role

Death in Paradise star Danny John-Jules is unrecognisable as a taxi driver in new BBC comedy Ann Droid, starring alongside Diane Morgan

Actor Danny John-Jules became a firm fan-favourite on Death in Paradise.

He became one of the original cast members when the crime-drama first kicked off in 2011 as Officer Dwayne Myers.

The actor played the role for seven years before his departure in 2018. Yet devotees of the BBC programme have witnessed him reprise his role intermittently over the years, with his most recent appearance coming in the 2024 Christmas special.

Despite handing in his badge upon leaving, fans remain optimistic he might make a comeback in a forthcoming series.

However, in the meantime, he appears in a new BBC comedy, Ann Droid.

It charts the story of lonely widower Sue (Sue Johnston) whose son Michael (Paul Ready) opts to purchase her an AI eldercare robot to provide companionship and ensure her wellbeing.

Yet the robot she chooses to name Linda (Diane Morgan), receives a frosty reception as Sue makes her feelings abundantly clear that she doesn’t want a robot under her roof.

Throughout the six episodes, audiences will witness an unexpected friendship develop between the two as the series explores themes of loneliness, bereavement, humanity versus technology, and growing older, reports the Express.

While the opening episode broadcasts on Friday (July 17), all instalments are ready to stream on BBC iPlayer, with a well-known face making an appearance in episode two.

As Sue encounters her mate Eileen (Kathryn Hunter) waiting for a cab to transport her to her aunt’s 108th birthday celebration, the driver who arrives turns up in a vehicle looking somewhat battered.

The taxi driver, called Brian is portrayed by Death in Paradise’s Danny John-Jules. While Sue points out the hazards of his motor, Eileen tells her to calm down as Brian has been ferrying her about for more than 40 years.

He responds: “And I’ve only been sober for the last five!” Subsequently, Brian shows up once more when he brings Eileen back to meet Sue and Linda.

Before departing, he remarks: “Oh, I need some more customer reviews. Preferably ones above the two stars I’m getting at the moment. Would you mind?

“Oh, and don’t mention I got lost and had four pints at lunch or that I ran out of petrol and we had to walk the last 2km, ok?”

Ann Droid is available to stream on BBC iPlayer.

London — It’s a scorching day and the city feels blanketed by the heat. Even the unusually strong air conditioning in a suite at the Raffles hotel is no match for the temperature. Octavia Spencer immediately peels off her jacket after entering the room and realizing there are no cameras present for our interview. Hannah Waddingham, her co-star in “Ride or Die,” kicks off her heels as they settle onto a plush sofa.

“You’ve seen that we look nice,” Spencer says. “So now we can do this.”

There’s a relaxed, familiar vibe between the actors. They didn’t know each other prior to filming the series, now streaming on Prime Video, but they did develop a real-life friendship during production in Prague last year. It was perhaps inevitable considering that “Ride or Die,” created by Tessa Coates, is about two best friends whose relationship is upended when one of them is revealed to be a professional assassin.

Spencer, 56, plays Debbie Claybourne, a lawyer whose career has been put on hold due to her British husband David’s political aspirations. The actor was approached by Skydance, now part of Paramount, as part of a development deal with the studio. She said yes almost immediately, and by happenstance both she and the producers imagined Waddingham, 51, in the role of Judith Burton, a skilled assassin who works for a shady organization run by the Director (Bill Nighy).

“It was always just the two of us for these roles,” says Spencer, who won an Oscar in 2012 for “The Help.” “We did a Zoom and I was sitting there thinking, ‘I hope she says yes.’”

In “Ride or Die,” Spencer plays Debbie, a lawyer and wife of a British politician, who is best friends with secret assassin Judith, played by Waddingham. (Dusan Martincek / Prime)

“It’s Octavia Spencer and I’m thinking, ‘Be cool, be cool,’” Waddingham chimes in. “Octavia and Tessa start telling me the plot and at the end I said, ‘Who the hell are you going to get to play Judith?’ Octavia’s face filled the whole screen and she said, ‘We want to make you Judith, dummy.’”

Each professes to be a fan of the other, but Spencer is particularly effusive. She admits to initially having to remind herself that Waddingham is, in fact, an actual person and not Rebecca Welton, her character on “Ted Lasso.” She turns to her co-star. “We know you’re a brilliant comedian, but you also showed us in ‘Game of Thrones’ this depth,” Spencer tells Waddingham, adding, “With her beauty and that statuesque presence she has, this role was literally written with a woman of her caliber in mind.”

Waddingham turns red. “I’m not good when she does this,” she admits.

“Well, it’s very true,” Spencer responds. “I think it was kismet. I knew it was meant to be when we were at the upfronts for Amazon and we were in the wings with Will Ferrell and Reese Witherspoon, just chatting it up. I’ve always had severe stage fright. They walked out and I got really quiet, centered myself, and then I felt these arms around me. She wrapped me up from behind, and it was like, ‘OK, I’m good.’ That’s what it has felt like this entire process.”

Waddingham’s memory of that day, her second time meeting Spencer after their first call, is slightly different. “Octavia is so established in Hollywood,” she says. “I’m still a newcomer in this town. So I was having the worst impostor syndrome that day. I was thinking, ‘I look like a competition winner.’”

Nerves settled by the time the production started in January 2025. Before joining forces in Prague, Waddingham flew to Ischgl, an Austrian ski town known for its party vibe, to shoot the show’s opening sequence. The James Bond-style scene introduces Judith as talented, serious and a bit of a loner. That perception is quickly upended when the character arrives at Debbie’s home in London for their book club meeting and the duo begin singing along to Salt-N-Pepa’s “Shoop.”

“Octavia is so established in Hollywood,” Waddingham says of meeting her co-star. “I’m still a newcomer in this town.”

(Bexx Francois / For The Times)

“That was our first scene together and we didn’t plan anything or talk about it,” Waddingham says. “But we had an unspoken, organic process.”

“We had a lot of trust,” Spencer adds. “I knew she was going to come in with 1000% and that I was going to too. Some of those things you figure out when you’re on the set and some of those things just happen in the moment.”

Showrunner Matt Miller points to the scene as evidence of the actors’ “instant chemistry.”

“It really feels like this is a friendship that has endured 25 years from the moment they get on screen,” Miller says, speaking with Coates over video call later. “From the second you see them dancing around, you’re like, ‘Oh yeah, these two are best friends.’”

Coates and Miller wanted to ensure that the characters’ history was baked into the scripts. They’ve been friends for decades, so there had to be a shorthand between them that was immediately apparent and they had to be on equal footing. The duo are forced on the run across Europe, dogged by their past, and successfully get themselves out of danger.

“These characters came from a great desire to see women like this on screen,” Coates says. “So many stories suggest aging is the worst thing that could possibly happen to you. But what if getting older seemed really cool and you got wiser and better at your job and gave less of a s— about things?”

Coates adds they wanted both characters to be competent and clever women who happen to be thrown into difficult circumstances.

“Women in their 50s are just as capable, just as beautiful, just as sexy,” Spencer says. “We’re just aging.”

Spencer and Waddingham, both executive producers on the series, never sought top billing over the other. Although the show is ostensibly an action comedy, they wanted to ground it in real emotions. Everything is tethered to this friendship.

“Women in their 50s are just as capable, just as beautiful, just as sexy,” Octavia Spencer says. “We’re just aging.”

(Bexx Francois / For The Times)

“There couldn’t be one more important than the other,” Waddingham says. “The thing they say about relationships is that when one is at 90 and the other is at 10, or one is at 80 and the other is at 20. That’s what this had to be straight away. If you have that pendulum back and forth, you can create magic.”

Although both characters find small romances throughout the story, men are sidelined for the far more important relationship: their own. And it’s not always an easy partnership between them.

“There is a love story at the center of this,” Spencer says. “It’s not a romantic love story, but it is a familial relationship. It’s contentious, and the relationship is fractious at points.”

Waddingham adds, “You have to be able to call each other out, and then get through that storm and let the water settle.”

Still, there is a lot of action in “Ride or Die.” Judith frequently kicks ass, often taking on groups of imposing men. It’s deeply satisfying to watch Waddingham, who did most of her own stunt work, take these men down.

“In theater, I never had an alternate,” she explains. “I’m not usually Method, but with this I thought my exhaustion from fighting and the stunt training would lend itself to Judith’s exhaustion and her frailty. It wasn’t particularly healthy, if I’m honest, but that fractured tiredness really helped play the role.”

She adds, “It’s a real art form. The first stunt work I did was on ‘The Fall Guy’ and learning to stop before you punch someone in the face is hard.”

“That’s why I was terrified for you,” Spencer interjects. “Because I did punch somebody in the face. The only other time that I actually had to do stunts was on ‘Snowpiercer.’ It was so exciting watching you, but then I was like, ‘Somebody could hit her for real.’”

Waddingham felt added pressure knowing Judith’s background. “She’s not just an assassin, she’s a notorious assassin of 30 years,” she says. “If you see her punching someone, like when we’re running out of the gala, that punch can’t be some girly thing. You have to believe she can do it perfectly and effortlessly.”

Waddingham did much of her own stunt work in “Ride or Die.” “It’s a real art form. The first stunt work I did was on ‘The Fall Guy’ and learning to stop before you punch someone in the face is hard.”

(Bexx Francois / For The Times)

Both actors approached the show with complete dedication. Waddingham and Spencer appear in almost every scene, which vacillate between action, comedy and drama. Debbie, named after Coates’ mother, feels betrayed by Judith and her husband, who is involved in shady dealings with an Albanian gang. “There were the rigors of it physically, but there was also the emotional rigor of it,” Waddingham says.

“It might have been the most challenging job that I’ve ever done,” Spencer agrees. “The most challenging, but also the most gratifying. I knew I would not be called upon to do any stunt sequences, but I did have physical stuff I needed to do. And then dealing with the emotional weight of Debbie discovering that two very important relationships are not at all what she thought they were was a lot.”

She pauses. “But you know what, why not?” she continues. “We don’t want to be in a comfortable place all the time. You want to know you completed something that was very difficult to do. I feel very proud now, looking back.”

“We couldn’t have left our hearts and our bodies and our brains on it any more than we did,” Waddingham agrees. “It is splattered with us. I’ve been very privileged to go from ‘Ted Lasso’ to this, because ‘Ted’ is a very hard act to follow in terms of that constant and emotional push and pull. This has that as well.”

While filming “Ride or Die,” Waddingham found out Apple TV had greenlit a fourth season of “Ted Lasso,” which premieres Aug. 5. She wasn’t expecting to be pulled back to her Emmy-winning role of Rebecca after the series ostensibly concluded in 2023. “I didn’t know anything about it,” she says. “No clue.”

“We found that out together,” Spencer says.

Waddingham had only two weeks off after wrapping “Ride or Die” before flying to Kansas to film the first episode of Season 4, which sees Rebecca attempting to lure Jason Sudeikis’ Ted back to London to coach Richmond’s women’s soccer team. The rest of the series then shot in England. The new episodes keep Rebecca as one of the emotional cores of the show.

“I haven’t really stopped since then,” Waddingham says. “When I’m older, I’m going to have a little sleep. But this is what you wait for in your life.”

For Spencer, “Ride or Die” has raised the bar on what type of project she wants to do as a producer and as an actor.

“It is hard to get things made,” Spencer says. “I don’t have time to do things just for a paycheck. It has to resonate with me because your time and health are your most valuable commodities, and time is something that you have no control over. As an artist, I want to be fulfilled and when you get a project like this now everything has to compare. I’ve learned to be very discerning.”

She gestures to Waddingham. “Don’t you want to be excited about things?” she asks.

“Yes,” Waddingham agrees. “And it just doesn’t happen very often. But this was remarkable from the beginning. To be able to spend a couple of days together right now and regroup, it’s almost like a therapy session. We’ve had distance to reflect on all the good and all the exhausting, and on what we have created together. I know that neither of us will ever forget this.”

Spencer nods. “It is a dream. I feel very fortunate that we get to look for projects like this for ourselves and have an active voice in procuring those things for ourselves and for other people. But you dream it, and then you get something like this, and it surpasses everything you ever thought you could want.”

The United Kingdom’s surprising decision to buy a dozen conventional takeoff and landing (CTOL) F-35A fighters has taken another turn. According to a U.K. Royal Air Force official, “We did not buy those aircraft for their dual [nuclear] capability, we bought them for our conversion unit. At the same time, we stated we would get back into the [nuclear] role supporting NATO. The two are separate functions.”

The official, Air Vice-Marshal Jim Beck, the Royal Air Force’s Director Capability and Programs, was speaking today at the Global Air & Space Chiefs’ Conference in London. Their words were reported by Gareth Jennings, aviation desk editor at Janes.

As you can read about here, the United Kingdom announced in June last year that it would buy 12 F-35As alongside the short takeoff and vertical landing (STOVL) F-35B models it already uses.

At that point, the U.K. Ministry of Defense specifically highlighted the F-35A’s ability to join the NATO nuclear mission, which would see the jets armed with U.S.-owned B61-12 nuclear gravity bombs. The F-35B, with its smaller weapons bays, is not able to carry these weapons.

B61-12 test drop by an F-35A

“The U.K. will purchase 12 new F-35A fighter jets and join NATO’s dual-capable aircraft nuclear mission in a major boost for national security,” the U.K. Ministry of Defense announced. The ministry described this as the “biggest strengthening of the U.K.’s nuclear posture in a generation, complementing the U.K.’s existing sea-borne deterrent.”

Earlier in June 2025, the Strategic Defense Review, published by the U.K. Ministry of Defense, had suggested that the future Lightning Force could comprise a mix of F-35As and F-35Bs.

At the same time, however, the Royal Air Force had noted that the F-35As would be assigned to a training unit and would primarily be used in that role.

As the F-35A is cheaper to operate, it is considered a better option to use for training sorties, including keeping pilots current on the F-35B. The ministry said buying the 12 jets will bring a savings of 25 percent per aircraft over the F-35B.

“Day-to-day, the F-35As will be used in a training role on 207 Squadron, the Operational Conversion Unit (OCU),” the Royal Air Force said. “As the F-35A carries more fuel than the F-35B variant, it can stay airborne for longer, extending the available training time in each sortie for student pilots. As F-35As also require fewer maintenance hours, there will be increased aircraft availability on the OCU. These factors combined will improve pilot training and reduce the amount of time for pilots to reach the frontline squadrons.”

The tradeoff is that the F-35A can’t be used to train for STOVL missions, but this part of the F-35B profile can be trained in the simulator, while an F-35A training unit frees up more F-35Bs to deploy aboard the two Queen Elizabeth class aircraft carriers.

Now, the words of the Royal Air Force official today cast doubt on whether the F-35As will actually take on the nuclear strike role, something that was specifically highlighted in the U.K. Defense Investment Plan published last month.

As well as today’s underscoring of the priority of the training mission, it should be noted that the new F-35As will be based at RAF Marham, in eastern England, and it’s unclear whether the airfield retains the underground weapons vaults for nuclear bombs. Some reports suggest the vaults that existed there in the Cold War have been dismantled or even filled in completely. In the past, we speculated that the jets might have to make use of nearby RAF Lakenheath, where there is evidence that the United States has brought nuclear bombs back to the United Kingdom, for its own use.

At the same time, as we have explained in the past, while the nuclear-sharing program provides access to U.S.-owned weapons, it still requires the United States and NATO to approve their use.

U.K.-operated nuclear-capable F-35As would not offer the same sovereign capability as the Royal Navy’s ballistic missile submarines, around which the British nuclear deterrent is based.

Then there is the issue of how much training, and other resources, would have to be assigned to the nuclear mission to ensure that it could actually be executed. Certainly, this would be nothing like the Cold War era, when a handful of jets stood fully armed, round the clock, on each assigned RAF base, with their crews waiting for the alert to sound.

The reality would likely involve the unit switching to focusing on the nuclear mission in times of crisis. This raises a question about how long this would take, and to what degree it would provide a real deterrent, bearing in mind the need to spin it up to be combat-ready.

These are all questions we have asked before in relation to the U.K. F-35A’s proposed nuclear role.

Now, the Royal Air Force itself is dialing back expectations in this regard.

Ultimately, the best chance of the Royal Air Force having a meaningful dual-role nuclear mission would be to buy more F-35As. As it stands, the 12 F-35As are part of the core buy, not additional to it.

The U.K. Ministry of Defense has long said that it still expects to procure 138 F-35s over the lifetime of the program. So far, 48 F-35Bs have been delivered, and the government is committed to buying 15 more F-35Bs and the 12 F-35As for delivery by 2033.

The lack of numbers has seen the United Kingdom rely on U.S. Marine Corps F-35Bs to make up the required aircraft numbers during carrier cruises.

The F-35A argument would become much more compelling, and more cost-effective, if it were to be bought in larger numbers.

The F-35A is more capable in general, with superior range and payload, and it can maneuver at 9G, while the F-35B is cleared for 7.5G.

One unresolved issue as far as the British are concerned is the F-35A’s refueling receptacle, which is incompatible with their fleet of Voyager tankers. Modifications could provide the British F-35A with a probe, but would likely only make sense on the back of a bigger buy.

While many senior Royal Air Force officers might favor getting more F-35As, the jet is now also competing with the Global Combat Air Program (GCAP), at the center of which is the Tempest crewed stealth fighter, as well as emerging drone programs.

In the meantime, the British are struggling to find money for more basic elements of the F-35B, which still critically lacks a standoff strike capability. A report late last year found that a history of “cost-cutting” throughout the U.K. F-35 program “has caused significant problems in its use,” which have affected the jet’s “capability, availability to fly, and value for money.”

The U.K. Ministry of Defense also needs to spend more than $83 billion over the next four years to fund its  nuclear-powered submarine programs, which include a true sovereign  nuclear capability of the kind that the F-35A is unable to provide.

Contact the author: thomas@thewarzone.com

Hold the Bat Signal — “The Batman Part II” has been delayed yet again.

The DC Studios film is now set to hit theaters Feb. 18, 2028. The sequel to Matt Reeves’ 2022 reboot “The Batman” was previously slated to bow Oct. 1, 2027 after it was pushed back from its original release date of Oct. 3, 2025.

Reeves took to social media Wednesday to share the new date along with camera test footage from the film. The video, the first proper look at Robert Pattinson’s return as the Caped Crusader, shows him in a new Batsuit, turning toward the camera as what appears to be snow falls around him. There are also some flashing lights in the background.

The filmmaker has previously shared “The Batman Part II” casting news as well as a glimpse of the Batmobile in social media posts.

Many details about “The Batman Part II” have been kept under wraps, but here is everything we know about the upcoming sequel.

Which characters are returning?

In addition to Pattinson’s return as Bruce Wayne, “The Batman” alumni Jeffrey Wright, Andy Serkis and Colin Farrell will reprise their roles as James Gordon, Alfred Pennyworth and Oz Cobb (a.k.a. the Penguin), respectively. Zoë Kravitz is not expected to return as Selina Kyle/Catwoman.

Other actors confirmed to come back include Jayme Lawson as Gotham’s mayor, Bella Reál, and Gil Perez-Abraham as Gotham City Police Dept. officer Martinez.

Barry Keoghan, whose character was briefly teased at the end of “The Batman,” is also reportedly likely to return as the Joker.

Who are the new cast members?

The newcomers venturing into Gotham for this next installment include Sebastian Stan, Scarlett Johansson, Charles Dance, Sebastian Koch and Brian Tyree Henry.

While their roles have yet to be confirmed, a number of outlets have reported that Stan is expected to portray Harvey Dent, a Gotham district attorney who is perhaps better known as the villain Two-Face, while other rumors say the Marvel star will play the sadistic killer Victor Zsasz. According to other rumors, fellow Marvel alum Johansson could be playing Gilda Dent — Harvey’s wife — or Poison Ivy.

What is ‘The Batman Part II’ about?

Details around the sequel’s plot have yet to be revealed, but the movie is expected to take place after the events of the HBO series “The Penguin,” which was set after “The Batman.” A number of Reeves’ social media teases have included glimpses of snow.

Over the years, the director has mentioned that the sequel will see the young Dark Knight struggling with his understanding that the world is more morally gray than his previous worldview, and that the film’s big villain will be someone who hasn’t appeared on the big screen before.

In the latest episode of “The De Los Podcast,” actor and comedian Fabrizio Guido spoke with hosts Fidel Martinez and Suzy Exposito about his role in the Netflix series “Running Point” — as well as being a part of a new wave of young Latino Hollywood stars and how he got his start in the stand-up comedy world.

Having grown up in L.A. himself, Guido talked about owning the persona of “Running Point” character Jackie Moreno: a concession-worker-turned-executive-assistant from Boyle Heights.

“I just felt I had all the tools necessary to bring this character to life,” Guido said. “It was a really important opportunity for people to see this side of L.A. … to get to know that kid that you see on the street or at the mall [and say] ‘Oh, that guy reminds me of Jackie.’”

Part of the appeal of the character was the chance to “showcase how much heart L.A. has.”

Alongside actors like Xolo Maridueña, Keyla Monterroso Mejia, Isabela Merced and Jenna Ortega, Guido is part of a new class of young Latinos taking Hollywood by storm — something the “Running Point” star said is “an honor.”

“It can be isolating if you’re the only Latino on a set,” Guido shared. “So to have peers that share a similar upbringing as you — you walk away with a friendship most of the time because you have stuff in common.”

He also mentioned that the bump in Latino talent has led to diversity in roles within the community.

“For the longest time, it could’ve been stereotypical — the only things Latino could play,” Guido said. “For the first time we’re starting to see this emergence of what it means for each one of us to be Latino. I’m bringing my experience to the table, Keyla is bringing her experience to the table, Xolito is bringing his. We’re not going by what the industry thinks Latino is, we’re bringing what we think Latino is.”

But beyond the acting world, Guido has also tackled the stand-up comedy scene in recent years.

He shared that he got his first gig thanks to comedian Gabriel Iglesias, who he worked with on the Netflix sitcom “Mr. Iglesias.” The arena comic convinced Guido to do a five-minute set — which Guido worked on for two weeks — at the Brea Improv.

“I got on stage, did my first joke and was super nervous,” he said. “Second joke did really well and it afforded me enough time to get present and then I ran through my five minutes, got off stage a different person. I knew I was in love. I felt like something in my life had shifted in that moment and I’ve been in love with stand-up ever since.”

Josh Grisetti, the Broadway actor who charmed audiences with roles in “Something Rotten!” and TV’s “The Marvelous Mrs. Maisel,” has died, a family member confirmed to The Times on Monday. He was 44.

Grisetti died by suicide Friday, his “Something Rotten!” co-star Rob McClure first announced Sunday on Instagram, adding he is heartbroken and “not ready to even attempt to understand.” McClure also expressed his condolences to Grisetti’s wife and family. The Instagram post included photos of Grisetti and McClure over the years, including at Grisetti’s wedding. The actor married Mackenzie Perpich in 2020.

“Communities around the world will never be the same without him. We love you Josh,” McClure wrote in his caption. “Just a cataclysmic loss.”

On Broadway, Grisetti was best known for starring as Bottom brother Nigel alongside McClure’s Nick. The play follows the pair of brothers as they strive for success in the theatrical world amid William Shakespeare’s unstoppable rise. Grisetti portrayed Nigel Bottom from 2017 to 2018 for the show’s national tour. Grisetti also starred in musical comedies “It Shoulda Been You” and “Broadway Bound.” He appeared in award-winning off-Broadway productions including “Rent,” “Peter and the Starcatcher” and “Enter Laughing,” among others.

Grisetti’s regional credits also include “Spamalot” in Las Vegas, “How to Succeed in Business Without Really Trying” at the Reprise Theatre, “Beauty & the Beast” and “Peter Pan Goes Wrong” in La Mirada.

“Thank you, Josh, for sharing your beautiful energy and immense talent with us,” the La Mirada Theatre said on Instagram.

The actor, in what would be his final Instagram post, announced he departed a production of “Legally Blonde” at the Trentino Music Festival for “personal reasons” before the show’s opening.

The festival also mourned Grisetti in an Instagram post Monday: “Josh was a loving and caring person who was deeply dedicated to his friends, his students, and his colleagues. He was beloved by all who knew him, and he will be deeply missed by our students, faculty, and staff.”

Grisetti, born in December 1981 in Roanoke, Va., acted throughout childhood and performed in a variety of productions, including a kindergarten production of “Peter Rabbit” and high school productions of “Anything Goes” and “Flowers for Algernon.” He officially earned his Actors’ Equity card in 2004 for a production of “Where’s Charley?” at the Goodspeed Opera House, he told Playbill in 2009.

He also pursued a career in TV and film, most notably appearing in the Emmy-winning series “The Marvelous Mrs. Maisel.” He appeared as comedy writer Ralph Emerson in the series’ fifth season. He also had roles in shows “The Knights of Prosperity,” “Nurse Jackie” and “The Good Fight.”

He appeared in the film adaptation of Jhumpa Lahiri’s “The Namesake,” “The Immigrant,” “The Revolutionary Road” and “Men in Black 3,” among other movies, according to IMDb.

Grisetti, who also directed various musical productions, notably brought his talent and experience to Cal State Fullerton and Loyola Marymount University, teaching acting, musical theater and business. He also authored “God in My Head” in 2016, an “irreverent spiritual memoir” that details his accidental meeting with God through a “hallucinogenic journey.”

During his time on “Price of Broadway” in 2015, Grisetti reflected on luck and breaking into the industry. “Luck is required to kind of spark some things in this business a lot of the time, but then talent is what keeps you there,” he told Playbill.

“You start making your own luck, you start forging your own connections and making it happen.”

Emmerdale star Shebz Miah arrived in the village in 2025. Here’s everything you need to know about the actor.

Shebz Miah’s real age recently left Emmerdale fans surprised, as they thought the actor was much younger.

In March 2025, actor Shebz arrived in the village as Kammy Hadiq and caused a stir by stealing a quad bike from Moira Dingle’s (Natalie J Robb) land, with Ross Barton (Mike Parr) being blamed for the theft.

This incident introduced Kammy as a bad boy, and he soon caught Sarah Sugden’s (Katie Hill) attention when she found him struggling to start the stolen vehicle by the roadside.

Kammy was soon caught up in a love triangle with Sarah and Jacob Gallagher (Joe-Warren Plant) as both men tried to win her over. As fans know, Sarah and Jacob rekindled their romance, and have since gotten married and are surrogate parents to baby Leyla.

Meanwhile, Kammy caught the affection of close pal Vinny Dingle (Bradley Johnson), whom he had to gently let down, but revealed his true caring and loyal nature following Vinny’s violent attack.

In a devastating twist, Kammy recently confessed to being homeless, a revelation that left viewers in tears. He was living in a barn and explained that his family estrangement was directly linked to the difficult path his life had taken after tragedy struck in his family years ago.

“My dad died. Unexpected,” he told Belle. “I took it really bad, I didn’t look after my mum how I should have done”. Struggling to cope with his grief, Kammy started mixing with the wrong crowd and became involved in stealing cars.

This led Cain Dingle (Jeff Hordley) to welcome the mechanic into the family as his romance with Belle (Eden Taylor-Draper) blossomed.

Taking to Instagram earlier this year, Shebz, from Bradford in West Yorkshire, shared snippets for his time on the ITV soap so far and wrote: “One year bringing Kammy to life. Grateful for the journey, the incredible people behind the scenes, and everyone who’s welcomed the character into their homes…We’re only just getting started… “

Before his stint in the Dales, eagle-eyed fans might recognise Shebz from his cameo in a 2024 episode of Casualty, where he portrayed Noor Din, and from popping up in Doctors in 2023 as Reece Shaw.

How old is Shebz Miah?

Shebz recently celebrated his 29th birthday, which left fans ‘floored’ as they assumed he was much younger. One fan wrote on Facebook: “Happy 29th birthday to Shebz, who plays Kammy”, as another replied: “29!!! I’m shocked.”

A third chimed in: “I thought he was about 20!!”, as another echoed the sentiment: “Happy birthday, I thought he was only 20 years old, he doesn’t look 29.”

“I didn’t think he was 29, he doesn’t look it. Happy birthday,” exclaimed one person as another simply asked, “29?”

Soap star Shabz tends to keep his private life away from the spotlight and has yet to confirm a romance off-screen.

Emmerdale airs weekdays on ITV and ITVX

NO-ONE travelled further to become an international star than Sam Neill, who died today aged 78.

He would leave his home in the South Island of New Zealand to fly thousands of miles to film sets in Britain, Europe and America – but always travel back to his far-flung base the moment they were over to spend time with his family.

They confirmed his death in a statement, writing: “It is with immense sadness that the whānau of Sam Neill share the news of his passing on Monday 13th July, in Sydney, Australia.”

This followed a battle with stage three blood cancer after he was diagnosed in 2022.

After undertaking an experimental treatment announced a month ago he was in remission.

His family said: “The loss was sudden and unexpected but blessed by the fact that Sam remained cancer- free.”

BOOTY QUEENS

No one can believe these celeb bums aren’t FAKE – including ‘best in showbiz’

panic atack

Inside Emily Atack’s toxic family rift after trauma of parents’ painful divorce

Sam became famous thanks to his role in Omen III (The Final Conflict) where he played the antichrist who had risen to become a British politician trying to prevent the second coming of Christ.

Before then starring in 1983 British TV series, Reilly, Ace of Spies, in which he played Sidney Reilly, a Russian-born adventurer who became a successful spy during the First World War.

But his entry to the big-time came ten years later in Jurassic Park, directed by Steven Spielberg, which spawned a craze for everything about dinosaurs. 

The film, about a theme park where the public could see cloned dinosaurs, caught the public’s imagination – and broke box office records.

The dinosaurs run riot in the film when all safety fences are broken, killing park workers and each other as there is a battle for supremacy. 

Neill’s lead role of dinosaur expert Dr Alan Grant escaped the carnage and went on to star in sequels, Jurassic Park III (2001) and Jurassic World Dominion (2022), making a personal fortune in the process.

Yet he was a last minute choice after bigger star names like William Hurt, Kurt Russell, Harrison Ford and Tim Robbins all turned it down.

“It was a warning never to become too big or too expensive,” he said. 

“You can lose a lot of good parts in that way. I preferred quiet progress.”

Neill did precisely that throughout his career of over 100 movies in nearly 50 years, in which he would turn up in the most unlikely roles.

It included that of Major Chester Campbell in the first two series of the BBC’s hit series Peaky Blinders.

He was born on September 14th, 1947 in Omagh, Northern Ireland to New Zealander father Dermot, an army officer, and mother Priscilla, who was English. 

Although he was christened Nigel, he later thought the name ‘prissy’ and changed it to Sam in childhood. 

His family continued to call him Nigel.  

He is survived by actor son Tim (b 1983) whom he had with actress Lisa Harrow, a fellow New Zealander.  

Despite reports to the contrary, they never married.

He also has daughter Elena (b 1991) with estranged wife Nariko Watanabe, a Japanese make-up artist whom he met on Dead Calm (1989), which was co-star Nicole Kidman’s breakthrough movie. 

He had a stepdaughter with Watanabe, Maiko Spencer (b 1982).  

Neill spent virtually his entire life travelling, first with his father’s job moves around Ireland and then, when he retired from the army, to New Zealand, aged seven.

His father joined the family brewing wholesale business near far-flung Dunedin, which was Gaelic for Edinburgh and founded in 1848 as a Scottish Free Church settlement.

“I was an outsider from the start there,” he recalled. 

“Bullying at school, mocked for my accent, being called names and beaten up – the lot.

“Cowboy films and TV series were very popular at the time, so I called myself Sam to sound like one. It didn’t do much good.”

He was sent away to boarding school in Christchurch, more than 200 miles north along the coast. 

“It was even more lonely,” he said. 

“I developed a stutter, although I could talk perfectly up to that point.”

He used the experiences and memories when he became an actor, always being prepared to take on new projects wherever they were in the world.

“I had an ability to pretend to be other people – probably because I had to at school,” he told me. 

“I never had any great expectations as an actor.”

He started working in television documentaries and in small acting roles.  

He was 30 before he appeared in a movie, Sleeping Dogs (1977), an action thriller made in New Zealand. 

“That film was a calling card,” he said. 

“It was a critical success and that led to some offers, all thousands of miles away. It was a case of either travel or never leave.”

He had arrived in London when we first met in March, 1989, promoting a film called A Cry in the Dark, with Meryl Streep.

It was an alarming real-life Australian story about a baby girl who disappeared from a campsite.

The baby’s mother, Lindy Chamberlain (played by Streep) insisted that a wild dingo dog had taken her baby, but a disbelieving public felt that she was making up a story to cover up murder.

Neill was playing husband Michael Chamberlain. 

“It revealed to me the price of being an international star, like Meryl,” he said.

“She was the most famous actress in the world at that point and the sort of stuff she had to put up every day was incredible. 

“One was a story about her leaving her husband for Michael Jackson!

“I thought to myself ‘if this is what real stardom means, I don’t want it.’   So I had to be careful. I wanted recognition, but also want privacy and sanity.”

Neill went on to achieve exactly that.  

We met several times over the years. He had a calm, down-to-earth manner, unfussy and unflashy, with a dry self-mocking sense of humour.

“I have always been free of ambition – honestly,”  he said.

“I realised, early on, that if I started to desperately want things, then I was going to be disappointed.

“There was always someone whose career was going to better and bigger than mine. There was also someone going to get the parts I wanted.

“So I never had a game plan. If I’d had one, I would have moved to Hollywood and committed to a career in films, going to endless meetings and being a ‘personality.’

“Instead, I have never moved my home from New Zealand. I’ve been fortunate in that enough work has come up – and I’ve travelled to do it.

“I had to get used to the biggest jet-lag, the longest time-changes to the body and being away from home. But that’s been worth it.

“Don’t forget that the first time I went to New Zealand in the early 1950’s it took two months by boat and now it’s only 21 hours by plane.”

He was also cautious about being caught in the trap of other well-known actors. 

“I don’t know what it is about us that leads us in to more temptation,” he laughed.

“I think we are sometimes over-celebrated and can have far more fame than is comfortable. So when trouble comes, it’s all over the public domain.

“I once went to a pub’ with English actor Warren Clarke, drank non-stop to keep up, blacked out and woke up in bed with a woman I didn’t know. 

“The trick is to keep your trousers on and go to bed early. It’s mostly worked for me up to now.”

He seemed to effortlessly glide into some major roles in films like The Hunt for Red October (1990) and The Piano (1993) and TV series The Tudors (2007), Happy Town (2010) and Alcatraz (2012).

There was a certain irony that when playing his unrelentingly tough Northern Ireland police chief in Peaky Blinders, he couldn’t master the accent.

“I was born in Northern Ireland and had the accent as a kid, but had buried it so deep in my mind that I had the greatest difficulty digging it up again.”

He ended up calling his Irish friend Liam Neeson for some tips and delivered the part pitch-perfect.  

“I probably over-did it a bit in the end,” he said.

“I love working in Britain. I feel part British, obviously, and the quality of the acting and the film crews are hard to beat anywhere in the world.”

Between each highly-paid role and movie, he would return home to New Zealand and not work, sometimes for months on end, so would simply slip out of the headlines.

On the last occasion we met, he was more interested in talking about his own wine label in New Zealand. 

He had used the old family connection with wine to grow his own and set up a company to produce it.

He lived, very happily he said, among wine-making and animals on a ranch in Central Otago, surrounded by mountains and lakes.

Neill announced in his 2023 autobiography Did I Ever Tell You This? (Penguin) that he had been undergoing chemotherapy since March, 2022 for a type of blood cancer. 

He had first noticed swollen glands when travelling to promote Jurassic World Dominion.

He had put a hold on his acting work. 

“I have been very fortunate to enjoy the best cities in the world – like London, Paris or Rome – and I have never been too jaded to get a kick out of that,” he said. 

“But the thing that pleases me more than anything is to sit still at my home, have a quiet glass of red wine and contemplate life.”

EXCLUSIVE: The Netflix actress unpacked her new crime drama based on a notorious real-life Irish American gang.

Bosch legend Titus Welliver and Ozark star Jessica Frances Dukes have spoken candidly about portraying a detective partnership in a gritty new period drama.

The Westies, a fresh gangster series which arrived on MGM+ (available through Amazon Prime Video) yesterday, features Netflix actress Dukes as Birdie Polk, who is resolute in her mission to shield New York from a sinister criminal underworld.

Meanwhile, Welliver portrays her hesitant police partner Glenn Keenan, whose complex ties with Eamonn Sweeney (J. K. Simmons), head of Irish American gang The Westies, compels him to navigate a precarious balance between opposing forces.

The Westies, co-created by Narcos’ Chris Brancato and Michael Panes, draws from a genuine Irish American gang which operated from Hell’s Kitchen throughout the 1960s until the late 1980s.

Dukes, who portrays Special Agent Maya Miller in Netflix’s Ozark, shared her thoughts on taking on a markedly different kind of FBI agent.

She said: “I’ve been a fan of Chris Brancato and Michael Panes for a while and being able to dive into one of their worlds was something that was a goal of mine, so to be a part of this was really exciting.

“To jump into FBI world again, at first I was like ‘Do I want to do FBI again?’ and then I read it and I was like, ‘Oh, this chick is not Maya Miller’. And so I was so excited to dive into this ballsy woman. It was so much fun – I loved playing her.”

Considering the broader importance of the role, she added: “She’s given this opportunity to bring these guys down and she’s put in this place of power in [the early 1980s].”

She continued: “There is one woman in a sea of men running this show. I feel like Birdie starts the show with the reward and now it’s all about, ‘Is she going to succeed and prove all the naysayers waiting for her failure wrong?’ And I truly believe she’s got the golden ticket with Keenan.”

Get MGM+ free for a week

This article contains affiliate links, we will receive a commission on any sales we generate from it. Learn more

£5.99

£0

MGM+

Get MGM+ here

Telly fans can get seven days of free access to binge top series like Outlander with a free trial of Amazon Prime’s MGM+ channel.

Welliver, who portrays the titular Harry Bosch in Bosch on Prime Video, commented on the new series: “For me, it’s very personal because I’m a New Yorker and I was in and around that time.

“All characters are different and Glenn Keenan is the polar opposite of Harry Bosch if you look at these two guys.”

Discussing his character further and how he engages with Simmons’ Sweeney and Dukes’ Polk, he observed: “The scenes with J.K. were great because those worlds are very markedly different.

“Sweeney and Keenan have a long history together, whereas the relationship with Polk and Keenan is new, but there’s an interesting similarity.

“So they’re both trying to puppeteer Keenan and he is basically saying, ‘Nobody has strings on me.’

“And that’s what I think is the interesting aspect of that character and he emerges with a sense of independence, but at a serious cost.”

The official synopsis for The Westies from MGM+ states: “The Westies is a gritty and kinetic crime drama centering on New York City’s infamously violent Irish gang of the same name.

“The series is set in the early 1980s when the construction of the Jacob Javits Convention Center on the Westies’ home turf in Hell’s Kitchen promises a financial windfall.

“Despite being outnumbered fifty-to-one by the Five Families of the Italian Mafia, the Westies’ legendary brutality and cunning have given them the leverage necessary to share the spoils through a fragile détente.

“But internal conflict between the brash younger generation and the old-school leadership threatens to set a match to this powder keg, which will sweep the Westies into the FBI’s ever-deepening investigation into the Italian mafia.”

The Westies premiered on 12th July 2026 exclusively on MGM+ in the UK.

It was never actually in doubt. Dearica Hamby was going to stay a member of the Sparks. That was just how she worked.

Even when Nneka Ogwumike came into the fold and the frontcourt became crowded, Hamby didn’t doubt her decision to return to the organization that traded for her four years ago.

Loyalty mattered more than anything else.

“That’s who I am,” she said. “I don’t run away from things. I wanted to stay here and help L.A. get back to where it was and is capable of being.”

In a loaded frontcourt, the 32-year-old Hamby has still found ways to shine. Hamby has led the Sparks in scoring four times and led or tied for rebounding 16 times this season after signing a three-year, $3.5-million contract.

She ranks in the top 20 in the league in rebounds and field-goal percentage (plus 25th in scoring) and is eighth in offensive rebounds in establishing herself as an essential piece to the Sparks’ “win now” attempt.

“I think it’s the challenge, because we are so good and we have so much talent,” said Hamby, who is averaging 14.8 points, 7.7 rebounds and 2.3 assists while shooting 52.8% from the field. “You’re forced to produce, but it’s also a blessing. I know it’s probably hard for coach to manage the three’s playing time and stuff like that, but it’s a beautiful problem.”

Hamby was in the headlines when the Aces traded her after she was pregnant. In September of that year, she filed a federal discrimination complaint against the team and league, claiming she was traded because she was pregnant. The two sides resolved matters before trial.

The new CBA this year created a new rule that requires a pregnant player’s consent to be traded.

“I feel like she’s such an anomaly,” said forward Rae Burrell. “I remember when she had her son, and it was crazy because everybody was saying she was coming back so early, I thought that was insane, but now being her teammate, I see it, she’s just kind of a freak of nature, like she’s so athletic, she can do all types of things on the court that you think looks unorthodox, but she makes it happen, but also just love being her teammate. She’s just good people.”

Since that trade, she has been a regular in the Sparks’ starting lineup while averaging double-digit scoring and around eight rebounds per game. She’s one of the most efficient scorers in the league, too.

But Hamby’s games have been all over the board. Against the Aces, she missed all seven of her shots. Against Dallas and Indiana, she made six of eight shots. She’s had eight games with a shooting percentage above 60% and four games under 40%.

Sparks forward Dearica Hamby, left, tries to steal the ball from Mercury forward DeWanna Bonner during a game in Phoenix.

(Christian Petersen / Getty Images)

Having the three frontcourt players has been an adjustment for coach Lynne Roberts to find how to implement them all in the offense.

“I’m trying to implement the new offense, we’re plugging pieces into play, and things that I may have been able to do last year as freely I’m not as able to do this year,” Hamby said. “So just adjusting for sure, but I think that’s across the board for everybody.”

Before the season, Roberts said that Cameron Brink would come off the bench and Hamby would start. Brink, the only natural center on the team, averages just 17.5 minutes per game primarily because of her 3.7 fouls.

“She’s my vet,” Brink said of Hamby. “I think she’s just such a grounding force for us, and she’s someone that does everything, so I just really feel like I learn from her every day, and I’m just very thankful to be in her presence.”

Hamby averages 3.2 fouls per game and has expressed frustration about the new officiating norms this season, but has avoided true foul trouble. She and Ogwumike work as two fours instead of a team with a traditional five.

“She has a lot of energy,” Ogwumike said. “I think she does a really good job of just having a high motor and going out there and kind of like doing the dirty work. I feel like it’s beneficial to have a loaded frontcourt, to be able to have so many different types of players and a depth where anytime one of us is in, there’s no letdown.”

The Sparks have been the worst defensive team in the league this season and struggled to score when point guard Kelsey Plum was out of the lineup with an ankle injury. Ogwumike might be the other veteran leader, but Hamby has stayed with this Sparks team the past two seasons while Ogwumike was in Seattle.

Now her role has changed, even with that loyalty. She’s playing just over a minute less and they’re asking for better defense and efficiency.

Hamby chose to come back. Now she’s choosing to help build the Sparks up.

“I know my usage is a lot lower,” Hamby said. “A goal of mine the last two seasons was to have those numbers, so to have the same numbers just at a more efficient rate, and so I mean offensively, but with like two fewer shots a game, that’s pretty impressive.”

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Jennifer Siebel Newsom was frustrated.

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

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

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

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

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

Jennifer Siebel Newsom with California Surgeon General Diana Ramos.

(Gary Coronado / Los Angeles Times)

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

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

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

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

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

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

(Mario Tama / Getty Images)

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

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

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

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

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

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

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

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

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

That sparked her interest in getting behind the camera.

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

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

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

Jennifer Siebel Newsom.

(Christina House / Los Angeles Times)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Diffuse authority and accountability

Authority over education has long been distributed among different officeholders.

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

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

The board approves state education policy and curriculum.

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

How the office will change

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

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

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

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

Critics worry that amounts to a whole lot of nothing.

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

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

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

Change opposed by candidates for the office

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

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

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

Sonja Shaw candidate for state superintendent

(Photo courtesy of Sonja Shaw)

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

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

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

Richard Barrera, a candidate for state schools superintendent

(Sam Hodgson/The San Diego Union-Tribune)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

“It made me crazy,” Couric said.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Contact the author: joe@twz.com

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

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

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

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

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

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

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

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

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

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

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

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

Like this story? For more of the latest showbiz news and gossip, follow Mirror Celebs on TikTok , Snapchat , Instagram , Twitter , Facebook , YouTube and Threads.