Kieran Culkin and wife Jazz Charton made good on their Emmys pact, recently welcoming their third child, according to the former’s “Succession” co-star.
Oscar and Emmy winner Culkin’s on-screen sister Sarah Snook, also an Emmy-winning actor, announced the arrival of the couple’s newest child while speaking to Access Hollywood on Monday. “I met the little baby, it’s so cute,” she said during the premiere of Peacock’s “All Her Fault.”
“They’re very happy and so cute,” she added.
A representative for Culkin did not immediately respond to a request for confirmation. Charton, a contributor for the Financial Times, has not yet publicly addressed the arrival of their littlest one.
“A Real Pain” star Culkin, younger brother of “Home Alone” star Macaulay Culkin, tied the knot with Charton in 2013. They share two children, Kinsey Sioux and Wilder Wolf, and lovingly teased a plan to grow their family during the 75th Emmy Awards in January 2024.
Culkin, 43, famously used part of his acceptance speech for the lead actor prize to remind Charton, 37, of the deal they had struck prior to the ceremony. As he acknowledged his wife and children, Culkin declared, “I want more.”
Charton confirmed that baby No. 3 was on the way in late September, sharing a cheeky Instagram post that also tapped into her well-documented fan love for “Matrix” star Keanu Reeves. “Saw Keanu Reeves on broadway and now I’m 9 months pregnant,” she captioned her post, which featured photos of her baby bump, “This is very on brand for me.”
She revealed she was expecting amid the debut of Reeves and longtime “Bill & Ted” collaborator Alex Winter’s production of “Waiting for Godot.” She quipped in her caption that she had “made a deal with this baby to let me make it to this [show] before labor, not sure what it wants in return but I’m CLEARLY a woman of my word.”
Snook, the first to break the couple’s baby news, has remained close to her “Succession” co-star since the hit HBO drama concluded two years ago. Culkin and Snook respectively starred as Roman and Shiv Roy, two of numerous potential — ahem — successors to media mogul Logan Roy (Brian Cox). “Succession” aired from 2018 to 2023 and won a total of 19 Primetime Emmy Awards, including acting prizes for Culkin, Snook and co-stars Jeremy Strong and Matthew Macfadyen.
With the arrival of Culkin and Charton’s third child, it’s clear that the “Succession” legacy now extends past powerhouse performances, viral memes and memorable lines. Anyone got a ludicrously capacious baby bag?
The NI squad she has returned to is markedly different to the one she was last included in a year and a half ago, given the influx of younger players.
That was necessitated by the retirements of Marissa Callaghan, Rachel Furness and Rachel Dugdale.
The only centurion in the current panel, McFadden knew her biggest selling point for getting back into the squad at this later stage of her career was the experience she has, and she hopes to pass on wisdom gained from over 20 years of playing to the younger generation.
“That is what I was saying when I was pleading my case to Tanya. I’ve always got that [experience], even if I’m not fit, I will always do the best for Northern Ireland and our group,” she added.
“I hope I’ve helped them this week, especially Abi Sweetlove. She’s at the start of her career, she’s unbelievable centre-half, she’s the future and hopefully I’ll be able to help her along because I have done it many a time and someone helped me along, so I want to help them.”
So, up next for McFadden and NI is building on a positive second-half display in Ballymena as they go to Reykjavik on Tuesday aiming to overturn the two-goal deficit.
The odds are against Oxtoby’s side given they failed to have a shot on target in the first leg, but McFadden still thinks they have an opportunity if they go there confident.
“We need a little bit more belief. We were able to get in their final third a bit more second half and with the belief, we have a chance.
“If we score early, they’re the big fish with the pressure on and hopefully we get a performance again.”
A HOST a A-listers were spotted leaving Kim Kardashian’s surprise 45th birthday party in London last night.
Model Kate Moss, Wedding Crashers actress Isla Fisher and singer FKA Twigs looked all partied out as they left the chic soiree.
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Kate Moss looked all partied out as she left Kim Kardashian’s 45thi birthday bashCredit: GoffKim was seen rocking a barely-there frock as she braved rainy London last nightCredit: SplashThe US star also slipped into a second cream sheer corset for the eveningCredit: SplashModel Kate was seen leaving the swanky eventCredit: Splash
The party was held at Kim’s close friend and photographer Mert Alas’ swanky London home.
Kim put on a showstopping look in not one but TWO sexy mini dresses.
She was seen rocking a cut-out frock with her chest barely covered by a some loose material, while her black underwear was on show.
The KUWTK star was surrounded by her entourage and a member of her team who shielded her with an umbrella as she braved rainy London on Wednesday.
All’s Fair, which premieres on Hulu on November 4, follows a team of successful female divorce attorneys who start their own practice in Los Angeles, California.
Kim leads the cast in her second scripted series ever, following her acting debut in American Horror Story: Delicate in 2023.
FKA Twigs went all out in a faux fur jacket and satin trousersCredit: SplashMomager Kris Jenner also rocked the all-black and satin themeCredit: SplashKate was seen leaving the home of Kim’s best pal and photographer Mert AlasCredit: SplashSarah Paulson looked chic in a blazer and satin trousersCredit: SplashKate opted for a mini dress and satin coatCredit: SplashIsla Fisher was spotted wearing blue denim jeans and an orange t-shirtCredit: Splash
SHE was famously axed from one of the country’s biggest soaps after joining OnlyFans – and within weeks was among its top creators, earning hundreds of thousands from her racy snaps.
But Sarah Jayne Dunn‘s X-rated spark has fizzled out, according to pals who say the former Hollyoaks star – who faced accusations she was promoting “pornography” last week – has been left out in the cold. Now, The Sun can reveal things have gone from bad to worse.
Sarah was famously axed from one of the country’s biggest soaps HollyoaksCredit: SplashSarah has been ostracised from the showbiz world sinceCredit: Not known, clear with picture deskThe actress, pictured at the National Television Awards in 2020, before she was dropped from HollyoaksCredit: Getty
An insider told us: “There was a lot of fanfare when Sarah left the soap, and she made a big thing about why it was important to be on OnlyFans.
“It might look plain sailing, but it’s a real slog and actually very isolating. She knows people look at her at the school gates, and you only have to look online to see people’s disgust about what she does.”
Fans pay just over £11 per month to see Sarah strip off, and her posts have been liked more than 455,000 times since she joined the site four years ago this month. Her subscription numbers are no longer visible to fans.
But as the months have worn on, Sarah has had to deal with lewd, vulgar and creepy comments from her desperate subscribers, who constantly plead with her to flash more flesh.
In the last two weeks alone, her OnlyFans snaps have been littered with explicit remarks, piling on the pressure for even racier content – raising questions about what Sarah’s future on the site will look like.
Our insider continued: “Subscribers have naturally gone down, so Sarah has been working hard to produce more and more racy content. It’s a bit of a rabbit hole once you get started, and those who are still close to her are worried about how far it will go.
“Her son is getting older now, and it can’t be easy for him seeing her pictures and the headlines.”
Sarah has a nine-year-old son, Stanley, with her personal trainer husband, Jonathan Smith.
While she has previously shared a picture of Stan taking over her £20k pole-dancing room, which she had built in her garden, to play his video games, the ex-Oaks star tries to be careful around the youngster when it comes to her day job – because he is becoming “really inquisitive”.
She said last month: “He’s getting to that age where he’s really inquisitive about everything.
“I was sat in the bedroom the other morning doing my make-up, and he comes into the bedroom and goes, ‘Mum, what is p***y?’ I was racking my brain, going, ‘Oh my God, what has he seen?’ I’ve got this book next to my make-up mirror called P***y.”
Sarah – who played Hollyoaks’ Mandy Richardson from 1996 to 2021 – has made no secret of wanting to maintain her wealth and has recently trained as a pole dancing teacher to boost her income.
It was the latest blow for the star who has struggled to land TV work and has lost two of her closest friends in her bid to become a top content creator.
Showbiz bust-up
We can reveal she is no longer speaking to Stephanie Waring, who played her onscreen sister, following her fallout with glamour model Rhian Sugden.
The former soap star has a £20k pole-dancing room in her gardenCredit: InstagramSarah has a nine-year-old son StanleyCredit: InstagramShe shares her son with her personal trainer husband, Jonathan SmithCredit: Instagram
Raised eyebrows over her lifestyle choice is not something new for Sarah, who recently admitted she has constantly faced accusations she is baring all on OnlyFans.
She recently said: “Whenever I get stick, it’s because of people going, ‘Well, you’re getting your fl**s out,’ and I’m like, ‘I’m actually not, thank you very much.’
“People just associate the platform with porn. That’s fine, because the platform does have that content, but it doesn’t mean everyone on there is doing that.”
Hollyoaks bosses clearly had a similar view, and we can reveal that since joining OnlyFans, Sarah has had a bust-up with her former co-star Stephanie Waring.
An insider told us: “Sarah and Steph were always very close, but when Sarah started posting online, things between them started to change.
“They have barely spoken since, and Sarah definitely didn’t rush to support her when she was axed from the show last year.
“They don’t even follow each other anymore. It’s very sad it’s come to this.”
Steph has previously said she wouldn’t dream of using her body to make money – unlike Sarah.
Sarah is convinced Steph is one of the people who grassed her up to Hollyoaks bosses
An Insider
She told the Secure The Insecure podcast: “I don’t think I could ever sexualise myself in that way.
“I’m nearly 50 and I just don’t think that’s my angle… never say never, though. People change all the time.”
One of Sarah’s post-Hollyoaks ventures saw her co-host podcast Hot and Bothered alongside Page 3 legend Rhian Sugden, in which the pair discussed everything from sex toys to fetishes.
We can reveal Sarah is no longer pals with Stephanie Waring – who played her sister on HollyoaksCredit: GettyShe has also fallen out with Rhian Sugden after launching a podcast togetherCredit: David Cummings – Commissioned by The Sun
Sarah and Rhian even took part in a joint lingerie-clad photoshoot to promote their sex podcast – but the pair have since fallen out.
Rhian claimed she had been dropped from the joint podcast, despite reportedly investing thousands in it, and the pair are no longer thought to be on speaking terms.
In 2023, a friend close to the pair said: “Rhian reached out to Sarah after the whole Hollyoaks sacking drama, and she became a real source of support for her.
“They went in on the podcast together and had loads of fun making it – and had loads of listeners.
“It came as a real shock to everyone when Sarah just cut her out. There’s been no contact since, and it’s all very sad.”
Last weekend, she made it clear to her OnlyFans followers how much she wants to land a spot on her dream show – Strictly.
She posted a picture wearing a see-through red bra with sequins, with her nipples clearly visible, and asked her followers: “Who’d like to see me on Strictly?!”
Sarah received just one response. The follower wrote: “People would [black love heart emoji] to see you on Strictly!”
The star also has her heart set on appearing in I’m A Celebrity, which is filmed in the Australian jungle.
A source told us: “Sarah has made no secret of the fact she would love to head into the jungle, or on the Strictly ballroom, but neither shows have come calling yet.
“They are dream paydays for most out-of-work actors and content creators, and she is desperate to appear on one.”
Another pal close to Sarah insisted: “Sarah is under no pressure around her OnlyFans work, she is able to be fully in control of her life, work as and when she wants, and it’s afforded her numerous wonderful opportunities.
“With regards to any mention of a fall out with friends, there is certainly no falling out from Sarah’s side, so this is news to her. Sarah is a huge fan of Strictly Come Dancing, so naturally would love to be on the show!”
It doesn’t look like BBC bosses will be calling her to swap pole dancing for the ballroom just yet, so for now, Sarah may have to stick to the sexy snaps.
Followers pay just over £11 per month to see Sarah strip off on OnlyFansCredit: Sarah Jayne DunnSarah played Mandy Richardson on Hollyoaks from 1996 to 2021Credit: Channel 4
One of the first things Sarah Paulson’s character does in the new trailer for “All’s Fair” is call Kim Kardashian’s character a vulgar slang term for female genitalia. One of the last things she does is call her a “whore lawyer.”
Hulu released the latest look at its upcoming legal drama Tuesday and it appears that, much like contentious divorces, the show will get vicious and personal.
Created by Ryan Murphy, “All’s Fair” will follow a group of female divorce attorneys who leave a male-dominated law firm to start their own practice. According to the synopsis, these “fierce, brilliant, and emotionally complicated” women will “navigate high-stakes breakups, scandalous secrets, and shifting allegiances.”
The trailer shows several women — including those portrayed by Brooke Shields, Elizabeth Berkley and Judith Light — seeking the services of “the best divorce lawyers in town.” Most of the men in the clip, meanwhile, seem to represent the most unsavory examples of their gender.
In addition to Paulson and Kardashian, the show’s all-star cast also includes Naomi Watts, Niecy Nash-Betts, Teyana Taylor, Matthew Noszka and Glenn Close.
“All’s Fair” will mark Kardashian’s second scripted television project since her role in “American Horror Story: Delicate.” While the reality TV star and businesswoman will be playing a fictional attorney in the show, she has also studied to be one in real life. Earlier this year, Kardashian celebrated completing her legal studies with a single-student graduation party.
Instead of attending a traditional law school, Kardashian apprenticed with attorneys for six years under California’s Law Office Study Program. She passed the Multistate Professional Responsibility Exam, commonly known as the “baby bar,” in 2021. That doesn’t mean you can retain Kardashian as an attorney, however. She has yet to pass the state bar.
Kardashian’s most recent real-life legal tangos includes filing a lawsuit with her mother, Kris Jenner, against ex-boyfriend Ray J for defamation and false-light publicity.
Former Coronation Street star Sarah Lancashire ‘knew when to stop’ doing Happy Valley despite its major success, according to the show’s creator Sally Wainwright
19:42, 28 Sep 2025Updated 19:42, 28 Sep 2025
Sarah Lancashire ‘knew when to stop’ doing Happy Valley despite its major success, according to the show’s creator (Image: BBC/Lookout Point/Matt Squire)
Sarah Lancashire ‘knew when to stop’ doing Happy Valley despite its major success. The actress, 60, starred as Catherine Cawood in Sally Wainwright’s hit drama over the course of three series that were filmed over a decade, and even helped write its final episode, which pulled in almost 10 million viewers.
Despite the show’s incredible popularity, creator Sally, 62, insisted that a short run had always been agreed upon. She told The Sunday Times: “Sarah’s good at knowing when to stop and when to say no. There were a couple of things in the script that she wanted to question, and it was a good process.”
However, fans of the programme need not be disappointed as seasoned television writer Sally explained that she and Sarah, who won a BAFTA for her portrayal of policewoman Catherine, are already working on a new project together, insisting that they are ‘still friends’ and the character is ‘still there’ in their minds.
As well as Happy Valley, Sally is also the creator of several other hit series such as Last Tango in Halifax and Gentleman Jack. She started out writing episodes of radio soap The Archers before going on to work on Coronation Street, which turned Sarah into a household name when she was cast as barmaid Raquel Wolstenhume, in the late 1990s.
Following the advice of late TV writer Kay Mellor, she went on to create At Home With The Braithwaites, which starred Amanda Redman as a woman who had won the lottery but tried to keep it all a secret from her dysfunctional family. Reflecting on those early days of her career writing episodes of the long-running ITV soap, Sally admitted that she worked with some ‘fabulously clever’ people at the time.
She said: “The Coronation Street storyline meetings were amazing. There were some fabulously clever story-makers. Dialogue comes easily, characters come easily, but story is relentlessly hard. I have to just really bash it out. With Happy Valley, I do pride myself on the last episode being just as good as the first episode.”
The scriptwriter previously admitted that she got ‘bored’ of writing for the soaps because of how all the stories had become so similar, and acknowledged that viewing habits have changed dramatically in recent years as streaming services have become the norm.
“I think one of the reasons I got bored of the soaps (is that) all the stories got a bit samey,” she admitted. Referencing the amount of choice TV viewers now have, Sally added: “There is so much content, it is increasingly easy for people to turn over.”
She explained: “You’ve got to be captivating your audience moment by moment… its seems increasingly important.” Discussing her time on Corrie, Sally revealed that she did not initially have the ‘confidence’ to contribute to storylines at Coronation Street.
Sally said she was ‘in awe’ of everyone who worked in the writer’s room when she joined, which had two women within its 15-writer team at the time. Wainwright recalled that it was a time when writers would go to the pub at lunch which she said would mean the afternoon could be a ‘bloodbath’
She added: “It wasn’t a nasty atmosphere, it was very lively and often fun.” Wainwright revealed that writing is how she can ‘make sense of the wppr;d’. In a discussion with broadcaster Adrian Chiles, she reflected on how she began writing as a child with her sister creating strip cartoons and plays.
“It’s just a childhood habit that has continued,” Sally explained. “I make sense of the world by writing about it. I also love the idea of writing dialogue, creating characters, I love the idea of making people say things, I love the actors and love the whole process of drama.”
This Morning’s Tom Swarbrick didn’t hold back when discussing the royals on the ITV daytime show, saying that many of them should ‘get a job’ and stop ‘hanging on’
A friend of Sarah Ferguson, Duchess of York, has spoken out after Prince Andrew’s former wife came under fire following an email she wrote to Jeffrey Epstein being leaked
Sarah McLachlan’s singing voice is one of the wonders of the pop music world.
It has alternately belted out and whispered hit songs (“Adia,” “Building a Mystery”) as well as the most devastating Disney song of all time (Randy Newman’s “When She Loved Me” from “Toy Story 2”) and is a pristine musical instrument. It can elegantly vault octaves, scoop notes without a croaky glottal fry and crack words into multi-note, velvety yodels. It can be breathy and ethereal or a searing flamethrower — and she transforms into an angelic chorus of one when she tracks layers of her own harmonies.
So it was downright terrifying when McLachlan almost lost this voice last November, when a viral infection silenced it while she was preparing for the Canadian leg of her “Fumbling Towards Ecstasy” anniversary tour. She had already finished recording the vocals for her new album, “Better Broken” — out Friday — and she was uncharacteristically proud of the results.
“It was this whole last winter of, like, ‘OK, I love this record so much, and I might not be able to sing it,’” says McLachlan, 57. “I might never be able to sing like that again.”
“Better Broken” is McLachlan’s first record of new songs in 11 years. She’s spent the past decade, not in exile, but just living a normal life in West Vancouver, raising her two daughters; India is 23, Taja is 18. “I was a very busy parent,” she says. “My little one is a big dancer, so I was full-on dance mom.”
Sitting casually in an office space in Century City, the veteran songstress had just dropped her youngest at college 24 hours earlier. (“I’m still OK,” she insists. “When I have to fly home, I’m gonna be a mess — but right now I’m good.”)
The two girls are “wildly different, they’re night and day,” McLachlan says. Both sing with her on a fiery feminist anthem, “One in a Long Line,” on the new record. “They’re both beautiful and strong and fierce in their own ways, and I’m still amazed that they came out as well as they did. I tried so hard to be the opposite of my mother. And it turns out I was a lot like her in so many ways, in the end.”
She has also been busy as a maternal figure (and until recently, principal fundraiser) for the Sarah McLachlan School of Music, a free after-school program with three locations in Canada. She launched the foundation that begat her school in 2002 with some of the funds she earned from Lilith Fair — the all-female music festival, also her brainchild — as a way to keep the spirit of that phenomenon going.
McLachlan had already donated much of the profits of Lilith Fair to women’s charities, and “I wanted that energy to be transferred to something,” she says, “and to be able to create that same kind of safe space where everybody has a voice, everybody is seen, heard and valued, and they all have agency in what they’re doing and how they’re creating.”
A new Hulu documentary, “Lilith Fair: Building a Mystery,” will premiere Sept. 21. McLachlan was interviewed alongside Sheryl Crow, Jewel, Natalie Merchant and many others who were involved or inspired by the late ’90s movement — which was somewhat rebuked in the early 2000s by a wave of plasticky, image-based corporate pop, but which more or less prophesied our current musical moment dominated by soul-baring women singer-songwriters.
McLachlan is an admitted Swiftie (“Folklore” and “Evermore” are her favorites), and it’s impossible not to see her own influence on the likes of Swift, Brandi Carlile, Olivia Rodrigo and Billie Eilish. When I interviewed Eilish about her song “What Was I Made For” in 2023, I suggested that her gossamer vocals reminded me of McLachlan’s.
“I love, love, love Sarah McLachlan,” Eilish said, beaming. “I always have.”
So, plenty of talented acolytes filled the void McLachlan left during her lengthy hiatus, and “it was really an easy shift for me to step out of the limelight,” she admits. “I’ve never liked being famous.”
Sarah McLaughlin.
(Allen J. Schaben / Los Angeles Times)
Growing up in Nova Scotia, the third child (all adopted) of an unhappy marriage, McLachlan found her voice and her confidence in music. Her mother was a voice of discouragement and defeatism, and McLachlan feels she was “raised by wolves”: “I left the house at 9 a.m. and didn’t come home until I absolutely had to, and I was on my own. I had to pick myself up and figure out how to soothe myself — and thank god for music, because that was the thing that got me through. Music was my mother, really.”
Throughout her childhood, she formally studied piano and guitar and had years of classical voice training. But “honestly, I just faked it,” she says of the voice lessons. “I could pretend to sing opera. I can mimic anything.” She didn’t much care for classical vocal music, but her golden voice won her a record contract at 19, which took her out to Vancouver. During those early album sessions, where she was also learning how to write songs, she kept blowing out her voice “because I didn’t really know how to control it.”
She contacted a local singing coach, who told McLachlan to run around the block as fast as she could. “I came back panting, and she goes, ‘Lie on the floor. Now breathe for me. Do you recognize that feeling? That’s your diaphragm actually working. Now sing me something with that feeling in mind.’”
Initially, McLachlan styled her singing after Kate Bush and Peter Gabriel, which most reviews of her debut album (1988’s “Touch”) pointed out. With her sophomore album, “Solace,” she “purposely made a concerted effort to move away from that,” McLachlan says, “because I wanted to know what I sounded like.”
She gives credit to her longtime Canadian producer, Pierre Marchand, “who was instrumental in creating that foundation for me. Because at the beginning of the second record, he’s like, ‘I know you can do all that flowery stuff. I want to hear what you sound like. I want you to sing low.’ So he forced me to sing way lower than I normally do, and that’s kind of where my natural register came up.”
With Marchand, McLachlan climbed the charts of ’90s pop; “Aida” and “Angel” were top 10 mainstays, and the albums “Surfacing” (1997) and “Afterglow” (2003) both went platinum.
“Afterglow” — which featured such addictive bops as “World on Fire” and “Train Wreck” — was made right as she started her journey as a mother. “I tried to get as much of it done while I was pregnant,” she says, “knowing that life was going to completely change.” Nine months after giving birth and “starting to feel human again,” she returned to a studio in Los Feliz to finish it, while renting Dan Aykroyd’s house in the Hollywood Hills — “and punctuated by, you know, I have to go home and breastfeed.”
“Better Broken” is a bookend to that moment, coming out right as her children are emptying the nest. It, too, was made in Los Angeles — but this time without Marchand.
“I wanted to be put out of my comfort zone,” she says. “I wanted to be challenged. Pierre and I worked beautifully together, but we have our complacencies and our habits, and I wanted to be pushed out of that, and try something new. It’s like dating! I felt a little bit like I was cheating on him … but he gave me his blessing.”
She turned to Tony Berg and Will Maclellan, two California-based producers who have shaped albums by Swift, Phoebe Bridgers, boygenius and other young stars.
“I went in with a ton of trepidation,” she says, “and a ton of, not insecurity, but just like: Well, I think these are really good songs, but it’s been so long since I made a record…”
“Three days in, I’m like: Oh, this is going to be great.”
And she has discovered new parts of herself.
The years away from making new music and the experiences of life, both joyful and scarring, have refined her voice like a barrel-aged wine. The new songs are diary entries about an unpleasant breakup (“Wilderness”), loving a teenage daughter who is filled with rage (“Gravity”) and surrendering at the apocalypse (“If This is the End…”). Berg and company wrapped lo-fi textures, warm and wobbly, around McLachlan’s vocals (and piano, and guitar) in a way that simultaneously feels very much like 2025 and an old, unearthed vinyl.
The title track, which McLachlan started writing 13 years ago, is an instantly unforgettable melody; the chorus (“Let it be / all it is / small and still…”) has her incrementally climbing, climbing — then athletically pirouetting in midair on the line “and better left alone.”
She says she writes her songs through exploration, just playing piano and making sounds with her voice: “And because I have a relatively versatile instrument in my voice, I just try things and see where it goes. Melodies often appear with a couple of chord progressions, and that’s usually the start of things. It’s melody long before lyrics — you sort of say random things, and it’s about how vowels and consonants roll off your tongue.”
“I don’t know how to be any other way,” she adds. “I like to see what my voice can do and where it can go, and push it to the edges of pretty, and make it sound gruff and unpleasant and ‘how ugly can I make that with it still sounding kind of cool?’”
Leaving the limelight, getting broken and finding new love — and then almost losing her voice — Sarah McLachlan found new depths and heights in her priceless voice. It was worth the wait.
If history has taught us anything, it’s that no one is truly safe. That gathering dread fueled some great ’70s paranoid thrillers, such as “The Parallax View” and “The Conversation,” but it’s been difficult to replicate that eeriness in today’s extremely online world, when our devices explain and obfuscate with abandon, conspiracies are lifeblood and we feel persecuted one day, invincibly anonymous the next.
The nifty premise of “Relay,” a new white-knuckle ride from “Hell or High Water” director David Mackenzie, is that a certain type of tech-savvy hero can, if not completely ease your anxiety, at least navigate a secret truce with those out to get you. And Riz Ahmed’s solitary off-the-grid fixer, Ash, who hides in plain sight in bustling New York, can do it without ever meeting or talking to you: His preferred mode of traceless communication is the text-telephone service that hard-of-hearing people use in conjunction with message-relaying operators. Like a ready-made covert operation, it keeps identities, numbers and call logs secret.
For the simple fact that “Relay” is not about an assassin (the movies’ most over-romanticized independent contractor), screenwriter Justin Piasecki’s scenario deserves kudos. Rather, Ash’s broker helps potential whistleblowers escape the clutches of dangerously far-reaching entities — unless, of course, they want to settle for cash. It’s a fascinatingly cynical update: Should we make an uneasy peace with our tormentors? (Hello, today’s headlines.)
Before those questions get their due, however, “Relay” sets itself up with clockwork precision as a straightforward big-city nail-biter about staying one step ahead. Seeking protection from harassment and a return to normal life, rattled biotech scientist Sarah (Lily James) goes on the run with incriminating documents about her former employer. When she’s rebuffed by a high-powered law firm, she’s provided a mysterious number to call. Ash, armed with his elaborate vetting methods, puts Sarah through the paces with rules and instructions regarding burner phones, mailed packages and a detailed itinerary of seemingly random air travel. It doesn’t just test her commitment, though — it’s also a ploy to scope out the corporate goons on her trail: a dogged surveillance team led by Sam Worthington (who should maybe only play bad guys) and Willa Fitzgerald.
As the story careens through airports and post offices and New York’s hidey-holes, the cat-and-mouse chase is dizzyingly enjoyable, worthy of a Thomas Perry novel. We wait for the missteps that threaten everything, of course, and they begin with learning that Ash is a failed whistleblower himself, one who is beginning to question his chosen crusade. Another vulnerability, recognizable in the occasional cracks in Ahmed’s commanding stoicism, is the loneliness of the gig. So when a restive Sarah, on one of their protected calls, gently prods for a smidgen of personality from her mysterious unseen helper, one is inclined to shout, “No feelings! Too risky!”
But that, of course, is the slippery pleasure of “Relay,” which pits individuals against venal institutional might. Flaws are the beating hearts of these movies, triggering the peril that makes the blood pump faster. Some of that effectiveness is undercut by some off-putting music choices, but McKenzie’s command of the material is rock solid, Giles Nuttgens’ cinematography achieves a sleek, moody metallic chill and Matt Mayer’s editing is always fleet. In a year that’s already given us one superlative case of adult peekaboo — Steven Soderbergh’s “Black Bag” — “Relay” proves there’s still more room for smart, punchy cloak-and-dagger options.
Kate Cross has been left out of England’s squad for the Women’s World Cup in India and Sri Lanka, but batter Danni Wyatt-Hodge and leg-spinner Sarah Glenn have been recalled.
Former captain Heather Knight, who has been recovering from a hamstring injury since the end of May, is also included.
Seamer Cross is one of England’s most experienced bowlers in one-day internationals, with 101 wickets in 76 matches, but she has struggled for form since suffering a back injury at the end of 2024.
The 33-year-old was injured during England’s tour of South Africa in December, and was subsequently included in the Ashes squad but did not play a game during the disastrous 16-0 thrashing in Australia.
Cross has played four ODIs this summer, three against West Indies and one against India, but only took three wickets at an average of 55.
The World Cup starts on 30 September, with England’s first match against South Africa taking place on 3 October in Bengaluru.
Australia are defending their title after they beat England in the 2022 final.
Are we in for a new age of scripted basic cable television? Given the successes of the old age, which threaded its way between broadcast and premium cable TV, a little bolder than the former, less pricier than the latter, making up what it lacked in resources with invention and charm — producing such shows as “The Detour,”“Halt and Catch Fire,”“Lodge 49” and “The Closer,” to name just a few of my favorites — I’d be all for it.
Premiering Friday on the USA Network, lately devoted to sports, reality shows and reruns, the legal drama “The Rainmaker” is the first fruit of an intentional return to the network’s self-styled “blue sky” era, when its slogan was “Characters Welcome” and “optimism” in storytelling was a stated goal. “Psych,” “In Plain Sight,” “Monk” and “Suits” — whose recent success after being recycled onto Netflix would seem to be a factor in this turnaround — were among the series born in that period.
Based on John Grisham’s 1995 novel, faithfully adapted by Francis Ford Coppola into a 1997 film starring Matt Damon and Claire Danes, the TV “Rainmaker” has been kitted out with some new and altered characters and a novel focus, and in order to keep you on the hook across 10 episodes, it stirs in a case of arson and a serial murderer. (And surely some additional complications — only five episodes out of 10 were available for review, so even though I wouldn’t tell you about what’s coming later, I couldn’t.) Serial killer notwithstanding — nothing drearier than a serial killer — the nuts and bolts and girders and panels of a USA show are here — colorful characters, one part comedy to one part drama, a mystery to solve, and just a tiny bit of sex. (This is basic cable, remember.)
We meet hot-headed good guy Rudy Baylor (Milo Callaghan) and his cheery girlfriend Sarah Plankmore (Madison Iseman), both not long out of law school, both yet to take the bar exam, at a legal-aid event, providing free advice to the sort of people who could never afford a lawyer, wouldn’t know where to start or maybe just want someone to listen to their stories. They meet Dot Black (Karen Bryson), who is very much not over the death of her son while in a hospital whose name I can’t recall but for my own convenience will just call Bad Hospital. Badspital. That the hospital — the Badspital — has offered her $50,000 while their motion to dismiss is still pending, sets Rudy to wondering what they might be trying to hide. Anyway, Dot, whom we’ll see again, finds the offer insulting and also needs an apology.
Rudy and Sarah have both been hired by the 800-pound gorilla law firm Tinley Britt. On their first day, he arrives late to work — and bloody, having gotten into a fight with his mother’s shiftless, but large, boyfriend. He proceeds to get into another fight, abstractly, with senior partner Leo F. Drummond (John Slattery), who fires him. (In the novel, Rudy is merely laid off in a merger — not so dramatic!) Moaning to friend and bar-owning sometime boss Prince Thomas (Tommie Earl Jenkins) that he’s been turned down by every other respectable firm in town, Thomas suggests “a not so respectable one.”
John Slattery stars as Leo Drummond, a senior partner at Tinley Britt, the law firm where Rudy is hired and subsequently fired.
(Christopher Barr/USA Network)
Here things depart significantly from the text, and the fun begins.
Rudy is delivered to the law offices of glamorous Jocelyn “Bruiser” Stone (Lana Parrilla) and associates, located in a partly converted Mexican restaurant — though past the receptionist the only associate in sight is “paralawyer” Deck Shifflet (P.J. Byrne). A purely comic character, Deck has failed the bar seven times but has many useful skills and qualities, not least a flexible sense of professional ethics. He insists on calling Rudy “Boo Boo.” It takes him a minute to realize it, but Rudy has found his people.
Gender flipped from the novel’s J. Lyman Stone, Bruiser (when not in court) favors animal prints, plunging necklines and short skirts. “I only need three things,” she says. “Kentucky bourbon, a bloody steak and a man who won’t spend the night.” You get the picture.
But there’s more to her than that. When Rudy, who has been with Deck trolling the Badspital for clients, suggests he wasn’t cut out to be an “ambulance chaser,” she also has this to say.
“You know where the term ambulance chaser came from? It was used by white shoe firms in the ’20s to crap on any lawyer that wasn’t a member of their club. When the contingency-fee law was enacted, small firms rose up full of attorneys who were just like their clients, the ones on the Statue of Liberty, the tired, poor, the huddled masses — those same people are our clients now, and if you think you’re better than them, you’re not. You are them.”
It’s good to know someone still takes Emma Lazarus seriously.
Among the figures Rudy and Deck encounter at the hospital, or the Badspit — oh, never mind — is Melvin Pritcher (Dan Fogler), whom we have seen in the series’ opening scene, escaping a house fire that kills his mother. There are several things to say about him that probably constitute spoilers, so I’ll just note that though Melvin is quite unpleasant, Fogler is very good.
With Sarah working for the Empire and Rudy embedded with the rebels, their relationship has been engineered by the writers to be problematic, possibly to break down — though each does seem to be trying. (They’re good kids.) She’s got a trust fund; he’s doesn’t own a suit of his own, dressing rather in one passed down from a dead brother. They’ll wind up in court opposite one another like Tracy and Hepburn in “Adam’s Rib,” for Tinley Britt is defending the hospital from Dot, who has become a client of Bruiser’s firm. Their future together is also potentially complicated by Kelly Riker (Robyn Cara), a woman who lives in Rudy’s building who is obviously being abused, and Drummond’s smarmy lieutenant Brad Noonan (Wade Briggs) — of course he’d be named Brad — who has been assigned to weaponize Sarah against Rudy.
Callaghan gives off a scintilla of Matt Damon vibes, but is his own Rudy, keeping his naive idealist free from leading-man tics. Parrilla finds the balance between Bruiser’s sauciness and seriousness; Byrne plays the clown adeptly; and Slattery, a boss again after “Mad Men,” softens his villainy with some Roger Sterling insouciance.
Developed by Michael Seitzman and Jason Richman, it’s a very watchable show — serial killer passages notwithstanding. There’s nothing fancy in the execution — it’s the opposite of stylish — but everything’s clearly defined and dialed up a step past normal into that space we call entertainment. Welcome back to the blue sky.
Sarah Palin’s family was thrust into the national spotlight in 2008 when Sen. John McCain picked her to be his GOP running mate in the campaign for president.
Now, after years of attention that accompanied Palin’s role as a popular and controversial conservative advocate and media personality, the family is once again under scrutiny, this time after her eldest son was arrested on suspicion of breaking into his parents’ home and beating his father.
Painful new details emerged Monday about the arrest of Track Palin, who at one point pleaded with his father to shoot him, according to a police affidavit. The document said his father, Todd, was brandishing a gun but refused to shoot.
After his arrest Saturday, Track Palin, 28, was charged with first-degree burglary, fourth-degree assault and criminal mischief. He remains in custody. The police affidavit, contained in a court filing, describes a chaotic scene at the family’s home in Wasilla, Alaska, when Palin confronted his father over a truck he wanted to pick up.
Todd Palin had told him not to come to the home because Track Palin had been drinking and taking pain medication, according to the affidavit and charging documents.
“Track told him he was [going to] come anyway to beat his ass,” according to an affidavit filed by Wasilla Police Officer Adam LaPointe.
When Todd Palin, 53, confronted his son at the door with a pistol, the younger Palin broke a window and entered the house and started beating his father, according to court filings. Palin pushed his father to the ground and hit him repeatedly on the head, the documents say.
Sarah Palin called police at 8:30 p.m. and said her son was “freaking out and was on some type of medication.”
When police arrived, they saw Todd and Sarah Palin fleeing the house in separate vehicles, Todd Palin with blood running down his face and Sarah Palin looking “visibly upset,” the documents say.
Police confronted Track Palin in the home. He called them “peasants” and told them to lay down their weapons, according to the documents. Eventually, Palin left the house and was placed in handcuffs.
He told police that when he arrived at the house, his father aimed his gun at him, and he urged his father to shoot him several times before entering the house, according to the documents.
When policed interviewed Todd Palin, he was bleeding from multiple cuts to his head, and one ear was discharging liquid, the documents say. There is no record of an interview with Sarah Palin; the Wasilla Police Department did not respond to a question about whether its officers interviewed her.
A judge set Track Palin’s bail at $5,000. He remains in custody at the Mat-Su Pretrial Facility in Palmer, Alaska. Palmer Dist. Atty. Roman J. Kalytiak said that if Palin remains in custody, his office must take the case to the grand jury within 10 days. If Palin pays bail and is released, prosecutors will have 20 days to go before the grand jury.
An attorney for Sarah and Todd Palin declined to comment on the case.
“Given the nature of actions addressed … by law enforcement and the charges involved, the Palins are unable to comment further,” John Tiemessen said in a statement. “They ask that the family’s privacy is respected during this challenging situation just as others dealing with a struggling family member would also request.”
Todd Palin declined to comment about the incident, according to the Anchorage Daily News.
“We’re fine. We’re fine,” he said when asked whether he sought medical treatment.
Sarah Palin has not commented publicly about the encounter. On social media, she has continued to offer her take on current events and politics.
The incident is the latest controversy involving the Palins since McCain picked Sarah Palin to be his running mate in 2008. At the time, she had been governor of Alaska for less than two years and was a relative unknown in the Lower 48 states. Just days after Palin was named as the vice presidential nominee, she acknowledged that her unmarried teenage daughter Bristol was pregnant.
In the aftermath of the campaign, she faced criticism over her behavior and her spending habits.
In 2014, the family was involved in a drunken brawl on Todd Palin’s birthday, though no one was charged. Track Palin, shirtless and bleeding, “appeared heavily intoxicated and he acted belligerent” during his initial interaction with police officers, according to an Anchorage Police Department report.
In January 2016, Track Palin was arrested on suspicion of punching his girlfriend at the same Wasilla home. He pleaded guilty to possessing a firearm while intoxicated and took a plea deal that resulted in other charges being dismissed. His girlfriend later filed for custody of their child and sought a protective order against him.
At the time of that arrest, Sarah Palin was campaigning for then-candidate Donald Trump during the GOP primaries and caucuses. She alluded to her son’s arrest during a campaign rally, suggesting that he suffered from post-traumatic stress disorder after returning from a military deployment in Iraq.
She described soldiers “who come home from the battlefield bringing new battles with them [and] coming back different than when they left for the war zone.”
“When my own son is going through what he goes through coming back, I can certainly relate to other families who feel these ramifications of PTSD,” she said, before accusing then-President Obama of not respecting veterans.
During the 2008 presidential campaign, Palin frequently spoke of her son’s service in the military. He was stationed in Iraq during most of the general election campaign.
McCain’s selection eventually proved unpopular among some conservatives who questioned whether Palin had the experience and knowledge to be a heartbeat away from the presidency.
But Palin’s folksy personality and colloquialisms strongly resonated with the party’s base, and she became a powerful force in national GOP politics after her and McCain’s loss. She resigned as governor the following year but was a frequent presence in the media and on the campaign trail as a forceful critic of President Obama and an early supporter of the tea party. Palin sparred with the GOP establishment, and her endorsement swung Republican primary races and drew dollars.
She was the subject of several books as well as a documentary by Stephen K. Bannon. She starred in a television show and flirted with a presidential run in 2012. Her prominence has waned since then, but she remains a popular draw among socially conservative voters.
Todd and Sarah Palin met in high school and wed in 1988. He worked in oil production on the North Slope of Alaska and as a commercial fisherman. Todd Palin, a champion snowmobile racer, liked to refer to himself as the “first dude” when his wife was governor.
Up until last weekend, there’s a fair chance you may not have heard the name Sarah Calvert.
Yet, there’s not much chance of the 24-year-old post-grad medicine student going under the radar now. Her spectacular arrival on the British middle-distance scene has changed everything.
That also applies to the Livingston native herself thanks to her becoming Scotland’s new UK 1500m champion after pipping Olympic silver medalist Laura Muir to the title in Birmingham.
“It feels incredible,” said Calvert. “I did not expect this ever to happen, but especially not with being busy in May studying for exams, that was pretty stressful for me.
“As soon as I crossed the line I knew it was crazy. I knew this was the biggest moment of my life. Afterwards I had my first anti-doping test, so that was another good experience.
“Since then I’ve had so many messages from people from school, from all my friends, from my parents’ friends. It makes it all seem very special.”
Calvert’s sporting status is such that she’s now chasing fast races in Europe to try to make the British team for next month’s World Championships.
It’s her social status that has taken her, and her family, by surprise due to her newly found fame.
“My dad sent me a text yesterday to tell me I’ve got a Wikipedia page now, ” she told BBC Scotland at Edinburgh’s Meadowbank stadium, one of her regular training venues when she gives herself a break from her studies at Edinburgh University.
“It’s just kind of insane. I didn’t really expect it to blow up like this.”
Winning one of the top events in the UK calendar will do that kind of thing for your profile.
She now has an agent who is hunting down races to see if she can take six seconds off her personal best and run herself into the GB team for Tokyo at the World Championships.
And while Calvert is ready to give it her best shot, her life amid the chaos at the moment is still grounded in reality. She wants to be a doctor, as well as an athlete, and has tried to walk the fine line between excelling at both.
“Before last weekend I would have said absolutely no chance,” she conceded of making the World Championships. “It still seems pretty far off because I need to run a big personal best. I think I just have to go for it.
“I definitely feel busy, day to day, when I’m at uni. Training in the morning, cycling to hospital for my placement and then training in the evening again. But I enjoy both.
“I often worry that I’m compromising running for medicine and then the other way around, but I think I just have to accept that I want to be a runner and I want to be a doctor at some point in my life.
“So for now the best way for me to do it is to combine the two. I rarely have to miss training for medicine so I think I make it work pretty well.”
An emotional Scherzinger said she felt like she had “come home, at last”, 20 years after shooting to fame
Succession star Sarah Snook and former Pussycat Doll Nicole Scherzinger were among the big winners at Sunday’s Tony Awards.
Scherzinger was named best actress in a musical for her role in Sunset Boulevard, Jamie Lloyd’s minimalist reboot of Andrew Lloyd Webber’s musical.
In an emotional acceptance speech, Scherzinger reflected on her recent Broadway success, which came two decades after shooting to fame with the Pussycat Dolls.
“Growing up, I always felt like I didn’t belong, but you all have made me feel like I belong and I have come home, at last,” she said. “If there’s anyone out there who feels like they don’t belong or your time hasn’t come, don’t give up.”
“Just keep on giving and giving because the world needs your love and your light now more than ever. This is a testament that love always wins.”
The singer and former X Factor judge won the same prize at the UK equivalent of the Tonys, the Olivier Awards, for her performance in the show’s original West End run.
Scherzinger also performed As If We Never Said Goodbye during the ceremony, and was introduced by Glenn Close, who played Desmond in Sunset Boulevard when it played on Broadway in 1995.
The Tony Awards, hosted by Wicked star Cynthia Erivo at Radio City Music Hall in New York, celebrate the best in US theatre, and particularly Broadway.
Reuters
Sarah Snook said it meant “so much for a little Australian girl to be here on Broadway”
Snook won best leading actress in a play, for performing all 26 roles in a one-woman stage adaptation of Oscar Wilde’s novel The Picture of Dorian Gray.
In her acceptance speech, the actress said: “This means so much for a little Australian girl to be here on Broadway.
“[The Picture of Dorian Gray] is billed as a one-person show, and I don’t feel alone any night that I do this show. There are so many people on stage making it work and behind the stage making it work.”
“I have such immense pride to get to be part of this notably diverse, exquisite Broadway season this year,” he said.
Paying tribute to his wife, he added: “Your love and your support for me and our beautiful children, combined with the miracle of working on something as magical as Maybe Happy Ending, has been and will always be award enough.”
Reuters
Darren Criss was named best actor in a musical for Maybe Happy Ending
Purpose, about an African-American family who reunite in Chicago, was named best play, a month after winning the 2025 Pulitzer Prize for Drama.
Meanwhile, Cole Escola was named best actor in a play for Oh Mary!, a one-act reimagining of Abraham Lincoln’s assassination through the eyes of his wife – a raging alcoholic who dreams of life as a cabaret star.
Sunset Boulevard also won best musical revival, while Eureka Day, about a school in California which must confront its vaccination policy after an outbreak of mumps among the pupils, won best revival of a play.
Elsewhere in the ceremony, Erivo was joined on stage by singer Sara Bareilles for a rendition of Tomorrow from the musical Annie, in tribute to those in the theatre community who had died throughout the year.
Presenters at the event included Samuel L Jackson, Oprah Winfrey, Ben Stiller and Lin-Manuel Miranda.
The original cast of Hamilton reunited to perform a rapturously received medley, to celebrate the show’s 10th anniversary.
Tony Awards: The main winners
Best musical
WINNER: Maybe Happy Ending
Buena Vista Social Club
Dead Outlaw
Death Becomes Her
Operation Mincemeat: A New Musical
Best play
WINNER: Purpose
English
The Hills of California
John Proctor is the Villain
Oh, Mary!
Best revival of a play
WINNER: Eureka Day
Romeo + Juliet
Our Town
Yellow Face
Best revival of a musical
WINNER: Sunset Boulevard
Floyd Collins
Gypsy
Pirates! The Penzance Musical
Best actress in a musical
WINNER: Nicole Scherzinger, Sunset Boulevard
Megan Hilty, Death Becomes Her
Audra McDonald, Gypsy
Jasmine Amy Rogers, BOOP! The Musical
Jennifer Simard, Death Becomes Her
Best actor in a musical
WINNER: Darren Criss, Maybe Happy Ending
Andrew Durand, Dead Outlaw
Tom Francis, Sunset Boulevard
Jonathan Groff, Just in Time
James Monroe Iglehart, A Wonderful World: The Louis Armstrong Musical
Jeremy Jordan, Floyd Collins
Best actress in a play
WINNER: Sarah Snook, The Picture of Dorian Gray
Laura Donnelly, The Hills of California
Mia Farrow, The Roommate
LaTanya Richardson Jackson, Purpose
Sadie Sink, John Proctor is the Villain
Best actor in a play
WINNER: Cole Escola, Oh, Mary!
George Clooney, Good Night, and Good Luck
Jon Michael Hill, Purpose
Daniel Dae Kim, Yellow Face
Harry Lennix, Purpose
Louis McCartney, Stranger Things: The First Shadow
The 2025 Tony Awards winners are being announced in a telecast hosted by Cynthia Erivo, and it’s a night in which so many major categories remain tossups. Three musicals — “Maybe Happy Ending,”“Buena Vista Social Club” and “Death Becomes Her” — are tied with the most nominations, with 10 each. The best play frontrunners are an eclectic bunch too: Cole Escola’s crowd-pleasing romp “Oh, Mary!” Branden Jacobs-Jenkins’s Pulitzer Prize-winner “Purpose” and Kimberly Belflower’s “John Proctor Is the Villain,” a reexamination of “The Crucible.”
Hollywood’ invasion of Broadway is reflected in a starry list of acting nominees that includes George Clooney, Sadie Sink, Sarah Snook, Mia Farrow, Daniel Dae Kim, Darren Criss, Bob Odenkirk, Conrad Ricamora and Jonathan Groff. The performance that cut the deepest for Times theater critic Charles McNulty was six-time Tony winner Audra McDonald as Rose in George C. Wolfe’s revival of “Gypsy,” which he called “a harrowing reexamination of the musical through the historical prism of race.”
Here’s how to watch the Tony Awards, but if you can’t, check back here often. This list of winners will be updated in real time Sunday.
Lead actress in a play
WINNER: Sarah Snook, “The Picture of Dorian Gray” Laura Donnelly, “The Hills of California” Mia Farrow, “The Roommate” LaTanya Richardson Jackson, “Purpose” Sadie Sink, “John Proctor Is the Villain”
Original score
WINNER: “Maybe Happy Ending” (music by Will Aronson, lyrics by Will Aronson and Hue Park) “Dead Outlaw” (music and lyrics. by David Yazbek and Erik Della Penna) “Death Becomes Her” (music and lyrics. by Julia Mattison and Noel Carey) “Operation Mincemeat: A New Musical” (music and lyrics by David Cumming, Felix Hagan, Natasha Hodgson and Zoë Roberts) “Real Women Have Curves: The Musical” (music and lyrics by Joy Huerta and Benjamin Velez)
Costume design of a musical
WINNER: Paul Tazewell, “Death Becomes Her” Dede Ayite, “Buena Vista Social Club” Gregg Barnes, “Boop! The Musical” Clint Ramos, “Maybe Happy Ending” Catherine Zuber, “Just in Time”
Costume design of a play
WINNER: Marg Horwell, “The Picture of Dorian Gray” Brenda Abbandandolo, “Good Night, and Good Luck” Rob Howell, “The Hills of California” Holly Pierson, “Oh, Mary!” Brigitte Reiffenstuel, “Stranger Things: The First Shadow”
Scenic design of a musical
WINNER: Dane Laffrey and George Reeve, “Maybe Happy Ending” Rachel Hauck, “Swept Away” Arnulfo Maldonado, “Buena Vista Social Club” Derek McLane, “Death Becomes Her” Derek McLane, “Just in Time”
Scenic design of a play
WINNER: Miriam Buether and 59, “Stranger Things: The First Shadow” Marsha Ginsberg, “English” Rob Howell, “The Hills of California” Marg Horwell and David Bergman, “The Picture of Dorian Gray” Scott Pask, “Good Night, and Good Luck”
Lighting design of a musical
WINNER: Jack Knowles, “Sunset Blvd.” Tyler Micoleau, “Buena Vista Social Club” Scott Zielinski and Ruey Horng Sun, “Floyd Collins” Ben Stanton, “Maybe Happy Ending” Justin Townsend, “Death Becomes Her”
Lighting design of a play
WINNER: Jon Clark, “Stranger Things: The First Shadow” Natasha Chivers, “The Hills of California” Heather Gilbert and David Bengali, “Good Night, and Good Luck” Natasha Katz and Hannah Wasileski, “John Proctor Is the Villain” Nick Schlieper, “The Picture of Dorian Gray”
Choreography
WINNER: Patricia Delgado and Justin Peck, “Buena Vista Social Club” Joshua Bergasse, “Smash” Camille A. Brown, “Gypsy” Christopher Gattelli, “Death Becomes Her” Jerry Mitchell, “Boop! The Musical”
Orchestrations
WINNER: Marco Paguia, “Buena Vista Social Club” Andrew Resnick and Michael Thurber, “Just in Time” Will Aronson, “Maybe Happy Ending” Bruce Coughlin, “Floyd Collins” David Cullen and Andrew Lloyd Webber, “Sunset Blvd.”
Sound design of a musical
WINNER: Jonathan Deans, “Buena Vista Social Club” Adam Fisher, “Sunset Blvd.” Peter Hylenski, “ Just in Time” Peter Hylenski, “Maybe Happy Ending” Dan Moses Schreier, “Floyd Collins”
Sound design of a play
WINNER: Paul Arditti, “Stranger Things: The First Shadow” Palmer Hefferan, “John Proctor Is the Villain” Daniel Kluger, “Good Night, and Good Luck” Nick Powell, “The Hills of California” Clemence Williams, “The Picture of Dorian Gray”
Book of a musical
WINNER: “Maybe Happy Ending,” Will Aronson and Hue Park “Buena Vista Social Club,” Marco Ramirez “Dead Outlaw,” Itamar Moses “Death Becomes Her,” Marco Pennette “Operation Mincemeat: A New Musical,” David Cumming, Felix Hagan, Natasha Hodgson and Zoë Roberts
Musical
“Buena Vista Social Club” “Dead Outlaw” “Death Becomes Her” “Maybe Happy Ending” “Operation Mincemeat: A New Musical”
Play
“English” by Sanaz Toossi “The Hills of California” by Jez Butterworth “John Proctor Is the Villain” by Kimberly Belflower “Oh, Mary!” by Cole Escola “Purpose” by Branden Jacobs-Jenkins
“Floyd Collins” “Gypsy” “Pirates! The Penzance Musical” “Sunset Blvd.”
Lead actor in a play
George Clooney, “Good Night, and Good Luck” Cole Escola, “Oh, Mary!” Jon Michael Hill, “Purpose” Daniel Dae Kim, “Yellow Face” Harry Lennix, “Purpose” Louis McCartney, “Stranger Things: The First Shadow”
Lead actor in a musical
Darren Criss, “Maybe Happy Ending” Andrew Durand, “Dead Outlaw” Tom Francis, “Sunset Blvd.” Jonathan Groff, “Just in Time” James Monroe Iglehart, “A Wonderful World: The Louis Armstrong Musical” Jeremy Jordan, “Floyd Collins”
Natalie Venetia Belcon, “Buena Vista Social Club” Julia Knitel, “Dead Outlaw” Gracie Lawrence, “Just in Time” Justina Machado, “Real Women Have Curves: The Musical” Joy Woods, “Gypsy”
Featured actor in a musical
Brooks Ashmanskas, “Smash” Jeb Brown, “Dead Outlaw” Danny Burstein, “Gypsy” Jak Malone, “Operation Mincemeat: A New Musical” Taylor Trensch, “Floyd Collins”
Featured actress in a play
Tala Ashe, “English” Jessica Hecht, “Eureka Day” Marjan Neshat, “English” Fina Strazza, “John Proctor Is the Villain” Kara Young, “Purpose”
Featured actor in a play
Glenn Davis, “Purpose” Gabriel Ebert, “John Proctor Is the Villain” Francis Jue, “Yellow Face” Bob Odenkirk, “Glengarry Glen Ross” Conrad Ricamora, “Oh, Mary!”
Direction of a play
Knud Adams, “English” Sam Mendes, “The Hills of California” Sam Pinkleton, “Oh, Mary!” Danya Taymor, “John Proctor Is the Villain” Kip Williams, “The Picture of Dorian Gray”
Direction of a musical
Saheem Ali, “Buena Vista Social Club” Michael Arden, “Maybe Happy Ending” David Cromer, “Dead Outlaw” Christopher Gattelli, “Death Becomes Her” Jamie Lloyd, “Sunset Blvd.”
