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Susanna Reid issued an update to her followers and shared a tribute to one of her Good Morning Britain colleagues.

Susanna Reid has confirmed she will be off-air for several weeks.

The Good Morning Britain presenter, who hosts the ITV daytime show alongside the likes of Richard Madeley and Ed Balls, fronts the programme from Monday to Wednesday.

However, she’s now revealed she won’t be back on screens for a while, with replacements stepping in.

Susanna confirmed that she’d be taking her annual summer break in a message on social media.

Alongside a snap of her in the Good Morning Britain studio wearing comfy slippers, she wrote: “SHOES OFF, OUT OF OFFICE ON! Time for my summer break – but also time to say goodbye to our wonderful Director @stuearl who has been the champion of this programme for a decade. Thank you for everything Stuart.”

Susanna went on: “@edballs and I will be back September 1st after our travels. THANK YOU to our amazing viewers for watching and for contacting us and sharing your views – never a “waste of time” being on this brilliant programme and thanks to everyone on Team.”

Susanna’s ‘waste of time’ comment appeared to reference a moment from the programme on Wednesday, July 22, after an interview with Robert Jenrick.

In an awkward aside, the Reform MP could be heard saying, “Well that was a waste of time” after his interview with Susanna and Ed.

After making light of the moment with her message on social media, Susanna was showered with support, while her co-stars also paid tribute to their colleague.

Kate Garraway wrote: “We’ll miss you both @susannareid100 @edballs and @stuearl – we’ll miss you so much – good luck with your next adventure!!!”

Strictly’s La Voix said: “Pyjamas for me and slippers for you! It’s contagious causal glamour!”

One follower meanwhile commented: “We will miss you. Enjoy your holiday,” as another added: “Love the slippers! Have a fab break, see you in September.”

Another echoed: “Aww going to miss you,, but have a lovely break with your family and friends.”

Susanna’s announcement comes after she took a break from the show earlier this year, teasing a “special project”.

After an extended programme that ran into Lorraine Kelly’s usual ITV slot to provide commentary after Sir Keir Starmer’s resignation speech, Susanna confirmed after the show ended that she was taking a break.

She teased on social media: “BREAKING! At 9.30 this morning the Prime Minister Sir Keir Starmer RESIGNED as Prime Minister live @gmb. ANOTHER resignation at Number 10 in the last DECADE after Cameron, May, Johnson, Truss and Sunak.

“I’m on a special project and will be back @gmb on Monday 6th July, the week that nominations for a new leader open. See you then @itv.”

One person replied: “You will be missed Susanna.” Another said: “Oh it’s never the same when you’re not there!”

Good Morning Britain airs weekdays from 6am on ITV1 and ITVX.

Exploiting racism has been a profitable strategy in Hollywood since the dawn of filmmaking: 111 years ago, D.W. Griffith’s film “The Birth of a Nation” was incredibly popular and influential, while also being so racist that it was considered controversial even in its own day.

The industry saw immediately just how lucrative fear could be. More than a century later, there is always someone in the entertainment media willing to trade in racist tropes for money, as well as an audience ready to receive them.

Two new films, “Citizen Vigilante” and “Run, Fight, Hide: Infidels,” demonstrate that streaming platforms and social media no longer simply distribute controversial content but in fact thrive on content that provokes, polarizes and sustains attention, regardless of the social cost.

Both of these xenophobic and Islamophobic films are being pushed as “anti-woke” vehicles, deliberately engineered to bypass traditional critical reception and capitalize on a fractured media ecosystem. “Citizen Vigilante,” which features an American protagonist killing dark-skinned immigrants and Muslims in an unnamed European setting, was denied a rating certificate by the German government for inciting violence. Yet despite that determination, the film secured global reach through decentralized digital distribution and high-profile promotion from Elon Musk.

Similarly, “Run, Fight, Hide: Infidels” — a campus siege narrative evoking 1980s action film nostalgia that leans heavily into outdated, post-9/11 anxieties — relies on a built-in conservative media apparatus to guarantee financial returns. The film is produced by the conservative media figure Ben Shapiro and the Daily Wire, which he co-founded. It is a sequel to a 2020 film that was their film company’s premiere.

But while promoters of such films frame their work as a brave rebellion, the reality is much more sinister: rehashing 40-year-old tropes while invoking conspiracy theories of Muslims bringing sharia law to America, because outrage is cheap to produce and easy to monetize.

Stories matter. Stories shape how we see one another. They influence what we love, what we celebrate, whom we trust, whom we understand and whom we fear.

Since January, the Muslim Public Affairs Council has documented a sharp escalation in threats and attacks targeting Muslims and Islamic institutions across the United States, including vandalism, shootings, bomb threats, attempted assassinations and physical assaults. These are not isolated incidents. They reflect a broader climate in which dehumanizing representation increasingly manifests as real-world violence.

Entertainment and politics increasingly employ the same tactic as one another, recycling narratives of fear and “otherness” to mobilize audiences, voters and consumers. When political leaders encourage those narratives, as President Trump recently did by amplifying and commenting on a photo of young Muslim American students in hijab, they further normalize the same stereotypes that entertainment companies have learned to monetize.

Yet while the social costs continue to mount, the economic incentives remain firmly intact. “Citizen Vigilante” earned a 93% audience score on Rotten Tomatoes despite receiving just a 6% critics’ score. More tellingly, it quickly climbed to the top of Amazon’s and Apple TV’s paid video-on-demand charts.

And this isn’t just a Muslim and immigrant issue — and it’s not only about who is portrayed on screens, but also who is not. Representation has been backsliding, and audiences are left with fewer opportunities to see the reality and humanity of diverse communities, making them more vulnerable to fear-based narratives.

According to a 2026 report from the nonprofit Define American, which tracks representation across television and film, Latinos account for only 23% of immigrant characters represented on screen, even though they make up more than 40% of the immigrant population in the United States. In 2020, 50% of immigrants on screen were Latino.

The industry’s defense is that whitewashed and xenophobic films reflect audience demand. But the recent research by Define American challenges this assumption. Data show that nuanced, multidimensional storytelling, in which immigrants and minority characters are woven into the fabric of everyday narratives rather than tokenized or villainized, actually leads to greater audience engagement and deeper systemic understanding.

Entertainment doesn’t simply reflect culture; it teaches us who belongs within it. Studios, distributors, streaming platforms and filmmakers all have a responsibility to reject narratives that portray immigrants as enemies and instead embrace stories that reflect the diversity and complexity of our world. At the same time — as with voters — the power ultimately rests with consumers. The choice to demand storytelling that challenges prejudice rather than profits from it belongs to all of us.

Sue Obeidi is the senior vice president of the Muslim Public Affairs Council Hollywood Bureau. Jose Antonio Vargas is the founder of Define American.

The BBC Alba deal means there will still be some live coverage of the Commonwealth Games on free-to-air television in Scotland.

The commentary and presentation will, of course, be predominantly in Gaelic.

A similar deal is in place in Wales. This means there will be some live coverage on the Welsh language broadcaster S4C.

These deals happened because TV rights packages are available to cover many indigenous languages across Commonwealth countries – not just the main language.

The BBC was outbid for live English language rights in the UK by subscription service TNT. Channel 5 later secured a package of two hours of daily recorded highlights.

The Welsh and Gaelic deals ensure there will at least be some free-to-air live coverage.

BBC Alba and S4C are available to all viewers in Scotland and Wales respectively.

But the profile of the TV coverage will, inevitably, still be much lower to that afforded to previous Commonwealth Games in the UK.

The games in 1970, 1986, 2002, 2014 and 2022 got wall-to-wall coverage on BBC One.

The schedule on BBC One is currently dominated by the World Cup and Wimbledon. Major sporting events have the potential to bring large, diverse groups of people together to share memorable moments.

The deals covering BBC Alba and S4C are good news for these channels and inevitably some who do not speak Gaelic or Welsh will watch too.

But how will the scaled down Commonwealth Games fare without high profile live coverage on a major free-to-air channel?

June 26 (UPI) — The Transportation Security Administration on Friday said that it expects to screen roughly 18.7 million travelers at U.S. airports during the July Fourth holiday week that runs from June 30 to July 6.

The agency said it has prepared itself for the traditionally busy week of travel to be even busier, as this July 4 is America’s 250th birthday amid the FIFA World Cup, which has games in 11 U.S. cities next week.

AAA has projected that this year’s week of holiday travel is set to break records, with roughly 72.2 million Americans expected to travel at least 50 miles from their homes — an increase from the 71.8 million that traveled in 2025.

“TSA security checkpoints are fully staffed and prepared to welcome these travelers and handle the large passenger volumes expected during the Fourth of July holiday period,” Ha Nguyen McNeill, a senior TSA official who is performing the duties of the administrator, said in a press release.

“We’ve implemented significant technology enhancements at key airports for the historic FIFA World Cup 2026, as well as for America 250 celebrations across the country,” McNeill said. “TSA is working closely with federal, state and local partners to safeguard the traveling public and manage security for large-scale public events.”

TSA said it expects that Thursday, July 2, will be the busiest travel day next week, with more than 3 million people moving through U.S. airports.

The Top 10 domestic destinations for Americans during the holiday week for July 4 include Seattle, Orlando, Anchorage and Fairbanks in Alaska, New York City, Chicago, Fort Lauderdale, Denver and Boston,

TSA also has prepared for teams, team staffs and fans to travel to the 11 World Cup host cities in the United States.

The 11 cities have some cross-over with the locations most Americans are expected to travel, which include Atlanta, Boston, Dallas, Houston, Kansas City, Los Angeles, Miami, New York/New Jersey, Philadelphia, the San Francisco Bay Area and Seattle.

Donald Gibb, the actor who played the hulking fraternity bro Ogre in “Revenge of the Nerds” and Ray “Tiny” Jackson in “Bloodsport,” has died. He was 71.

Gibb’s son Travis confirmed his father’s death to TMZ on Tuesday evening after he died earlier that day at home in Texas surrounded by family. Gibb, a former professional wrestler under the name “Don Gibb,” succumbed to “health complications,” according to his son.

A statement from the family, provided to People, described Gibb as a father, grandfather, great-grandfather, brother, uncle, friend and actor.

“Known for his larger-than-life presence on screen and his kindness off screen, he brought joy, laughter, and unforgettable memories to countless people throughout his life and career,” the statement said.

“Above all else, Donald treasured his faith and the people he loved,” it continued. “His strength, generosity, and spirit will never be forgotten by those who had the privilege of knowing him personally and by the many fans whose lives he touched over the years.”

“Bloodsport” star Jean-Claude Van Damme remembered Gibb in an Instagram story, posting a photo from 1986 and writing “Rest in peace, my brother.” He also reposted a reel showing himself and Gibb in the 1988 movie.

“Whether he was the lovable brute Ogre in Revenge of the Nerds or the fearless Ray Jackson in Bloodsport, Donald brought a heart as big as his frame to every role,” the caption on the reposted reel said. “Watching him alongside Jean-Claude Van Damme was the ultimate display of brotherhood on screen. In the clip, JCVD asks, ‘What took you so long?’ It’s a bitter-sweet reminder that while he’s gone too soon, his legacy in the martial arts and 80s cinema world is timeless. ‘Anytime, anyplace, anywhere.’”

A representative for Gibb didn’t respond immediately Wednesday to The Times’ request for comment.

Gibb had about 100 credits, including the sequels “Bloodsport” and the movie and TV sequels to “Nerds.”

Born Aug. 4, 1954, Gibb started his career in the early 1980s with uncredited roles in “Any Which Way You Can,” “Stripes” and “Conan the Barbarian.” His TV credits included episodes of “Cheers,” “MacGyver” and “The Young and the Restless.”

He acted into 2011, then tagged on one last credit, for the 2026 movie release “Hands.” According to IMDb, that filmed sometime in 2023 or 2024.