kyu in Netflix’s Teach You A Lesson (Image: NETFLIX)
K-drama Teach You A Lesson was Song Young Kyu’s final job before his tragic death in 2025.
Netflix has just unveiled a new South Korean drama which is already climbing the UK Top 10 chart alongside shows like The Witness, and viewers have been talking about one star in particular.
The series, which is just one of many Netflix K-dramas, is about a school notorious for violence and the decline of faculty authority, which is turned around by an inspector from the Educational Rights Protection Bureau who uses physical intervention and unconventional methods to discipline delinquent students.
The show, based on the Naver webtoon Get Schooled, stars Song Young-gyu as Ryu Gwang-pil – a member of the National Assembly and the father of student Ryu Jun-hyeong (played by Lee Seung-gyu).
Song Young-kyu, also referred to as Song Young-gyu, was a 55-year-old South Korean actor who was best known for his theatre roles, and he made his film debut in the 2002 movie Turn It Up.
He was best known to international audiences for his roles in Netflix’s Narco-Saints and Disney+’s Big Bet, both released in 2022.
In August 2025, the actor was found dead inside a parked car in Yongin, Gyeonggi Province. There was no signs of foul play according to authorities.
Teach You a Lesson was the show he completed filming on before his death and his posthumous appearance in the series is drawing worldwide attention.
The first episode of the series revolves around school violence and it sees Education Authority Protection Bureau supervisor Na Hwa-jin (Kim Moo-yeol) visit Daehan High School, where student Park Dae-seok (Jung Soo-hyun) died.
The ringleader of the violence, Ryu Jun-hyeong, is the son of Congressman Ryu Kwang-pil, a prominent potential presidential candidate.
Relying on his father’s position of power, Ryu Jun-hyeong looked down on students and staff, committing all kinds of atrocities.
Na Hwa-jin even visited Ryu Kwang-pil directly. However, instead of correcting his son’s wrongdoing, Ryu Kwang-pil tried to block Na Hwa-jin using his position and influence and even attempted to dismantle the Education Authority Protection Bureau altogether.
Song Young Kyu, who is survived by his wife and two daughters, appeared in more than 40 TV dramas and numerous films across three decades.
His role as Chief Choi in the 2019 film Extreme Job, which became one of South Korea’s highest grossing films ever, gained him international attention.
One fan took to X, formerly Twitter, to pay tribute to the star after watching Teach You A Lesson, saying: “I was so focused on the plot of Teach You a Lesson that I didn’t even realise the actor playing the bully’s father in episode one was Song Young-gyu.
“The crazy thing is, I’ve seen him in so many dramas over the years, but while watching this one, all my attention was on the story, the tension, and everything happening on screen.
“It wasn’t until now that it clicked. It’s a strange feeling when you recognise an actor after the fact and remember that they’re no longer here. It makes you look at their scenes differently.
“Supporting actors rarely get the same attention as lead stars, but they’re often the ones who make these dramas feel real. Continue to Rest in Peace, Song Young-gyu.”
The 79th Tony Awards went off without a hitch at Radio City Music Hall, Sunday. The show, hosted by Pink, ran just over three hours and was relatively unsurprising when it came to the wins it delivered. Although each year it seems more marquee film and television stars appear in the audience as celebrities of a certain caliber continue to flock to the stage in search of a more authentic—and immediate—connection to their audience.
This year viewers could see Adrien Brody, John Lithgow, Laurie Metcalf, Rose Byrne, Daniel Radcliffe, Nathan Lane, Alden Ehrenreich and more. Despite, or perhaps because of the star power, the show stuck to its expected script with “Schmigadoon!” winning best musical, “Ragtime” best musical revival, “Liberation” best play and “Death of a Salesman” best revival.
Still, the night had enough laughs, groans and tender moments to keep things interesting. Here are seven of our favorites.
Vampires as metaphor for what ails America
Ali Louis Bourzgui used vampires as a metaphor for American folly in his acceptance speech for performance by an actor in a featured role in a musical at the 2026 Tony Awards.
(Theo Wargo / Getty Images for Tony Awards Productions)
Who knew vampires made such a good metaphor for America’s worst excesses? When 26-year-old Ali Louis Bourzgui took to the stage at Radio City Music Hall after an upset win for performance by an actor in a featured role in a musical, he used the undead to poignantly describe the country’s biggest sociopolitical challenges.
“Vampires represent those who have shunned their own humanity in order to achieve a nonexistent sense of superiority. The billionaires will never find happiness from their money. The colonizers will never find fulfillment from the land and lives they steal. The fascists will never find meaning from their conformity, not in this lifetime or eternity,” said Bourzgui, who originated the role of David in the musical adaptation of the cult vampire horror film “The Lost Boys.”
—Jessica Gelt
A Tony trifecta for John Lithgow and Laurie Metcalf
John Lithgow won the third Tony Award of his career at the 2026 Tony Awards at Radio City Music Hall.
(Theo Wargo / Getty Images for Tony Awards Productions)
It’s always a good feeling when actors we have known and love get rewarded by a well-deserved win, and so it was on Sunday night when John Lithgow and Laurie Metcalf took back-to-back wins early in the show. The former for performance by an actor in a leading role in a play for his portrayal of the controversial, beloved British author Roald Dahl in Mark Rosenblatt’s drama “Giant.” The latter for featured actress for her portrayal of Willy Loman’s protective wife, Linda, in “Death of a Salesman.” The plays were quite different, but the winners shared a very specific honor: the night marked the third Tony win for each actor.
Lithgow won his previous trophies in 1972 and 2002, and Metcalf in 2017 and 2018.
—Jessica Gelt
Nathan Lane is an ‘American theatrical treasure’
Nathan Lane accepts the best revival of a play award for “Death of a Salesman” at the 2026 Tony Awards.
(Theo Wargo / Getty Images for Tony Awards Productions)
Unless Nathan Lane gets a crack at playing King Lear, his Willy Loman in Joe Mantello’s production of Arthur Miller’s “Death of a Salesman” will go down as one of the peak challenges of his acting career. Not winning the Tony for his indefatigable performance must sting, but John Lithgow was favored to win for his brave turn as the baleful Roald Dahl of Mark Rosenblatt’s “Giant.” Lane had to have been prepared but a subtle wince of disappointment could be detected when the camera pryingly caught his immediate reaction.
So it was gratifying to see Lane receive his due from Mantello, who upon accepting his award for directing credited Lane with being the inspiration for the production. And when “Salesman” won for best revival, it was only fitting that Lane accepted the award on behalf of the company about a play that, ultimately, he pointed out, is about a family.
It was a point that Laurie Metcalf, who won for her featured performance as Linda Loman, also raised when she thanked Lane, Christopher Abbott (who played Biff) and Ben Ahlers (who played Happy) —her ferocious Loman family— for making her better.
A three-time Tony-winner already, Lane doesn’t need another trophy to assure him that he’s an American theatrical treasure. But this wasn’t just another Broadway outing for him. This was Miller’s masterwork in a production that will be remembered long after the tally of this year’s Tony Awards are long forgotten.
—Charles McNulty
Joshua Henry is a good person, a great actor and everybody loves him
Joshua Henry won a Tony Award for performance by an actor in a leading role in a musical at the 79th Annual Tony Awards, earning perhaps the most rousing standing ovation of the night.
(Theo Wargo / Getty Images for Tony Awards Productions)
The biggest standing ovation of the night came when Joshua Henry won the award for performance by an actor in a leading role in a musical for his critically acclaimed portrayal of Coalhouse Walker Jr. in the revival of “Ragtime.” Wearing a show-stopping black suit with golden flowers, Henry rushed to the stage as the star-studded crowd leapt to its feet to deliver a rousing standing ovation.
Henry first came to the full attention of fans playing Aaron Burr in the 2017 national tour of “Hamilton,” and has since gone on to distinguish himself as one of Broadway’s most charming and relatable stars. His optimism and kindness shine through, as does his fierce love of his art form, which was apparent as he gave his acceptance speech, thanking — in particular — his first vocal coach for believing in him. He also gave a poignant shout-out to the show’s original cast members Brian Stokes Mitchell and Audra McDonald, and sent all the love to his three young sons.
—Jessica Gelt
Pink had fun, but didn’t seem to know why she was there
Neil Patrick Harris and Pink perform during The 79th Annual Tony Awards at Radio City Music Hall.
(Jenny Anderson / Getty Images for Tony Awards Productions)
Pop star Pink kicked off the show with a wink and a nod to her hit “Lady Marmalade,” and went on to wow the audience with an action-packed opener filled with more than 150 performers and riffs from every Broadway show imaginable, plus a spirited appearance by Megan Thee Stallion. But the line that resonated most came early on when she spun hopelessly on a rope above the stage dressed as Peter Pan and a worried Neil Patrick Harris appeared to ask why she was performing in such an old-fashioned show.
“I just want to show how much I love theater even though I’ve never been on Broadway,” Pink said, still dangling, but nailing a few tricks. “I’m just concerned people might be like, ‘Why’s Pink hosting the Tonys?’”
That wasn’t the first time she seemed to be apologizing to the audience for being there.
—Jessica Gelt
Darren Criss gives happy endings
Darren Criss and Nicole Scherzinger joked it up during the 79th Annual Tony Awards at Radio City Music Hall.
(Theo Wargo / Getty Images for Tony Awards Productions)
Darren Criss is a Broadway superstar who consistently delivers “Happy endings,” according to co-presenter Nicole Scherzinger.
In what might have been the show’s most racy and deliciously groan-worthy joke, Scherzinger, stood side-by-side with the “Maybe Happy Endings” star to deliver the penultimate awards of the night, and noted, “You gave the world happy endings.”
“I did?” asked Criss, feigning innocence.
“You’re a giver,” said Scherzinger.
The pair took a beat through bubbling titters from the audience before knowingly yelling, “Happy Pride everyone!”
—Jessica Gelt
Leslie Odom Jr. delivers a moving in memoriam
Leslie Odom Jr. performs the In Memorium tribute during The 79th Annual Tony Awards at Radio City Music Hall.
(Theo Wargo / Getty Images for Tony Awards Productions)
Tony Award winner Leslie Odom Jr. sang a soulful rendition of “Without You” from “Rent” during the ceremony’s In Memoriam segment, which honored artists who died in 2025 and 2026, including Diane Keaton and Robert Redford. These annual segments are mournful — and tricky — and the “Hamilton” star managed to create an understated atmosphere that set the perfect tone for the somber projection of recently lost greats such as Robert Duvall, Tom Stoppard and Carmen de Lavallade.
Ali Louis Bourzgui scored an upset win for performance by an actor in a featured role in a musical for originating the role of David in the musical adaptation of the cult vampire horror film, “The Lost Boys.”
As viewers scrambled to keep their score cards straight — André De Shields was favored to take the trophy for his work in “Cats: The Jellicle Ball” — the 26-year-old Bourzgui went on to deliver the night’s most impassioned, and pointedly political speech.
He began by noting that, “Vampires represent those who have shunned their own humanity in order to achieve a non-existent sense of superiority. The billionaires will never find happiness from their money. The colonizers will never find fulfillment from the land and lives they steal. The fascists will never find meaning from their conformity, not in this lifetime or eternity.”
Through the cheers of an invigorated audience, Bourzgui went on to talk about how “theater is one of the last places people can come to worship the power of true collective human presence.”
At its best, he said, theater helps us see ourselves in a stranger’s story.
“This is dedicated to the beautiful tapestry of immigrant families who make this country really special. May you one day not have to audition for the empathy that should be freely given by this country that benefits from your beauty, for the queer and trans communities who will exist, no matter what people in power try to take away from them.”
Bourzgui, whose father immigrated to America from Morocco, went on to pay tribute to Palestine and his own Arab heritage.
“For the people of Palestine, who deserve a free life, a full life without occupation, for Arabs and their makers and artists, may we continue to tell our stories and show our faces. Our humanity becomes undeniable, and our families can no longer be written off as merely collateral damage, may they know the beauty of our kisses upon his cheek and the romance of a language rooted in passion for love and life itself.”
He wrapped up this speech with a plea for love and empathy.
“If there’s one thing we can learn from vampires, it’s that life is short, but that’s it’s a gift. Find beauty in the ephemeral and gratitude in what is not promised, and always invest in the people that want to see you blossom into your truest self, and hold that space for them in return.”
The 79th Tony Awards return to Radio City Music Hall on Sunday to celebrate the best of Broadway. Pop-star Pink hosts the show for the first time, and while she hasn’t been on Broadway yet herself, her songs have been featured in the musicals “Moulin Rouge!” and “& Juliet.”
The broadcast airs air live beginning at 5 p.m. on CBS and Paramount+, but don’t sleep on the annual pre-show, “The Tony Awards: Act One,” where the first round of Tonys will be presented. It will stream live on free service Pluto TV starting at 3:35 p.m. and be hosted by Tony Award nominee Laura Benanti and actor Tituss Burgess.
Arthur Miller’s “Death of a Salesman” Gina Gionfriddo, “Becky Shaw” Duncan Macmillan and Jonny Donahoe, “Every Brilliant Thing” “Fallen Angels” Robert Icke, “Oedipus”
Performance by an actress in a leading role in a musical
Sara Chase, “Schmigadoon!” Stephanie Hsu, “The Rocky Horror Show” Caissie Levy, “Ragtime” Marla Mindelle, “Titaníque” Christiani Pitts, “Two Strangers (Carry a Cake Across New York)”
Performance by an actor in a leading role in a musical
Nicholas Christopher, “Chess” Luke Evans, “The Rocky Horror Show” Joshua Henry, “Ragtime” Sam Tutty, “Two Strangers (Carry a Cake Across New York)” Brandon Uranowitz, “Ragtime”
Performance by an actress in a leading role in a play
Performance by an actor in a leading role in a play
Will Harrison, “Punch” Nathan Lane, “Death of a Salesman” John Lithgow, “Giant” Daniel Radcliffe, “Every Brilliant Thing” Mark Strong, “Oedipus”
Book of a musical
David Hornsby and Chris Hoch, “The Lost Boys” Cinco Paul, “Schmigadoon!” Marla Mindelle, Constantine Rousouli and Tye Blue, “Titaníque” Jim Barne and Kit Buchan, “Two Strangers (Carry a Cake Across New York)”
Original score
Music: Caroline Shaw, “Death of a Salesman” Music: Steve Bargonetti, “Joe Turner’s Come and Gone” Music and lyrics: The Rescues, “The Lost Boys” Music and lyrics: Cinco Paul, “Schmigadoon!” Music and lyrics: Jim Barne and Kit Buchan, “Two Strangers (Carry a Cake Across New York)”
Performance by an actor in a featured role in a play
Christopher Abbott, “Death of a Salesman” Danny Burstein, “Marjorie Prime” Brandon J. Dirden, “Waiting for Godot” Alden Ehrenreich, “Becky Shaw” Ruben Santiago-Hudson, “Joe Turner’s Come and Gone” Richard Thomas, “The Balusters”
Performance by an actress in a featured role in a play
Betsy Aidem, “Liberation” Marylouise Burke, “The Balusters” Aya Cash, “Giant” Laurie Metcalf, “Death of a Salesman” June Squibb, “Marjorie Prime”
Performance by an actor in a featured role in a musical
Ali Louis Bourzgui, “The Lost Boys” André De Shields, “Cats: The Jellicle Ball” Bryce Pinkham, “Chess” Ben Levi Ross, “Ragtime” Layton Williams, “Titaníque”
Performance by an actress in a featured role in a musical
Shoshana Bean, “The Lost Boys” Hannah Cruz, “Chess” Rachel Dratch, “The Rocky Horror Show” Ana Gasteyer, “Schmigadoon!” Nichelle Lewis, “Ragtime”
Scenic design of a play
Hildegard Bechtler, “Oedipus” Takeshi Kata, “Bug” David Korins, “Dog Day Afternoon” Chloe Lamford, “Death of a Salesman” David Rockwell, “Fallen Angels”
Scenic design of a musical
dots, “The Rocky Horror Show” Soutra Gilmour, “Two Strangers (Carry a Cake Across New York)” Rachel Hauck, “Cats: The Jellicle Ball” Dane Laffrey, “The Lost Boys” Scott Pask, “Schmigadoon!”
Costume design of a play
Brenda Abbandandolo, “Dog Day Afternoon” Qween Jean, “Liberation” Jeff Mahshie, “Fallen Angels” Emilio Sosa, “The Balusters” Paul Tazewell, “Joe Turner’s Come and Gone”
Costume design of a musical
Linda Cho, “Ragtime” Linda Cho, “Schmigadoon!” Qween Jean, “Cats: The Jellicle Ball” Ryan Park, “The Lost Boys” David I. Reynoso, “The Rocky Horror Show”
Lighting design of a play
Isabella Byrd, “Dog Day Afternoon” Natasha Chivers, “Oedipus” Stacey Derosier, “Joe Turner’s Come and Gone” Heather Gilbert, “Bug” Heather Gilbert, “The Fear of 13” Jack Knowles, “Death of a Salesman”
Lighting design of a musical
Kevin Adams, “Chess” Jane Cox, “The Rocky Horror Show” Donald Holder, “Schmigadoon!” Adam Honoré, “Cats: The Jellicle Ball” Adam Honoré and Donald Holder with 59 Studio, “Ragtime” Jen Schriever and Michael Arden, “The Lost Boys”
Sound design of a play
Justin Ellington, “Joe Turner’s Come and Gone” Tom Gibbons, “Oedipus” Lee Kinney, “The Fear of 13” Josh Schmidt, “Bug” Mikaal Sulaiman, “Death of a Salesman”
Sound design of a musical
Kai Harada, “Cats: The Jellicle Ball” Kai Harada, “Ragtime” Adam Fisher, “The Lost Boys” Brian Ronan, “The Rocky Horror Show” Walter Trarbach, “Schmigadoon!”
Direction of a play
Nicholas Hytner, “Giant” Robert Icke, “Oedipus” Kenny Leon, “The Balusters” Joe Mantello, “Death of A Salesman” Whitney White, “Liberation”
Direction of a musical
Michael Arden, “The Lost Boys” Lear deBessonet, “Ragtime” Christopher Gattelli, “Schmigadoon!” Tim Jackson, “Two Strangers (Carry a Cake Across New York)” Zhailon Levingston and Bill Rauch, “Cats: The Jellicle Ball”
Choreography
Christopher Gattelli, “Schmigadoon!” Ellenore Scott, “Ragtime” Ani Taj, “The Rocky Horror Show” Omari Wiles and Arturo Lyons, “Cats: The Jellicle Ball” Lauren Yalango-Grant and Christopher Cree Grant, “The Lost Boys”
Orchestrations
Doug Besterman and Mike Morris, “Schmigadoon!” Ethan Popp, Kyler England, Adrianne “AG” Gonzalez and Gabriel Mann, “The Lost Boys” Lux Pyramid, “Two Strangers (Carry a Cake Across New York)” Brian Usifer, “Chess” Andrew Lloyd Webber, David Wilson, Trevor Holder and Doug Schadt, “Cats: The Jellicle Ball”
WASHINGTON — President Trump has tapped Bill Pulte, head of the Federal Housing Finance Agency, to be the acting director of national intelligence — putting a real estate scion and fierce Trump loyalist in a key national security post as the U.S. remains at war with Iran.
Trump made the surprise announcement Tuesday on social media that Pulte would be replacing Tulsi Gabbard, the former Hawaii congresswoman who served as the director of national intelligence.
The Republican president cited Pulte’s work at the FHFA and his role as chair of the mortgage giants Fannie Mae and Freddie Mac, saying that the 38 year-old “has deep experience managing the most sensitive matters in America, the safety and soundness of the Markets, and over 10 Trillion Dollars at Fannie Mae/Freddie Mac, a substantial increase from where it was just 12 months ago.”
Pulte’s sudden elevation to a role coordinating sensitive national security matters is a sign of how Trump is putting a priority on loyalty over a traditional resume full of previous military and intelligence assignments. It’s unclear what national security expertise Pulte has, but he has been a frequent guest on Air Force One as Trump has traveled to Mar-a-Lago, his home and club in Palm Beach, Florida.
As the grandson of the founder of PulteGroup, one of the country’s largest homebuilders, Pulte has cut a combative streak on social media and used his post at the FHFA to attack perceived opponents of the Trump administration.
His time overseeing mortgage finance has been linked with criminal referrals for mortgage fraud by public officials Trump sought to punish, including New York Attorney General Letitia James, a Democrat; Sen. Adam Schiff, D-Calif.; and Lisa Cook, a member of the Federal Reserve, who was nominated by a Democratic president, Joe Biden.
Pulte has famously gone after then-Federal Reserve Chair Jerome Powell for not cutting the central bank’s benchmark interest rates as aggressively as the president wanted. He has also been linked to ideas such as the 50-year mortgage and efforts to lower mortgage rates through the purchase of home loan debt that have not paid off as promised.
Trump said Pulte will keep his other positions even as he fills in for Gabbard, who resigned last month after revealing her husband’s cancer diagnosis.
If formally nominated, Pulte would need to be confirmed by the Senate to hold the position full time.
California’s decision to redraw its congressional map to flip as many as five House seats to Democrats in November is poised to play a big and potentially decisive role in the nation’s broader, bare-knuckle fight for control of Congress.
Tuesday’s primary races — where the top two candidates will advance to November runoffs — won’t determine which Republicans are ousted in most cases, but they will provide an important first look at voter sentiment and bring the fall’s most crucial head-to-head contests into focus.
“There will be some real cues and signals about what to expect,” said Christian Grose, a redistricting scholar and political science professor at USC. “We’re going to know how strong the Democrats’ chances are going to be based on who advances.”
As one example, Grose pointed to the redrawn 22nd Congressional District in the Central Valley, where incumbent Rep. David Valadao (R-Hanford) is facing challenges from moderate Assemblymember Jasmeet Kaur Bains (D-Delano) and progressive college professor Randy Villegas.
Grose said Bains is probably a stronger challenger than Villegas in a district that’s still a reach for Democrats — even if “either one could probably beat Valadao if 2026 is a big Democratic wave.”
Grose will also be closely watching the race between incumbent Reps. Young Kim (R-Anaheim Hills) and Ken Calvert (R-Corona) in the redrawn Congressional District 40, which covers a swath of inland Orange County and portions of San Bernardino and Riverside counties, including parts of Kim’s and Calvert’s current districts.
The district race wasn’t designed to deliver Democrats a seat, but will produce “one of the first casualties for Republicans from the new map” — months before other expected ousters — if Kim and Calvert don’t both advance.
The national picture
The redistricting war was prompted by President Trump’s unprecedented pressuring of Republican-controlled states to redraw their maps mid-decade for partisan advantage in order to retain control of Congress, given his sinking approval ratings and a history of midterm voters punishing the president’s party.
The war ratcheted up — with more Republican states suddenly considering map changes — after a U.S. Supreme Court decision in April that weakened the 1965 Voting Rights Act and its long-standing protections for majority-Black districts in the South.
Republicans have now acted to redraw congressional maps in Alabama, Florida, Louisiana, Missouri, North Carolina, Ohio and Tennessee, with varying degrees of success, while a battle in Utah could add a single additional Democratic seat there. Attempts in other states have failed, including by the GOP in South Carolina and Democrats in Virginia.
Experts say the net result from the flurry of redistricting will probably be a gain of a handful or more seats for Republicans — but in a year when Democrats are expected to make gains more broadly, leaving control of the House up for grabs. California’s new map is “a huge deal” precisely because that math is so close, said David Wasserman, senior editor and elections analyst for the independent, nonpartisan Cook Political Report.
“Democrats are modest favorites for House control based on the political environment, but also because of California,” Wasserman said in an interview with The Times. “Picking up these four or five seats is a prerequisite to Democrats getting the majority.”
California seats in play
California has 52 seats in the U.S. House of Representatives, by far the most of any state. With their new map, California Democrats are hoping to increase their 43 House seats to 48. That would leave just four seats represented by members of the GOP despite Republicans accounting for a quarter of the state electorate.
But that outcome isn’t guaranteed.
Paul Mitchell, a Democratic redistricting expert who devised California’s new map, said the reconfigured congressional districts had to create a pathway for new Democrats to win additional seats without undermining incumbent Democrats’ reelection. And the result is a map with three pretty safe pickups for Democrats, and two districts that are “100% on the table, ready for Democrats to win,” but will nonetheless “require shoe-leather and grit.”
The redrawn congressional district boundaries enacted by Proposition 50 promise to shake up at least three seats, experts said.
Congressional District 1: Held by the late Rep. Doug LaMalfa (R-Richvale) for 13 years until his death in January, the district is currently rural and conservative, stretching from the Sacramento outskirts through Redding to the Oregon border and California’s northeastern corner. Under the state’s new congressional district map, it loses some of its rural reaches and picks up liberal coastal communities, and favors a Democrat such as state Sen. Mike McGuire, who is one of the leading candidates.
Congressional District 3: The seat is currently held by Rep. Kevin Kiley (I-Rocklin) and stretches from the Sacramento suburbs through Lake Tahoe and south along the Nevada border. Under the new map, it holds more tightly to the Sacramento suburbs, favoring a Democrat.
The changes were enough to convince an incumbent Democrat, Rep. Ami Bera (D-Elk Grove), to leave his current district — Congressional District 6, which includes the city of Sacramento and the suburbs of Roseville and Rocklin in Placer County — and run in District 3 instead.
Meanwhile, Kiley did the reverse. He quit the Republican Party, became an independent and announced he would be leaving District 3 and running instead in District 6 — the one Bera is leaving — against a slate of new Democratic challengers.
Congressional District 41. The seat is now held by Calvert, a 17-term incumbent, and currently stretches from Corona to the Coachella Valley. The new map made the district more liberal, losing voters in Riverside County and gaining them in Los Angeles County, and Calvert decided to run instead in Kim’s redrawn but still Republican-leaning Congressional District 40 that is just to the west.
The two toughest flips for Democrats, experts said, are Congressional District 22, Valadao’s heavily Latino district in the Central Valley, followed by Congressional District 48 in San Diego and Riverside counties, where Rep. Darrell Issa (R-Bonsall) decided to retire rather than run for reelection.
Valadao is viewed as especially vulnerable because of his recent support for Medicaid cuts, but he has proved resilient in the past. Meanwhile, his two leading Democratic challengers, Bains and Villegas, are in a bitter fight, with Bains receiving Democratic establishment support and Villegas winning endorsements from prominent progressives.
In Issa’s district, moderate Republican San Diego County Supervisor Jim Desmond is running against several infighting Democrats, including San Diego Councilwoman Marni von Wilpert and former Obama labor official Ammar Campa-Najjar.
Not new, or over
Jeff Wice, a New York Law School professor who was involved in California redistricting efforts in 2010, said the state “has long played hardball politics on redistricting,” including when then-Rep. Phil Burton, a powerful San Francisco Democrat, bragged more than 40 years ago that the complex congressional boundaries he’d crafted for Democrats were his “contribution to modern art.”
But in five decades studying redistricting, Wice said he has never seen such “politically driven, partisan politics” as are occurring now across the nation, which he said have “no root in law, reason or fairness” — and are only likely to continue.
“This state-by-state war is far from over, and may continue all the way through 2030,” he said. “A lot of it depends on the outcome of this November’s election.”
Wasserman said the country has “entered an era of no-holds-barred redistricting,” and he also sees redistricting efforts continuing — including in California, where they would present a distinct threat to the state’s few remaining Republicans.
Michael Li, senior counsel in the Democracy Program at the Brennan Center for Justice at NYU Law, said California is a “big part of the story” this election cycle, thanks to Proposition 50. “Democrats in California proved to be very determined and resourceful and managed to get that done, and right now California is the big offset to Republican gerrymandering around the country,” he said.
But what will come of it all — in California and across the country — is still to be determined.
“When you’re gerrymandering, you’re making a bet that you know what the politics of the future will look like, and it’s hard to predict,” he said. “It’s a high-risk, high-reward venture.”
Perrie Edwards has explained why Leigh-Anne Pinnock has likely been cast as a traitor after her former Little Mix bandmate was announced as part of the lineup for the hit BBC show
Perrie Edwards thinks Leigh-Anne Pinnock might have been cast as a traitor(Image: REX/Shutterstock)
Perrie Edwards has explained why Leigh-Anne Pinnock has likely been cast as a traitor on the next series of Celebrity Traitors. The Little Mix star, 32, was asked for her opinion after her bandmate Leigh-Anne, 34, was announced as part of the lineup for the upcoming edition of Claudia Winkleman‘s hit BBC series.
Earlier this year, comedian Alan Carr schemed his way to victory after being cast as a traitor and now that Leigh-Anne, along with a host of other huge names like Love Island host Maya Jama and Coronation Street legend Julie Hesmondhalgh have been chosen to enter the famous castle as either a Faithful or a Traitor, Perrie has weighed in
Speaking on the Hanging Out with Ant & Dec podcast, she implied she’d be a good traitor because of her affinity for mischief: “Oh she is so annoying, I already know she is going to annoy me. You don’t understand how infuriating it is, she would lie about silly things so she would do pranks and we’d be like, ‘Leigh-Anne’s that’s…’ and she’d be like ‘it’s a prank’ and I’m like ‘that’s not a prank you’ve just lied, it’s just annoying’. And so I don’t know if I’ve got it in me to watch her do that for a full series.”
Despite her enthusiasm and ability to come up with a theory for her bandmate, Perrie admitted that this will be the first time she has ever seen the hit game show.
She said: “I’ve never seen it, never! I can’t get into it but now I am going to have to because Leigh-Anne’s on it and so I need to watch it now!”
Initially, the star avoided using words and simply shared two emojis after the announcement was made that she was set to take part. She posted a looking eyes emoji as well as an emoji covering its faces with its hands to signal she isn’t sure what she’s signed herself up for in the new season.
Leigh-Anne will line up with some huge names in the industry, including Michael Sheen and Jerry Hall. The 21-star list also includes Richard E Grant and Miranda Hart.
Also taking part is BBC presenter Amol Rajan, The Last of Us actress Bella Ramsey and comedian James Acaster – not to be mixed up with You’re Beautiful singer James Blunt, who has also signed up. Comedy stars Joanne McNally and Joe Lycett, and social media content creator King Henry were also announced.
Industry actress Myha’la and BBC maths guru Professor Hannah Fry. Rob Beckett with be bringing laughs alongside TV sidekick Romesh Ranganathan, flanked by former EastEnder Ross Kemp and My Mad Fat Diary star Sharon Rooney.
Game of Thrones actor Sebastian Croft completes the line-up as former Strictly Come Dancing presenter Claudia gets ready to choose her Traitors.
While they will all take part exactly like the usual Traitors series, rather than take any winnings themselves, the celebrity players will be donating anything they get from the potential £100,000 jackpot to their chosen charities
In a few days, Los Angeles voters will be casting ballots for city attorney — and in a few months, they could be voting to sharply diminish the city attorney’s authority.
The city’s Charter Reform Commission has proposed splitting the city attorney’s office into two parts — an elected city prosecutor, charged with handling criminal misdemeanors, and a mayor-appointed and City Council-confirmed city attorney who would represent the city in civil cases and advise the mayor, city council and city departments.
The City Council is reviewing the recommendation as part of sweeping changes to city government, including expanding the council from 15 to 25 seats, which could go before voters in the Nov. 3 general election.
The proposed changes to the city attorney’ office, however, come in the midst of a heated primary campaign, where incumbent Hydee Feldstein Soto is up against three challengers, including a state deputy attorney general and a deputy district attorney.
Both of those challengers say plans to bifurcate the city attorney’s office are rooted in longstanding conflicts between Feldstein Soto and the City Council.
And last year, City Council took a 12-0 vote to direct Feldstein Soto to withdraw an effort to halt a federal judge’s order prohibiting LAPD officers from targeting journalists with crowd control weapons.
“When I first heard about this idea, I thought it was probably the greatest indictment of the current city attorney that I’ve heard yet,” said John McKinney, a Los Angeles County deputy district attorney who is running for city attorney in Tuesday’s primary.
McKinney opposes the bifurcation, saying it will cause overlap and confusion. “If she was doing a good job … we wouldn’t even be having this discussion,” he said.
Marissa Roy, another candidate in the race, hasn’t taken a position on bifurcation but said Feldstein Soto’s actions triggered the proposed change.
“The only reason that bifurcation, or splitting the city attorney’s office, is even going to be going before voters is because we’ve had an incumbent city attorney who has gone so rogue to politicize the role,” said Roy, a deputy state attorney general.
Roy said accused Feldstein Soto of inappropriately blocking an affordable housing project in Venice. And in her office’s role of drafting ordinance language, Roy said, Feldstein Soto has returned to city council ordinance language that isn’t “faithful to the intent of the drafter.”
Feldstein Soto said the proposal to bifurcate the office has nothing to do with her performance.
“This issue comes up every single time charter reform comes up,” Feldstein Soto said. “To me this is all political opportunism.”
Feldstein Soto has opposed the split, and former city attorneys have also come out against it, saying an appointed position threatens the independence of the city attorney’s office, takes away from voters the right to elect a city attorney and could cost taxpayers money in order to split the office.
In a March letter to the Charter Reform Commission, Feldstein Soto said an attorney “serving at the pleasure” of the mayor and city council would face an “innate, human pressure to harmonize legal advice with the political goals of the appointing officials.”
“I have been able to provide honest, accurate legal advice to the Mayor, City Council, Controller and departments — even when that advice is unwelcome — precisely because I am an independently elected officeholder with an ultimate duty to the public,” she wrote. “An appointed City Attorney, serving at the pleasure of the Mayor and City Council, faces enormous political pressure on all of these issues, behind closed doors, cloaked in privilege without an independent voice.”
Burt Pines, a former city attorney who served from 1973 to 1981, deeply opposes the bifurcation proposal, citing the threat to independence as the largest issue at stake. As city attorney, he said, he was empowered to tell city officials when a proposed action was unlawful and refuse to support it.
“You want to be able to call the shots as you see them, true to the law,” Pines said in an interview.
Advocates say other cities have bifurcated offices, and splitting it could reduce conflict and provide a clear delineation of roles.
After consulting with experts and good governance groups, the commission agreed the benefits of bifurcation outweighed the negatives, and it passed unanimously by the commission.
“It was easy to get consensus on this,” said Raymond Meza, chair of the commission. The commission’s proposal calls for the city attorney to be nominated by the mayor, and confirmed by the City Council.
In its report, the commission said that “the current structure creates conflicts when the same office advises the city and prosecutes cases. Separation provides clearer roles, reduces conflicts, and allows each function to be performed effectively.”
Other cities have different models for the city attorney’s office: Long Beach has a similar model with bifurcated duties, while New York City has legal representation split up several ways. The San Francisco City Attorney provides legal representation for the city and county of San Francisco, and the San Francisco District Attorney’s Office handles criminal cases in the city and county.
Mike Bonin, executive director of the Pat Brown Institute, said he has seen the question of splitting the office come up with at least three different city attorneys to varying degrees.
“Given that the city attorney is an elected position, there’s always going to be somebody who doesn’t like them,” Bonin, a former city council member, said. “You need to divorce the question from the occupant and focus on the role — the charter is not about a particular person, the charter is about the function of the office.”
Spencer Pratt is a showboat, a loudmouth, a troll and a self-proclaimed villain who seems willing to say anything in his quest to be the next mayor of Los Angeles.
Little wonder that his critics rolled their eyes when the former reality television star told CNN host Elex Michaelson a few weeks ago that his campaign role model is Jesus Christ, because “he was a politician.” How on earth did Pratt — a man who tosses insults with the ease of someone spitting loogies — come off boasting that his political hero was the Prince of Peace?
But anyone who ridicules the exchange as a blasphemous moment by a deluded wannabe isn’t paying attention — which is exactly the error that has allowed Pratt to storm L.A. politics. He isn’t running on an explicitly Christian message — that would be risky in a city with large Jewish, Catholic and secular constituencies. But the proud born-again evangelical is channeling the zeal of an old-fashioned tent revival, even if some of his rhetoric falls far outside the bounds of the Good Book.
In his recent memoir, Pratt recounted his conversion — actor Stephen Baldwin baptized him in a river during the 2009 season of the reality show “I’m a Celebrity, Get Me Out of Here.” Before that, his Christianity had consisted of wearing a black diamond cross necklace he described as “thirty grand of Jesus bling” bought from a Beverly Hills boutique. Pratt credits his faith with providing direction at a low moment in his life, as he embraced Jesus with such fervor that a pastor told him to stop joining altar calls so much during church services — once was enough.
“I needed the receipt stamped weekly,” Pratt wrote, “like a parking validation, just to make sure it stuck.”
Seventeen years later, he’s still seeking that affirmation.
The memoir comes off as a millennial version of “The Confessions of St. Augustine” — perhaps the most famous literary example of someone who saw their wreck of a life not as a series of mistakes to apologize for but as necessary failures on the road to grace. That’s why Pratt and his followers don’t see his sketchy past as a disqualifier, but rather his biggest strength. Only someone who says he was reborn in the inferno of the Palisades fire could possess the clarity and willpower needed to bring salvation to an accursed land, they argue.
In another era, Pratt would have been a welcome edition to the roster of bombastic Southern California preachers a la Aimee Semple McPherson, Chuck Smith and Gene Scott, as well as radio titans such as George Putnam and John Kobylt. His claims that only he can deliver us from damnation and that we need to repent of City Hall’s status quo at the ballot box are nothing less than a modern-day gospel to his followers. Pratt feels the pulse of L.A.’s civic malaise far better than Mayor Karen Bass or another of his opponents, City Councilmember Nithya Raman. Like any good pastor, he knows how to distill that discontent into soundbites and stories.
That’s why the self-designated “Pratt Daddy” has cast this moment in L.A. history as a modern-day Armageddon, urging voters to wage war against apostates and usher in a Second Coming, lest the city continue its supposed descent into hell. He admits in his memoir to holding “epiphanies and apocalyptic visions” in equal measure — no wonder he told a Canadian podcaster in March that life for him is a “spiritual battlefield” where “however I can be to stop evil at this point feels like a purpose.”
Spencer Pratt is shown on a television while journalists work during the 2026 Los Angeles mayoral debate at Skirball Cultural Center on May 6.
(Jason Armond / Los Angeles Times)
Far from me to criticize someone’s faith. But I urge Pratt to reacquaint himself with the words of the messiah in whose path he professes to follow. Humility, frugality, turning the other cheek — it’s what Jesus taught and what Pratt has long rejected.
Instead of offering compassion or viable initiatives, Pratt consistently calls the unhoused “zombies,” “vagrants,” “drug addicts” and “bums,” with a particular fixation on the naked ones. He vowed to ABC 7 recently that he would push people off L.A.’s streets and onto federal land — like herding stray wildlife. The mayoral hopeful added that “scam homeless nonprofits” exacerbate homelessness, which must have been news to Scripture-based organizations such as the Los Angeles Catholic Worker, Union Rescue Mission and the Salvation Army, which have been trying to help homeless people since before Pratt was born.
“These people, when I unplug them … they’re all going to Seattle, where the mayor will welcome them,” Pratt proclaimed.
Jesus would not only roll out the welcome mat for homeless people — he would embrace them.
Spencer, what New Testament book says that your crude campaign against the most destitute among us is holy?
Christ never looked down on itinerants, famously saying, “The Son of man hath not where to lay his head.” In the Book of Mark, when Jesus sent his disciples out into the world, he told them to bring no food or money, because good people would take care of them.
“And if any place will not welcome you or listen to you, leave that place and shake the dust off your feet as a testimony against them,” Jesus said.
Christ did do some name calling, but his ire was directed at the powerful, the braggarts, the hypocrites — the Pratts of his time. The Nazarene saved his kindest words for the meek, the poor, the peacemakers — who are sorely lacking in Pratt’s caravan of disaffected liberals, Trumpers and the wealthy. Christ didn’t offer counsel to the comfortable but to outcasts — lepers, prostitutes, people possessed by demons or afflicted with disease — whose modern-day contemporaries live on our streets and whom Pratt World blames for all of L.A.’s ills.
Jesus especially embraced outsiders — the Canaanite woman he initially compared to a dog because she sought help for her daughter, the Samaritan lady at the well, the Roman centurion in the Book of Matthew of whom Jesus proclaimed, “I have not found so great faith” anywhere in Israel. Pratt would have rounded up all of them in donkey carts and dumped them in Babylon, if he had been around back then.
I understand how frustrating it is to see homeless encampments in neighborhoods and to deal with unhoused people who disrupt one’s day, as my wife does at her restaurant in Santa Ana. But whenever annoyance gets the better of me, I remember what Jesus told his followers: “Inasmuch as ye have done it unto one of the least of these my brethren, ye have done it unto me,” warning that he would keep this in mind on Judgment Day.
Those who didn’t take his advice? “Depart from me, ye cursed,” Christ thundered, “into everlasting fire, prepared for the devil and his angels.”
Christianity — and good society — calls for us to look to our better angels, not to demonize others, as Pratt regularly does. He knows this too.
“When the whole world hates you,” Pratt wrote, “it’s comforting to think at least the big guy upstairs has your back, so long as you repent.”
But repentance means admitting you’ve done wrong. Instead, Pratt is doubling down on his anti-homelessness nastiness as more and more people join his crusade.
Let’s see how many Angelenos embrace this false prophet on election day.
China’s decision to send a largely academic delegation instead of senior defence leadership to the Shangri La Dialogue in Singapore has been described by Australia as a missed opportunity for strategic engagement at a time of rising regional tensions.
Australian Defence Minister Richard Marles said the Asia Pacific region needs greater strategic reassurance from Beijing, particularly given China’s ongoing military expansion and its growing influence across the Indo Pacific.
The Shangri La Dialogue is the region’s most prominent defence and security forum, bringing together senior ministers, military leaders, and policymakers from across the world to discuss security challenges and regional stability.
For the second consecutive year, China’s Defence Minister Dong Jun did not attend the meeting, with Beijing instead sending a delegation made up mainly of academics and military experts.
Why It Matters
The absence of senior Chinese defence officials comes at a sensitive moment for regional security dynamics.
Australia and its allies have repeatedly raised concerns about China’s rapid military buildup, which is widely regarded as the largest conventional expansion since the Second World War. Regional governments argue that this military growth has not been matched by sufficient transparency or reassurance about China’s long term intentions.
The lack of direct high level engagement at forums such as the Shangri La Dialogue limits opportunities to reduce misunderstandings, build trust, and manage rising tensions through dialogue.
For countries in the Indo Pacific, especially smaller states, the absence of senior Chinese representation can increase uncertainty about regional security and long term strategic balance.
Key Stakeholders
China
China’s approach reflects a more controlled engagement strategy in defence diplomacy, relying on lower profile participation while continuing to expand military capabilities and regional influence.
Australia
Australia views sustained dialogue as essential for regional stability, while simultaneously strengthening its alliance with the United States and deepening defence cooperation across the Indo Pacific.
United States
The United States remains a central security partner in the region and continues to position itself as a counterbalance to China’s military rise through alliances and defence agreements.
Regional Partners
Countries such as Japan, the Philippines, Malaysia, and others attending the forum are closely watching China’s engagement level as they navigate their own security concerns in a shifting regional order.
Future Outlook
If China continues limiting senior level participation in regional defence forums, diplomatic channels for managing tensions in the Indo Pacific may become more constrained. This could increase reliance on bilateral alliances and military deterrence rather than multilateral dialogue.
At the same time, ongoing military expansion by China will likely keep regional security concerns elevated, particularly among Southeast Asian and Pacific nations.
However, if future editions of the Shangri La Dialogue see higher level Chinese participation, it could open pathways for improved communication and reduced strategic mistrust.
For now, the gap between China’s military rise and its diplomatic engagement remains a key concern for regional powers seeking stability in an increasingly competitive Indo Pacific environment.
Penny Smith was one of the familiar faces of ITV’s GMTV alongside Lorraine Kelly and Eamonn Holmes, but left the show in 2010
13:54, 29 May 2026Updated 14:17, 29 May 2026
Daytime TV legend Penny Smith on BBC Morning Live(Image: BBC)
TV icon Penny Smith made a triumphant return to daytime telly.
The popular presenter was famous for her role on GMTV and joined as the main newsreader in April 1993 and remained on the show until June 2010.
The star – who worked alongside Eamonn Holmes, Lorraine Kelly and John Stapleton among others – was treated to clips of her best bits on her final day in the studio.
She was also reunited with Curtis Stigers, her former partner from BBC’s singing show Just The Two of Us, who serenaded her with his hit You’re All That Matters To Me.
Now, 67-year-old Penny has made a comeback on another daytime show when she landed a slot as a roving reporter on BBC’s Morning Live on Friday, May 29 – and fans were delighted to see her return.
Penny presented a special segment investigating the chaos faced by tourists caught up in the EU’s new fingerprint scanner during the show which was hosted by Gethin Jones and Michelle Ackerley, reports the Daily Mail.
Penny was out on the ground at Manchester chatting to people travelling through the airport while also meeting up with a young woman who missed her flight due to the chaos.
She then tried a number of different substances on her hands, from water to moisturiser and an alcohol wipe, to see how it impacted the results on the fingerprint scanner. All produced different results.
Penny’s return to daytime television was welcomed by viewers who took to social media to express their delight.
One said: ‘Can we please see more of Penny Smith on Morning Live?’ while another said: ‘Great to see Penny Smith back on TV’.
Penny began her career as a reporter and feature writer on the Peterborough Evening Telegraph in 1977.
Penny later helped launch Sky News in February 1989, and four years later she joined GMTV, where she stayed until 4 June 2010.
She has since hosted several radio shows, including the weekday breakfast show on BBC London, Talk Radio, and Magic Classical.
Elsewhere, she has appeared on Have I Got News for You, Just the Two of Us, and Never Mind the Buzzcocks.
Last year, she reunited with former GMTV co-star Eamonn during a short stint on GB News. At the time, Eamonn said: “I’m delighted to be working with Penny again after all these years.”
Morning Live is on BBC One weekdays at 9.30am and BBC iPlayer
Anna Maxwell Martin takes on an intimidating new role that’s miles away from Motherland in this gripping Apple TV drama
Motherland’s Anna Maxwell Martin as KGB surveillance head Lyudmilla Raskova (Image: APPLE TV)
The new Cold War thriller features some very recognisable names.
Apple TV’s highly anticipated For All Mankind spin-off Star City is finally here and has received rave reviews across the board.
Taking viewers back to the 1970s in this alternate version of history in which the Soviet Union won the space-race, the series picks up with the Russian politicians, engineers, cosmonauts, and KGB agents overseeing more missions to the Moon.
While the USSR is still basking in the victory of becoming the first nation to put a man on the Moon in 1969, tensions are running high as the threat of the US still looms large during the Cold War.
The series begins today (Friday, 29th May) with six more episodes coming each Friday until a riveting finale on 10th July.
But who is in the cast of Star City? From a major sitcom star to actors from some of the most acclaimed dramas of the past few years, let’s take a closer look at where you’ve seen them before.
Star City’s main cast
Rhys Ifans – Chief Designer
Welsh film and TV icon Rhys Ifans portrays the secretive figure at the head of the Star City program, known only as the chief designer.
You’ll have seen him recently as Otto Hightower in House of the Dragon, HBO’s popular Game of Thrones spin-off, as well as portraying Xenophilius Lovegood in the Harry Potter franchise and as Curt Connors/The Lizard in The Amazing Spider-Man, a role he reprised in Spider-Man: No Way Home.
His performance as comedy legend Peter Cook in Channel 4’s Not Only But Always won him a BAFTA TV award, and he is also well-known for his role as Spike in Notting Hill opposite Hugh Grant.
Anna Maxwell Martin – Lyudmilla Raskova
Anna Maxwell Martin plays the head of Star City’s KGB surveillance department, Lyudmilla Raskova, in a performance the Guardian has described as “terrifying”.
Martin has appeared in a huge range of popular British dramas, including Line of Duty, Ludwig, and ITV’s Until I Kill You, which won her an International Emmy Award.
She has also won BAFTA TV Awards for her roles in Bleak House and Poppy Shakespeare and is well-known among comedy fans for playing Julia Johnstone in the hit BBC sitcom Motherland.
Agnes O’Casey – Irina Morozova
Irina Morozova, a recent KGB recruit at Star City, is portrayed by English and Irish actress Agnes O’Casey.
O’Casey has landed supporting roles in major dramas in the 2020s, including Dangerous Liaisons, Wolf Hall: The Mirror and the Light, and Netflix’s Black Doves.
On the big screen she has appeared in Small Things Like These with Cillian Murphy and in The Miracle Club, Dame Maggie Smith’s final film.
Alice Englert – Anastasia Belikova
Anastasia Belikova is an untested female cosmonaut in the Soviet space program and portrayed by Australian actress Alice Englert.
Previously best known for her film roles, she has appeared in Ginger & Rosa with Elle Fanning, Beautiful Creatures with Alden Ehrenreich, and Netflix’s The Power of the Dog with Benedict Cumberbatch, which was directed by her mother Jane Campion.
Englert also appeared with O’Casey in Dangerous Liaisons, as well as BBC’s The Serpent and Jonathan Strange & Mr Norrell, and made her directorial debut with the 2023 film Bad Behaviour starring Jennifer Connelly.
Solly McLeod – Sasha Polivanov
Sasha Polivanov is described as “a reckless cosmonaut who has yet to live up to his potential” and is portrayed by Solly McLeod.
McLeod is a British actor known for playing the title role in ITV’s adaptation of Tom Jones, and has also played Ser Joffrey Lonmouth in two episode of House of the Dragon with Star City co-star Ifans.
He is also set to appear in the major upcoming films Practical Magic 2 and Anxious People, adapted from the bestselling novel by Fredrik Backman.
Adam Nagaitis – Valya Mironov
In contrast to Sasha, Valya is a respected cosmonaut in the Star City program brought to life by British actor Adam Nagaitis. Nagaitis previously portrayed a Russian firefighter in HBO’s acclaimed miniseries Chernobyl.
He has also appeared in the film The Last Duel with Matt Damon and Adam Driver, as well as TV series The Responder, The Agency and A Thousand Blows.
Ruby Ashbourne Serkis – Tanya Mironova
Ruby Ashbourne Serkis is the actress daughter of The Lord of the Rings star Andy Serkis and will be portraying Tanya, the wife of one of Star City’s cosmonauts.
She has previously appeared in TV series Shardlake and I, Jack Wright, as well as two recent Cillian Murphy films; Netflix’s Steve and the Peaky Blinders movie, The Immortal Man.
Josef Davies – Sergei Nikulov
Josef Davies portrays Sergei Nikulov, a young engineering prodigy working at Soviet Ground Control. Davies is best known as Sören in Young Wallander and he has also appeared in Andor, Grace, and Agatha Christie’s Seven Dials, as well as the hit WWI film 1917.
Supporting cast and guest stars
Apple TV+ Annual Plan
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