series

SAN DIEGO — The Dodgers entered the late innings Monday in an unenviable position: trailing the Padres, whose biggest strength is their bullpen.

“When they have a lead they don’t relinquish it too often,” manager Dave Roberts said after the Dodgers’ 1-0 loss Monday. “You know the numbers — when they’re ahead in the seventh inning they don’t lose. You do have to be a little more aggressive and capitalize when you do get those chances.”

Including Monday, the Padres are 20-2 when leading after six innings, 21-1 when leading after seven, and they have a perfect 22-0 record when leading after eight.

Even when Padres closer Mason Miller got off to an uncharacteristically wild start in the ninth inning Monday, the Dodgers failed to capitalize.

He walked Freddie Freeman and Kyle Tucker on nine pitches. And the next three batters — Will Smith, Max Muncy and Andy Pages — all have proven their ability to do damage in clutch moments.

But it was Miller on the mound, a rare reliever who could actually challenge for the Cy Young Award.

“In this kind of series, you know you’re going to have close games,” Freeman said after the game. “And we just couldn’t get it done.”

Miller got out of the jam with a fly out, strikeout and ground ball, and notched his league-leading 15th save.

Shohei Ohtani dives back to first base in the fourth inning.

(Tony Ding / Ap Photo/tony Ding)

“We still had really good at-bats,” Freeman said. “There’s a silver lining to it. Scoring off Mason is going to be really hard to do. It’s going to take one of those kinds of innings where you can maybe walk a couple of guys and get a bloop. Not much squaring up going on against him.

“But we had an opportunity, maybe with him throwing a lot of pitches might make him be down next game. You just try to have little wins.”

The Dodgers could also avoid him by claiming a lead. On Monday, Dodgers starter Yoshinobu Yamamoto held the Padres to three hits and one run — Miguel Andujar’s first-inning homer.

But the Dodgers’ offense, which scored 31 runs in a three-game series against the Angels, only managed four hits off Padres starting pitcher Michael King, and only one in the first five innings.

“You’re trying to cover realistically 30 inches,” Freeman said. “Because you have ball-to-strike pitches — you’ve got backdoor sliders that are starting as balls coming back, you’ve got front-door sinkers for lefties. So it’s not just the whole plate you’re worried about; you’re going to worry about a whole lot of different things. … He had all of it working tonight.”

The Dodgers finally strung some hits together in the sixth. With two outs and Hyeseong Kim on first, Shohei Ohtani beat out a swinging bunt, and the throw from Padres catcher Rodolfo Duran zipped past first base.

Kim, who took off from first on contact, rounded third hard but slammed on the brakes when third base coach Dino Ebel held up the stop sign.

“It’s kind of the timing of it, where [Fernando] Tatis [Jr.] came up with the ball, and Dino’s got to make the decision,” Roberts said. “You don’t know that he’s not going to come up with it clean. At that point in time, to be quite honest, Dino had the best view of the runner coming in, Kim, and where they were at on the field. So it’s one of those things, I’m definitely not going to second guess it.”

Kim was stranded there.

Then in the eighth, he again made it to third on a single from Ohtani with two outs. And again, he got stuck 90 feet away from tying the score.

This question essentially centres on the push by FIA president Mohammed Ben Sulayem to return Formula 1 to a set of engine regulations that are pretty much the same as the era from 2010-13.

We delved into this topic extensively last week. There’s a link to that article below.

Now, as to the specific question, yes, 2013 was pretty boring, or at least the second half of it was.

The season started relatively competitively – Red Bull’s Sebastian Vettel won four of the first 10 grands prix, but Ferrari’s Fernando Alonso, Lotus’ Kimi Raikkonen and Mercedes drivers Nico Rosberg and Lewis Hamilton all won over that period.

But a change to the specification of tyres following a series of blow-outs at the British Grand Prix led to Red Bull dominating and Vettel won the last nine races in a row to clinch a fourth consecutive world title.

The last years of the V8 era, once refuelling was banned at the end of 2009, fluctuated between intensely competitive and, er, not.

The 2010 and 2012 seasons had gripping title fights. In 2010 there were five drivers in the running until the penultimate race, and four mathematically at the last one.

That was the year Ferrari dropped the ball on strategy in Abu Dhabi and threw away the title, letting Red Bull and Vettel in to win their first title.

In 2012, there were seven different winners in the first seven races, and the title fight between Vettel and Alonso went to the final race again.

In 2011, as in 2013, Vettel and Red Bull dominated.

But there were a lot more factors involved in those scenarios than just engines. Tyres, for one. The relative competitiveness of the cars for another.

However, the naturally aspirated era – and especially the years from 1994-2009 when there was refuelling – was notorious for the lack of overtaking on track.

That has certainly increased this year with the new style of “yo-yo racing” brought about by the new hybrid engines.

There are so many issues wrapped up in this engine debate. Some of it may well be people harking back to the past, one they felt was more attractive than what F1 serves up today.

But there is also a cost issue, whether the essence of F1 has been polluted, noise, the changing road-car market place and on and on.

It’s a tight three-way race at the top, with a second helping of “Beef,” which won eight Emmys for its first serving, barely ahead of Richard Gadd’s “Baby Reindeer” follow-up, and a suburban noir with abundant heart from Steven Conrad, the maker of “Patriot.”

Glenn Whipp says, “ ‘DTF St. Louis’ is the standout limited series, a murder mystery in form that’s really about suburban loneliness, particularly the isolation that can cripple middle-aged men.”

While Lorraine Ali calls “Half Man” “the series to watch in this race,” not all of her Buzzy buddies are as enthusiastic: “I fear that ‘Half Man,’ Richard Gadd’s aggressively unpleasant follow-up to ‘Baby Reindeer,’ will get a knee-jerk nomination here,” says Kristen Baldwin, “but that vote would be better spent on PBS’ superb adaptation of ‘The Count of Monte Cristo’ or Riz Ahmed’s ‘Bait.’ ”

Tracy Brown says, “Recent trends suggest this race might come down to voters’ appetites for bleak British miniseries” such as “Half Man,” but “ ‘Adolescence’ co-creator Jack Thorne’s ‘Lord of the Flies’ adaptation was a bit more in my lane so I’ll give it the edge.”

The twice-cooked “Beef” isn’t to all the panelists’ tastes, either. Matt Roush says it “left me cold but probably has a better chance than the streamer’s terrific historical drama ‘Death by Lightning.’ ”

More predictions: Limited / TV movie actor | Limited / TV movie actress

1.“Beef”
2. “Half Man”
3. “DTF St. Louis”
4. “Love Story: John F. Kennedy Jr. and Carolyn Bessette”
5. “All Her Fault”
6. “The Beast in Me”
7. “Bait”
8. “Lord of the Flies””

Los Angeles Times

Lorraine Ali

1. “Half Man”
2. “Bait”
3. “DTF St. Louis”
4. “All Her Fault”
5. “The Beast in Me”

“ ‘Half Man’ is the series to watch in this race, but what should you watch on your screen at home? ‘Bait,’ which follows a struggling British Pakistani actor (Riz Ahmed) as he auditions to become the next James Bond. Is the world ready for a brown Bond? Not really. Hilarity ensues.”

Freelance Critic

Kristen Baldwin

1. “Love Story: John F. Kennedy Jr. and Carolyn Bessette”
2. “Beef”
3. “The Beast in Me”
4. “DTF St. Louis”
5. “All Her Fault”

“I fear that ‘Half Man,’ Richard Gadd’s aggressively unpleasant follow–up to ‘Baby Reindeer,’ will get a knee-jerk nomination here, but that vote would be better spent on PBS’ superb adaptation of ‘The Count of Monte Cristo’ or Riz Ahmed’s ‘Bait,’ a surreal blend of showbiz satire and immigrant-family comedy.”

Los Angeles Times

Tracy Brown

1. “Beef”
2. “DTF St. Louis”
3. “All Her Fault”
4. “Lord of the Flies”
5. “The Beast in Me”

“Recent trends suggest this race might come down to voters’ appetites for bleak British miniseries. I wouldn’t be surprised if ‘Baby Reindeer’ creator Richard Gadd’s ‘Half Man’ is among the nominees, but ‘Adolescence’ co-creator Jack Thorne’s ‘Lord of the Flies’ adaptation was a bit more in my lane so I’ll give it the edge.”

Blavity

Trey Mangum

1. “Half Man”
2. “Beef”
3. “Love Story: John F. Kennedy Jr. and Carolyn Bessette”
4. “All Her Fault”
5. “DTF St. Louis”

“ ‘Love Story’ was the talk of the town when it first premiered, but the last few episodes seemed to have landed softly with the majority of people. I think later entries ‘Beef’ and ‘Half Man’ are immediately dominating conversations, and at the right time.”

TV Insider

Matt Roush

1. “Half Man”
2. “Love Story: John F. Kennedy Jr. and Carolyn Bessette”
3. “Beef”
4. “DTF St. Louis”
5. “All Her Fault”

“Not the strongest field this year, though Richard Gadd’s ‘Half Man’ and Ryan Murphy’s ‘Love Story’ seem unstoppable. The offbeat ‘DTF St. Louis’ might be a spoiler. Season 2 of Netflix’s ‘Beef’ left me cold but probably has a better chance than the streamer’s terrific historical drama ‘Death by Lightning.’ ”

Los Angeles Times

Glenn Whipp

1. “DTF St. Louis”
2. “Beef”
3. “Half Man”
4. “Love Story: John F. Kennedy Jr. and Carolyn Bessette”
5. “All Her Fault”

“ ‘DTF St. Louis’ is the standout limited series, a murder mystery in form that’s really about suburban loneliness, particularly the isolation that can cripple middle-aged men. The cast — Jason Bateman, David Harbour, Linda Cardellini, Richard Jenkins and Joy Sunday — is superb. Emmy noms for all!”

As the Dodgers navigate the ripple effects of a series of recent pitching injuries, they added bullpen depth on Sunday by acquiring left-hander Eric Lauer from the Blue Jays for cash considerations.

The Blue Jays designated Lauer for assignment last week, after a bumpy start to the season. Lauer had yielded a league-leading 11 home runs in eight appearances.

It was a contrast to the far steadier presence he’d provided on the mound last year en route to an American League pennant, when he posted a 3.18 ERA in the regular season and 3.12 in the postseason. Lauer didn’t give up a run against the Dodgers in two World Series appearances, including 4 2/3 innings in Game 3.

To make room on the 40-man roster, the Dodgers transferred right-hander Brusdar Graterol (right shoulder surgery recovery) to the 60-day injured list.

The Dodgers, who had to pivot to a bullpen game Friday when southpaw Blake Snell (left elbow surgery to remove loose bodies) landed on the IL, made a series of bullpen-related roster moves Sunday morning.

They put left-hander Jack Dreyer on the 15-day IL with left shoulder discomfort. Imaging showed “nothing relevant,” other than inflammation, manager Dave Roberts said. The Dodgers hope he’ll be ready to be reinstated after a minimum stint.

“He was warming up yesterday and then felt something in his shoulder, some soreness,” Roberts said. “We just wanted to be proactive.

The team also optioned left-hander Charlie Barnes to triple-A Oklahoma City. And they recalled two fresh relievers, right-handers Paul Gervase and Chayce McDermott.

Rivals has made a comeback and so has Lord Tony Baddingham.

Rivals Season 2 is here with stars teasing that it’s “even better” than before.

Fans couldn’t help but fall in love with the adaptation of late author Jilly Cooper’s Rutshire Chronicles series back in 2024 and thankfully, it’s back for more.

First time around, fans got absorbed into the ruthless battle between ex-Olympian Rupert Campbell-Black (played by Alex Hassell) and media mogul Lord Tony Baddingham (David Tennant).

After plenty of scandal, the 1980s comedy-drama returns and so does Baddingham as he seeks to get his revenge against Rupert and his former employee Declan O’Hara (Aidan Turner).

But what does he intend to do to bring them and their rival television company Venturer to the ground?

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Disney+ is offering a discounted subscription at £3.99 per month for three months when signing up by May 6. This provides cheaper access to hit series like Rivals, Only Murders in the Building and The Bear, plus countless titles from Marvel, Star Wars, Pixar and more.

Where to watch Rivals TV series in the UK

Rivals will be returning to its UK home on Disney Plus for Season 2 where all 12 episodes of the new series will become available.

The lowest price subscription for the streamer is £5.99 per month with adverts, followed by £9.99 for the standard ad-free plan.

Then there is the premium £14.99 per month subscription package which promises ad-free streamer and “top-tier audio/visual quality and offline viewing capabilities”.

As well as Rivals, Disney Plus is also home to an extensive library of other hit shows including The Bear, Grey’s Anatomy, Love Story and The Mandalorian, just to name a few.

So far, only the first three episodes of Rivals Season 2 are currently available to watch on Disney Plus. After this, the next three instalments are going to be released every Friday so episode four will be out on Friday, May 22.

However, as of yet, there is no official release date for the second half of Season 2 which will consist of a further six episodes. The streamer has only revealed that Rivals will be back sometime later this year.

Teasing what fans can expect from the new season, actress Victoria Smurfit said on Lorraine: “We shot 12 episodes, so it meant we could get deeper into the characters.

“We could get funnier, more outrageous, more heartfelt, more love – it’s really juicy, and it’s even better, if that’s possible.”

Rivals season two continues to air every Friday on Disney Plus.

I have always longed to go to Yorkshire.

I was 10 when I first read “All Creatures Great and Small,” devouring each subsequent book that Alf Wight, under the pen name James Herriot, wrote about life as a veterinarian in his beloved Yorkshire Dales. I was a bit older when I encountered Bram Stoker’s “Dracula,” which opens in the seaside town of Whitby, where cliffs overlook the sea in which the ill-fated ship Demeter meets its end. In my teens, I discovered the wild moors and ancient halls of “Jane Eyre” and “Wuthering Heights.” More recently, I have been entranced by the work of Sally Wainwright, whose string of critically acclaimed series — ”Last Tango in Halifax,” “Happy Valley,” “Gentleman Jack” and “Riot Women” — have made her the modern bard of Yorkshire, England.

So when a friend, planning a visit to her daughter at Durham University, proposed I join her for a side trip of our own, I jumped at the chance to travel to a land I knew only through the eyes of others.

The Dales of James Herriot

In mid-April, I joined my friend Nancy in York, a city often mentioned in Yorkshire-based literature. On a sunny Saturday, we took a train to Thirsk, where Herriot, alongside Donald and Brian Sinclair (known in the books as Siegfried and Tristan Farnon) lived and worked in “Skeldale House,” now the World of James Herriot museum.

Lambing season in North Yorkshire.

(Mary McNamara / Los Angeles Times)

The city sprawl quickly gave way to stone-walled fields full of dazzling yellow rape and spring-green grass dotted with sheep and frolicking lambs. April is lambing season, the perfect time to visit Herriot Country. “All young animals are appealing,” he wrote, “but the lamb has been given an unfair share of charm.”

Situated between the North York Moors and Yorkshire Dales national parks, Thirsk (known as Darrowby in the Herriot books) is a market town, organized around a great open plaza in which stands a clock tower that on this day was decorated with rather splendid floral creations by the Thirsk Yarnbombers, in celebration of its 10th anniversary.

Even so, it looks much as it must have when Herriot lived here — modern businesses housed in medieval and Georgian buildings. Surely the Ritz Cinema is the theater Herriot describes as he begins his courtship of Helen Alderson; a blue circle marker proudly declares its date of establishment as a picture house, 1912.

The entrance to the World of James Herriot in Thirsk, North Yorkshire.

(Mary McNamara / Los Angeles Times)

The World of James Herriot museum is a sudden splash of crimson and white signage on an otherwise ordinary, albeit charming, street; at the far end stands St. Mary’s Church, where Herriot married his actual wife, Joan Anderson. When we visited the church later that afternoon, they were cleaning up from a community tea and I spoke with a woman who remembered Herriot and especially his son Jim and daughter Rosie, who were the town vet and doctor, respectively, for many years.

The museum, on the first floor, is a re-creation of “Skeldale House,” down to the pint pot in which Siegfried kept the petty cash and the old central telephone. There’s a display documenting the evolution of the books — originally printed in the UK, beginning in 1972, under different names, until a struggling St. Martin’s Press published two of them with the title “All Creatures Great and Small” and helped turn Herriot into a franchise.

The old central telephone at the World of James Herriot museum in Thirsk.

(Mary McNamara / Los Angeles Times)

Various outbuildings now house a small screening room, where clips from a documentary on Herriot’s life play, as well as a re-creation of the TV studio and set on which the 1978 television series was filmed. The set from the current PBS series, which began in 2020, is in another part of the museum, which also includes an extensive exhibit of historic veterinarian instruments.

As we wandered through the town and the museum, Herriot the man came to life as lyrically as his fiction. A country vet, whose career began before the age of antibiotics and many now-commonplace vaccines, wrote, beginning at age 50, a series of semi-autobiographical novels that would become international bestsellers and launch several films and two series, one of which was filming 35 miles away in Grassington.

He never left the Dales, or stopped being a vet; during his lifetime, fans would line the street outside his practice, waiting for autographs and photos. Twenty years after his death, Thirsk remains both an ordinary Yorkshire town (the only Herriot memorabilia advertised is in the museum gift shop) and an enduring tourist destination. (If you go, may I recommend lunch/tea at Upstairs, Downstairs, where I got a life-changing Yorkshire rarebit with bacon and fried egg as well as a sack of the local sweet, cinder toffee.)

Grassington, North Yorkshire, becomes a film set for “All Creatures Great and Small.”

(Mary McNamara / Los Angeles Times)

Deeper in the Dales, Nancy and I rented a “glamping pod” in Malhamdale. On our way, we stopped in Grassington, where the town was being transformed into Darrowby with period-and-place-appropriate signs, advertisements and community announcements. “Open as usual but dressed for filming” read a sign in the window of the Stripey Badger Bookshop, Coffee Shop and Kitchen.

Filming would take place in two days’ time, so we returned then to see the square come alive with extras in period clothing. Within the crowd of fellow onlookers, controlled by lovely but firm crew members, we watched as a scene between Siegfried (Samuel West) and Tristan (Callum Woodhouse) was filmed outside the Drovers Arms.

A breathtaking view and unique fractured “pavement” at Malham Cove.

(Mary McNamara / Los Angeles Times)

We had chosen Malhamdale because its limestone topography is considered the most stunning of the Dales. And that it most certainly is.

From the village of Malham we hiked to Malham Cove, which rose in near miraculous silver splendor among the sylvan greenery, and then ascended the nearly 500 steps to its top. There, a breathtaking view and unique fractured “pavement” has been used in countless films, including “Harry Potter and the Deathly Hallows” and the 1992 “Wuthering Heights.” We followed the trail to the Gordale Scar, a glorious gorge and waterfall that is also a favorite filming spot, and thence to Janet’s Foss, a woodland waterfall and pool, beside a cave where the queen of the fairies is said to live.

Janet’s Foss, a woodland waterfall and pool.

(Mary McNamara / Los Angeles Times)

After just three days in the Dales, I clearly understood why no amount of money or fame had convinced Herriot and his family to leave.

Dracula town

Windswept Whitby sits on the east coast of Yorkshire, with its back to the North York Moors National Park and its face to the North Sea. It climbs either side of a valley created by the River Esk, as it joins the port where whalers once launched and Captain Cook first commandeered the HMS Endeavour.

On the west side, the street along the harbor is chockablock with venues catering to tourists and daytrippers come to enjoy the pier and small beaches. Families rent crab pots and put their catch in plastic buckets held by delighted children. Atop the cliffs behind, Georgian homes, hotels and guest houses stand in gracious testament to Whitby’s Victorian history as a popular spa town, as it was when Stoker visited in 1890. He stayed in a West Cliff guest house, gazing, as everyone must do, across the harbor where the remains of the 13th century Whitby Abbey dominate the East Cliff.

The harbor at Whitby, North Yorkshire.

(Mary McNamara / Los Angeles Times)

Even under a beaming sun, the ruins, aproned by the graveyard of the nearby Norman church of St. Mary’s, carve a formidable black silhouette against the sky. Beneath are the roofs and cobbled streets of the medieval Old Town, where ancient pubs stand among jewelers specializing in local jet. To reach the abbey, visitors must climb the town’s famous 199 steps that rise along the cliff.

“It is a most noble ruin,” Mina Harker writes in her journal in early chapters of “Dracula.” “Between it and the town there is another church, the parish one, round which is a big graveyard, all full of tombstones. This is to my mind the nicest spot in Whitby, for it lies right over the town, and has a full view of the harbor.”

Here Mina and her friend Lucy Westenra sit among the graves, sketching and talking, later, watching clouds gather for the storm that would bring the Demeter, and Count Dracula, to Whitby. Here too Mina would see, from the West Cliff, her sleepwalking friend half reclining on “our favorite seat” and for a moment “it seemed to me as though something dark stood behind the seat where the white figure shone, and bent over it.”

The remains of Whitby Abbey.

(Mary McNamara / Los Angeles Times)

We visited on a sunny day, and the wind blew hard as we traced Mina and Lucy’s steps through the tombs and along the path past the Abbey toward Robin Hood’s Bay. With its glorious views and picturesque harbor, Whitby is the antithesis of gothic horror. Still, it was here that Stoker, researching another novel, first read of Vlad the Impaler, otherwise known as Dracula, and no doubt heard of the wreck of the Russian ship Dmitry, which had run aground beneath East Cliff five years before his visit.

And so the godfather of modern horror was born.

Brontë Country

It is difficult to imagine a fictional tale more gothic, inspirational and remarkable than that of three brilliant sisters who lived in relative isolation on the edge of the Yorkshire Moors, secretly battling their socially conscripted futures by writing poems and novels that they dared not publish under their own names.

The Brontë Parsonage Museum in Haworth, North Yorkshire.

(Mary McNamara / Los Angeles Times)

Two of those novels — ”Jane Eyre” by Charlotte Brontë and “Wuthering Heights” by Emily Brontë, are still considered masterworks, influencing subsequent generations and endlessly adapted for film and television. (In the ultimate Yorkshire crossover, Wainwright wrote the breathtaking two-part Brontë biopic “To Walk Invisible,” which everyone should see.)

The Brontë Parsonage Museum, and the town of Haworth which it overlooks, is very much a tourist attraction. An information annex, gift shop and public restroom have been added behind it, but once you enter the small garden that stands between the parsonage’s front door and St. Michael and All Angels’ Church, you are in another world.

In 1820, Patrick Brontë, recently appointed incumbent of St. Michael, moved his wife, Maria, and their six children into the parsonage where they all lived for the rest of their natural (albeit in most cases, short) lives. Maria died in 1821; the two older children, Maria and Elizabeth, died four years later after being sent to a typhoid-plagued school Charlotte would pillory as Lowood in “Jane Eyre.”

The museum is meticulously restored to reflect the years that the surviving children — Charlotte, Emily, Anne and Branwell, the only son — were young adults. The dining room table, where the sisters wrote, is strewn with manuscripts, quill pens and tea cups; a bonnet and shawl bedeck a chair in the small kitchen. Patrick had his own study but it is difficult to imagine three women being able to write separate works, never mind classics, in such close quarters. Ironically, only Branwell’s room, papered with sketches and poems, looks like an artist’s refuge.

St. Michael and All Angels’ Church in the town of Haworth.

(Mary McNamara / Los Angeles Times)

Unlike his three sisters, Branwell, his artistic career stunted by alcoholism and an opium addiction, never published. He died of tuberculosis in 1848 at 31.

If any place should be haunted, it is the Brontë parsonage. Shortly after Branwell’s funeral (and just a year after “Wuthering Heights” was published), 30-year-old Emily also died of tuberculosis, expiring on the sofa that stands beside the dining room table. A few months later, after the publication of her second novel, “The Tenant of Wildfell Hall,” Anne, 29, succumbed to the disease in nearby Scarborough, just south of Whitby.

Charlotte, who wrote two more novels after “Jane Eyre,” was the only sister to be celebrated during her lifetime. She married and then died at the parsonage in 1855 at 38 of complications from her first pregnancy. Only Patrick lived to old age — 84 — dying in 1861 in the home where he had served for 41 years.

The Brontë Parsonage Museum in Haworth, North Yorkshire.

(Mary McNamara / Los Angeles Times)

But it is not a sad house; instead visitors are left to wonder at the genius, resolution and audacity that roiled the quiet rooms and halls where the sisters secretly wrote and sent out their manuscripts, all initially under the the names of Currer (Charlotte), Ellis (Emily) and Acton (Anne) Bell.

The steeply descending main street of Haworth is filled with tea shops, pubs and stores clearly dedicated to pleasing Brontë pilgrims, but its basic form, including the original stationery store where the sisters once bought their paper, remains the same.

As do the moors that stretch behind the parsonage. On a walk to the Brontë Waterfall (more like a small but still lovely rill) and Top Withens, the ruin of a 16th century farmhouse believed to have inspired “Wuthering Heights,” the wild silence and sweeping vistas are even more transporting than the parsonage. One imagines not the ghost of Cathy or Heathcliff, but a trio of women, very much alive and striding through the heather, their minds alight with the stories they would tell, set among similar terrain.

Wainwright’s Way

Our final accommodation on this literary sojourn was Holdsworth House, a manor hotel near Halifax where screenwriter Wainwright and her casts often stay during filming, and where Alan (Derek Jacobi) and Celia (Anne Reid) were married in “Last Tango in Halifax.”

Holdsworth House, a manor hotel near Halifax.

(Mary McNamara / Los Angeles Times)

With creaking floors, fireplaces, a first-class restaurant, mullioned windows and a lovely garden, Holdsworth House would be glorious even without its famous connections (including a 1964 stay by the Beatles). Plans for at least two weddings were being discussed by staff during our sojourn.

On our way there, we stopped in Heptonstall, a tiny town above Hebden Bridge, where Sylvia Plath is buried in the St. Thomas A’ Becket churchyard. Her husband, Ted Hughes, was born in the nearby town of Mytholmroyd and though they were estranged at the time of her death, he was her next of kin and chose the site, and the stone, on which the poet is identified as Sylvia Plath Hughes above an epitaph that reads: “Even amidst fierce flames, the golden lotus can be planted.”

Heptonstall, a tiny town above Hebden Bridge, where Sylvia Plath is buried in the St. Thomas A’ Becket churchyard.

(Mary McNamara / Los Angeles Times)

There are no signs directing visitors to Plath’s resting place; we relied on Apple Maps and my memory of a brief glimpse of it in Wainwright’s “Happy Valley” (Becky, the daughter of main character Catherine Cawood [Sarah Lancashire], is buried nearby). Looking for the piles of pens that once adorned Plath’s grave didn’t help; it is now blanketed in planted flowers. A few pens have been left on the headstone, which has been replaced at least once; generations of fans have attempted to obliterate “Hughes.”

Down the hill in Hebden Bridge, Wainwright’s world comes miraculously to life — the canals with their longboats, on which Catherine battled Tommy Lee Royce (James Norton); the Albert pub which proudly announces on a placard that it is the Duke of Wellington in “Riot Women”; even the public car park where Alan had his car stolen while meeting Celia for the first time in “Last Tango.”

The canal at Hebden Bridge.

(Mary McNamara / Los Angeles Times)

While driving around Hebden Bridge and towns surrounding nearby Halifax, I more than once imagined I was Catherine Cawood and marveled at Wainwright’s loyalty to this land, its cities, towns, farms and moors. Her series are inevitably female-centric and like the Brontës, who wrote 200 years and a few miles away, her work excavates the drama of daily life and the tension between good and evil that sings below any surface.

The sisters, I believe, would be very proud.

KYLIE MINOGUE and Jason Donovan’s romance defined a generation, and the couple broke hearts around the world when they split in 1989.

Now fans are set for a nostalgia overload as private footage of their time together has been unearthed.

It will be shown in Kylie’s new three-part Netflix series, which is set to be released on May 20.

The self-shot footage includes videos of the couple on holiday together before Kylie made it big as a pop star.

The pair, who met while playing Scott and Charlene in Aussie soap Neighbours, dated for three years.

Admitting she had no idea that the clips existed until Netflix bosses dug them out of the archive, Kylie said: “I was like… ‘What?!’

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“This was going back to the days where people only had a camera if they went on holiday. I imagine it was quite an effort to find that.

“When I saw that footage for the first time, my heart swelled. I thought, ‘Oh my God, we were just babies’.

“That brought back tidal waves of nostalgia, emotion and a lot of love.”

Jason, who has remained good friends with Kylie, also contributes to the TV special by talking about their romance – both on and off-screen.

Edwards’ 36 points give Minnesota 114-109 win and tie the Western Conference semifinals 2-2 against San Antonio Spurs.

Anthony Edwards scored 16 of his 36 points in the fourth ‌quarter and the Minnesota Timberwolves took advantage of Victor Wembanyama’s ejection to post a 114-109 win over the San Antonio Spurs.

The Timberwolves’ win on Sunday ⁠night in Minneapolis tied the Western Conference ⁠second-round series at two games apiece.

Naz Reid contributed 15 points and nine rebounds off the bench for Minnesota. He also took an elbow from Wembanyama into his chin on the play in which the Spurs’ star was ejected in the second quarter.

Jaden ⁠McDaniels scored 14 points, Julius Randle scored 12 and Rudy Gobert had 11 points and 13 rebounds for the Timberwolves. Ayo Dosunmu added 10 points for Minnesota.

De’Aaron Fox and reserve Dylan Harper scored 24 points apiece and Stephon Castle added 20 for the Spurs. Devin Vassell tallied 14 points for San Antonio. Wembanyama ⁠had four points, four rebounds and no blocks in 12-plus minutes.

“We never expected them just to go away,” Timberwolves coach Chris Finch said. “They won a game in the Portland series without Wembanyama, so they’re very good, very good team.”

The Spurs trailed by seven before Harper made two free throws with 29.1 seconds left and Julian Champagnie hit two with 20.6 seconds remaining to bring San Antonio within 112-109.

Dosunmu answered with two free throws with 9.8 ‌seconds left as Minnesota closed it out.

“Just small-time plays,” Edwards told reporters when asked how the Timberwolves won Game 4. “Small-time plays win big-time games. That’s what we needed. Diving on the floor, offensive rebounds and it was a great sub by Finchie for putting in Ayo for that last minute-and-a-half.”

Earlier, Wembanyama grabbed a rebound and was trying to protect the ball from two Timberwolves when he turned and unleashed a vicious right elbow into the chin of Reid and was called for a foul with 8:39 left in the first half.

The officiating crew studied views of the play before upgrading the foul to a flagrant 2, which is an automatic ejection. Crew chief Zach Zarba said, “There was windup, impact and follow-through above the neck ⁠of an opponent.”

“I’m glad he [Wembanyama] took matters into his own hands,” Spurs coach Mitch Johnson said. “Not in terms of ⁠hitting Naz Reid, I want to be very clear about that. I’m glad Naz Reid is OK and I didn’t want him to elbow him. But [Wemby’s] going to have to protect himself if no one else does for him. And I think it’s disgusting.”

Minnesota led 60-56 at the break. Edwards scored 18 in the half while Castle led San Antonio with 14 ⁠first-half points.

Despite the loss of Wembanyama, the Spurs scored 20 of the first 28 points in the third quarter and led 76-68 after a basket by Vassell with 4:33 left in the period.

“I thought offensively, we were really doing ⁠a lot of good things,” Finch said. “We lost our way a little bit, and gave them ⁠life.”

San Antonio’s Keldon Johnson drove for a hoop with 21.9 seconds remaining for an 84-80 advantage entering the final stanza.

Fox buried a 3-pointer to give San Antonio a 94-86 lead with 8:51 left in the contest before Edwards scored 12 points during the Timberwolves’ 14-5 run.

“We had a chance to win,” Johnson said. “We didn’t close it out the way we wanted to. … Minnesota made ‌some plays and finished the game.”

Edwards started the burst with a jumper and he soon scored five consecutive points on a short floater and a long straightaway 3-pointer to cut the Minnesota deficit to three with 7:10 remaining. He later canned two free throws with 5:51 left to bring the Timberwolves within ‌97-95 ‌before drilling a 3-pointer 39 seconds later to give Minnesota a one-point edge.

Gobert later delivered a thunderous dunk to give the Timberwolves a 107-101 lead with 1:56 to play.

Minnesota shot 44.7 percent from the field, including 10 of 27 from 3-point range, while the Spurs made 47.7 percent of their attempts and hit just 6 of 26 from behind the arc.

Game 5 is Tuesday in San Antonio.

The Ducks’ second-round playoff showdown with the Vegas Golden Knights has become a best-of-three series.

With a 4-3 victory Sunday before a raucous sold-out crowd at the Honda Center, the Ducks evened the series 2-2 as it heads back to Las Vegas for Game 5 on Tuesday. But it wasn’t easy, with the Golden Knights twice rallying from one-goal deficits, only to see the Ducks answer each time.

And the Ducks’ power play, so lethal in the team’s first-round win over Edmonton and so ineffective in the first three games of this series, finally found a spark, scoring goals in each of the first two periods.

The Ducks’ goals came from Beckett Sennecke, Mikael Granlund, Alex Killorn and Ian Moore. Pavel Dorofeyev, Brett Howden and Tomas Hertl scored for Vegas.

The Ducks were fast and physical in the early going, playing with an urgency they lacked in their Game 3 loss. They also did a better job protecting the puck and that paid off with the team’s first power-play goal of the series 8:43 into the first period.

Vegas had killed 11 penalties against the Ducks and 21 in a row dating back to Game 3 in their first-round series against Utah. But after Dylan Coghlan went off for interference, Sennecke teed up a slap shot from the top of the right circle for his fourth goal of the playoffs, putting the Ducks up 1-0.

The lead didn’t last long, however, with Dorofeyev evening things with a power-play goal of his own about a minute and half later. The goal, on a tip-in, was Dorofeyev’s fifth of the postseason.

Ducks defenseman Ian Moore celebrates with teammates after scoring in the third period of a 4-3 win over the Golden Knights in Game 4 on Sunday at Honda Center.

(Allen J. Schaben / Los Angeles Times)

Granlund put the Ducks back on top less than five minutes before the first intermission, taking a pass from Jeffrey Viel along the left-side boards and getting off a shot as he battled Vegas forward Cole Smith. The puck appeared to strike the blade of Smith’s stick as Viel let it go and that proved fortunate for the Ducks since the deflection fooled defenseman Noah Hanifin and goalie Carter Hart, who both let the bouncing puck tumble through them and into the goal.

That lead didn’t last long, either, with Howden tying things again for Vegas 4:04 into the second period. The goal, on the Golden Knights’ ninth shot, was Howden’s seventh of the playoffs, giving him a share of the NHL lead. Mitch Marner assisted on the first two Vegas goals, giving him a league-best 15 points in 10 postseason games.

However, Killorn scored the Ducks’ second power-play less than two minutes before the second intermission, putting the Ducks in front to stay. Moore doubled the lead 3:43 into the third, lining in a slap shot from well above the right circle.

The two-goal lead matched the largest of the series for the Ducks. Hertl cut that in half with 64 seconds to play after Vegas pulled their goalie for an extra attacker. But the Golden Knights got no closer.

Both teams have split their two games at home. The Golden Knights will have the home-ice advantage — if there is one — over the last three games since two are scheduled in Las Vegas.

Sunday’s win marked the sixth consecutive time the Ducks evened a playoff series it trailed 2-1 after three games.

Vegas played without winger Mark Stone, whose 28 goals were second-most on the team during the regular season. Stone, who had a goal and an assist in the first three games against the Ducks, is the team’s all-time playoff scoring leader with 79 points (39 goals, 40 assists) in 94 games. He sustained an undisclosed injury in the first period of Game 3 and his status for the rest of the series is unclear.

Dodgers left-hander Justin Wrobleski had a chance to slam the door shut on the Braves’ second-inning rally. He fielded Sean Murphy’s comebacker, and set his feet to start a would-be inning-ending double play at second base.

Angled up the mound, however, he sailed the throw, which second baseman Alex Freeland wrangled to at least salvage an out.

The way the Dodgers’ offense has been scuffling, however, their 7-2 loss hinged on that four-run second inning.

“It’s just,one half-inning of being pissed off about it, and then you’ve got to keep going back out there and doing your thing,” said Wrobleski, who was charged with seven runs but gutted out a career-high 8⅔ innings. “So yeah, it’s frustrating. It’s annoying because now I look back at it and, yeah, that’s what cost me from having a good outing.”

With the Dodgers’ rubber-match loss, the Braves took sole possession of the best record in the majors. The Dodgers (24-16) dropped the series to the Braves (28-13) after scoring three or fewer runs in each game.

“I thought we turned the corner in Houston,” manager Dave Roberts said. “We kind of got back down a little bit this series. … It’s hard to articulate. There’s some empty at-bats, there’s some early outs that are not just quality outs. There’s the passing the baton to the next guy — and sometimes it just doesn’t happen.”

After Wrobleski cruised through the first inning in just six pitches — first-pitch flyout, four-pitch strikeout, first-pitch groundout — he had an uncharacteristically long second inning.

After striking out Matt Olson, Wrobleski gave up three straight singles for the Braves’ first run. Michael Harris II bunted into the open space on the third-base side to reach base. The other two hits came from Austin Riley and Eli White, both of whom registered exit velocities of over 108 mph, according to Statcast.

Then came Wrobleski’s high throw.

Wrobleski walked the next batter he faced, No. 9 hitter Jorge Mateo, in four pitches, prompting a visit from pitching coach Mark Prior.

Dodgers pitcher Justin Wrobleski pitched 8⅔ innings against the Braves on Sunday.

(Ronaldo Bolanos / Los Angeles Times)

With the bases loaded and facing Mauricio Dubón, Wrobleski hung an inside slider belt high. Dubón roped a grounder down the left-field line for a bases-clearing double.

The four runs Wrobleski gave up in the second were twice as many as he had allowed in his five previous starts combined.

Then he turned the outing around.

“Just bouncing back after that inning there, and just continuing to attack the zone and do what I do,” Wrobleski said. “I play this game with a long-term view and mindset of, in the long run, what works out, and what I know works. And just continue to do that and see how deep I can get into the game each time out.”

Wrobleski retired 16 straight to get through the seventh inning without further damage. Then in the eighth, he gave up a solo homer to reigning NL Rookie of the Year Drake Baldwin.

Wrobleski was back on the mound again in the ninth, a career first, but he gave up another solo homer, this time to Olson.

Wrobleski exited when his pitch count reached 100, drilling Mike Yastrzemski in the helmet with his final pitch. Wrobleski’s seven strikeouts tied his career high.

Dodgers pitcher Justin Wrobleski reacts after giving up a home run to Atlanta’s Drake Baldwin in the eighth inning Sunday.

(Ronaldo Bolanos / Los Angeles Times)

“For him again to go eight-plus was huge as we look out and have 10 in a row coming,” Roberts said.

The Dodgers’ offense again sputtered. In the sixth, they were handed a gift in the form of three straight two-out walks from starting pitcher Bryce Elder, before he was replaced by reliever Robert Suarez.

Max Muncy then drove a deep fly drive to right. But Braves right fielder Eli White caught it, and held on to it as he slammed into the wall, ending the frame.

“‘Who do I gotta pay off at this point?’” Muncy joked, noting the amount of hard contact he has had lately without results. “Next at-bat, I went up there and just said, ‘I’m going to swing straight up. But if I get in the air, they can’t catch it.’ And it kind of worked.”

More than kind of. Muncy put the Dodgers on the board with a two-run home run in the eighth. But it was too little too late.

“I think everyone’s trying to do a little bit more right now,” Muncy said. “We all know as a group that we’re struggling, and that’s just something that everyone’s trying to take on their own shoulder instead of just passing the baton — myself included. Once we get back to everyone just having really good team at-bats, I think things will start clicking for guys without even thinking about it.

“Just a rough stretch, and we’ve got to get through it.”

Betts on track

Mookie Betts celebrates after hitting a double for the Dodgers against the Cleveland Guardians at Dodger Stadium on March 30.

(Ronaldo Bolanos / Los Angeles Times)

Shortstop Mookie Betts (strained right oblique) is expected to be activated and in the lineup Monday, and the Dodgers will have to open a roster spot for him.

Betts’ injury created an opportunity for Hyeseong Kim, who began the season in triple-A. He entered Monday hitting .301 in 28 games, and in a shortstop platoon with Miguel Rojas, he’s shown off his glove.

“I think that he’s done a much better job of controlling the strike zone,” Roberts said. “He’s got the ability to put the bat on the ball, get hits, steal bases, play good defense. And I think he’s done all that.”

Freeland beat Kim in spring training for an opening day roster spot, but even though he has improved at the plate of late, Freeland entered Sunday with a .672 OPS. The Dodgers also have utility player Santiago Espinal, who has logged 34 plate appearances this season.

“Obviously we’ve got a tough decision,” Roberts said. “All of the options potentially for the corresponding move, these guys have done a great job and served a very good purpose for our club. It’s a good problem in the sense of where we’re at. But it’s a potentially tough conversation.”

Roster move

In order to add bullpen help, the Dodgers called up right-hander Wyatt Mills. Mills was a non-roster invitee in spring training, after signing a minor-league deal with the Dodgers last August. Mills, who underwent Tommy John surgery in July 2023, last pitched in the majors in 2022.

He was the only Dodgers reliever who pitched in Sunday’s game, allowing two hits.

In a corresponding move, the Dodgers optioned Paul Gervase, who threw three innings Saturday in the Dodgers’ 7-2 loss to the Braves, to triple-A Oklahoma City. And they transferred closer Edwin Díaz (elbow surgery) from the 15-day IL to the 60-day in a procedural move. Díaz isn’t expected to return from the IL until after the All-Star break.

In their darkest playoff hour, Lakers coach JJ Redick advised his players during practice Sunday to take the same mental approach for the win-or-go-home Game 4 that they’ve used since the first day of training camp.

The Lakers trail the Oklahoma City Thunder 3-0 in the best-of-seven Western Conference semifinal series. The Lakers must beat the Thunder at Crypto.com Arena on Monday night or their season is over.

“Our first slide that we put up in training camp was [to] win the day,” Redick said. “Today was a quick offensive review and then just going over some stuff defensively. Got to win today and we got to win tomorrow. We know what we’re facing being down 3-0. So it’s just more of a mindset check than anything else.”

No NBA team has ever come back to win a series when trailing 3-0, with those teams holding a 161-0 record.

Those are the long odds the Lakers face.

Redick was asked what his team’s mood was like at practice.

“These guys are good,” he said.

Redick then was asked what his squad has shown him that gives him hope the Lakers can still win.

“Affirmation,” he responded.

Even after losing three games by an average of 19.6 points per game, the Lakers still cling to some hope.

Rui Hachimura has been on what Redick called a “heater” from three-point range. He has made 57.1% of his threes and has shot 54.1% from the floor in the series, averaging 18.3 points per game.

Hachimura thought back to the Lakers’ first-round series against the Houston Rockets and how they had a commanding 3-0 lead. But the Rockets fought back to make the series 3-2 before the Lakers closed out the series.

“It’s crazy, but I think that’s the mentality we need,” Hachimura said. “I think it’s one at a time. I think especially with this type of team, you can’t really make mistakes. … We have to keep the same energy the whole game. That’s the only way we can win. So, we know what we do.”

Lakers star LeBron James plays against the Thunder in Game 3 of the Western Conference semifinals on Saturday.

(Robert Gauthier / Los Angeles Times)

What they need to do is play better in the third quarter. The Lakers have been outscored 92-61 in the third quarter by the Thunder.

“I feel like every game we’re getting closer,” Hachimura said. “Especially last night … apparently we had the best offensive game of the series, even the playoffs. I think we had really good looks, great looks. But I think defensively we, especially in the third quarter, we kind of slowed down. I don’t know [if] we got burned out or we got tired, whatever.

“So, I think our focus is like how we play in the first half we have to do in the whole game. … That’s going to be our goal.”

The Lakers have managed to slow down Thunder star Shai Gilgeous-Alexander by having Marcus Smart guard him and putting constant double teams on the reigning NBA most valuable player.

Gilgeous-Alexander is averaging 21.0 points per game in the series, far below the 31.1 points he averaged during the regular season. He’s averaging 5.7 assists per game, which is below his 6.6 during the regular season, and he’s shooting 45.8%, which is below his 55.3% for the season. He’s averaging four turnovers in the series as well.

But Chet Holmgren, who is averaging a double-double in the series at 21.3 points per game and 10.0 rebounds, has been a handful for the Lakers. Ajay Mitchell is averaging 20.7 points per game and 6.6 assists.

That’s why the Lakers are on the verge of seeing their season end. The Lakers have faced adversity all season, but Game 4 will be the ultimate test.

“Being on the Lakers, you feel like your back’s against the wall every game,” Redick said. “So I think the whole season has prepared us to be in a position where we’re in the second round of the Western Conference and being in the mix with a great basketball team.”

I swear, if Luka Doncic was playing, this second-round series against the Oklahoma City Thunder would be going differently.

The Lakers wouldn’t be losing …

… second halves by so much.

But if his hamstring allowed their offensive engine to drive, the offense might not be humming. But the Lakers could probably keep it running.

They might not be keeping pace, but with the league’s leading scorer contributing, the gap wouldn’t be a year wide by every game’s end.

The Lakers really miss Doncic. Duh.

But it’s not only because, without him, they’re stuck reliving a recurring nightmare; in all three games, the Lakers have played Oklahoma City tough in the first half, including taking the lead into halftime in Games 2 and 3, only for it to be yanked away.

It’s also because they’re also losing data points on the scoreboard going into a pivotal offseason.

This whole Western Conference semifinal series against these defending champions has been a lose-lose proposition for the Lakers, who are now down 3-0 and staring into the elimination abyss in Game 4 on Monday.

But throw in the 33.5 points per game Doncic averaged this season, and the Lakers don’t get outscored by a combined 54 points after halftime.

Calculate for Doncic’s career 30.9 points per playoff game, and let’s assume their high-water mark would surely eclipse Saturday’s tally in their 131-108 Game 3 loss at Crypto.com Arena.

For whatever that’s worth.

Which is little compared to what else the Lakers miss with Doncic on the bench, nursing the Grade 2 hamstring strain he suffered on April 2 in Oklahoma City.

Lakers forward LeBron James, sliding backward across the baseline, looks for a foul call on a missed layup during Game 3 against the Thunder.

(Robert Gauthier / Los Angeles Times)

For the Lakers, this end-of-the-road series is most valuable as an evaluation period for next season. It’s a barometer reading: You are here. The Thunder are there.

The goal now is to build a team around Doncic that could conceivably keep pace with Oklahoma City, and so they’re evaluating who will help do that if they come along for the ride next year.

But the Lakers are doing these playoff measurements without Doncic on the court. They’re test-driving the wrong car toward vacation.

Doncic can expect a postcard in the mail: Wish you were there.

So does he, of course.

“It’s very frustrating,” Doncic said between Games 1 and 2, standing with his hands in his pockets, pained to report that he wasn’t close to returning, five weeks into his eight-week return-to-work timeline.

“I don’t think people understand how frustrating it is. All I wanna do is play basketball, especially this time. It’s the best time to play basketball. It’s very frustrating seeing what my team is doing. I’m very proud of them. It’s been very tough, to, just to sit and watch them play.”

He got to see the Lakers upset the Houston Rockets in a six-game, first-round series without him and, for four games, Austin Reaves — who is averaging 18.7 points and shooting 40% from the floor and 25% from three-point range this series, having become a higher priority of the Thunder’s physical defense without having to deal with Doncic.

On Saturday, Doncic had to watch another lead — and with it, another opportunity to steal a game — disappear as if by a cruel magic trick. As time wore down, Doncic sat on the bench next to Reaves, staring blankly, hands folded in his lap, like so many Lakers fans at the arena.

The Lakers’ latest deflating loss could have used Doncic’s energy,his showmanship, his fire. He’s among the league-leaders in that, too.

“Look, yeah, when you have the league’s leading scorer out there – if he was – it definitely changes the dynamic of a team,” said guard Luke Kennard, who scored 13 of his series-high 18 points in the first half Saturday.

“Obviously, we miss him. And we know he’s working his butt off right now [to return to play] … but yeah, I mean, he would definitely change it for us. But right now, he’s not.”

Kennard is right, of course. Things would be different if Doncic was out there dealing.

Not that different.

But the Lakers at least wouldn’t be running out of gas so far from getting home every game, and they’d also have a better idea of how much farther they have to go.

TV bosses of Celebrity Traitors are in fear of leaks of the line-up being exposed they have no taken extra steps to avoid this happening ahead of the upcoming series

TV bosses of Celebrity Traitors are taking no chances when it comes to keeping secrets of the show for the upcoming series under wraps.

According to reports, bosses at Studio Lambert have now put locks on the doors of the editing suite. But that’s not all. Bosses have also “banned” staff from talking about the nature of the BBC programme outside of the studio building.

A TV insider reportedly said: “They’re saying it’s become like The Masked Singer set-up, which is shrouded in secrecy with sealed production rooms.”

The source added to The Sun: “Only a few people are allowed in and out.”

This comes after it was reported that Hollywood actor Tom Hiddleston had signed up for the show but was forced to pull out at the last minute.

Earlier this month, a few names were confirmed for the second series. This included Love Island host Maya Jama, Hollywood actor Richard E. Grant, Jerry Hall, presenter and comedian Romesh Ranganathan and EastEnders star Ross Kemp.

The stars were spotted heading to the Scottish castle.

The celebrities will donate their winnings of £100,000 to their chosen charities. Filming is underway but the show will not air until later this year.

Tom, who is best known for his roles in Steven Spielberg’s War Horse, has been vocal about his love for the show. According to The Sun, his film commitments did not allow him to commit to the reality TV game show.

He recently said in an interview on BBC Radio 2: “I mean the celebrity one would be amazing. I think the whole show, the format is just the most ingenious thing, isn’t it? It’s completely compulsive. Maybe the best television I’ve ever seen.”

He added: “I’d like to be a faithful because then you can play detective, right? And you know that your conscience is clean and your heart is pure, and you’re just watching and trying to figure people out.”

Host Claudia Winkleman recently revealed that she has been told on how to spot a traitor in the mix. In an exclusive chat with The Mirror she said: “Stephen said at the last round table ‘Shall we just look at who is tired?’ because if you are a Traitor you go to bed later than everyone else.”

She added: “At that point, Jonathan’s face was slumped, Alan was yawning and Cat was asleep. And someone went: ‘No, no. You have to come at it from a different way.’ I was like ‘He has just said it’.”

The Mirror contacted the BBC for a comment.

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

Taylor Sheridan’s “Yellowstone” universe, the sprawling neo-western TV franchise that chronicles the embattled Dutton family across time and locations, continues its aggressive expansion on screen with next week’s arrival of “Dutton Ranch.”

Premiering May 15 on Paramount+, the series continues the story of Beth Dutton (Kelly Reilly) and Rip Wheeler (Cole Hauser) — she’s the daughter of the late John Dutton (Kevin Costner), while he’s John’s longtime ranch foreman and fixer — as they migrate their passionate and unwavering love from Montana to South Texas to build a new life. The new series picks up about a year after the events that closed out the mothership series — namely, the selling of Yellowstone Ranch. And as you might expect, it doesn’t take long for them to make new enemies in their efforts to keep their new ranch operating.

Christina Alexandra Voros, who is an executive producer and director on the series, stopped by Guest Spot to talk about what sets “Dutton Ranch” apart from its parent show.

Also in this week’s Screen Gab, our recommendations include the return of a classic Cartoon Network series and a new addition to the growing microdrama landscape. And wait. Did you hear “The Bear” released a special episode? Let us tell you about it.

Scroll down and stream on. See you next week.

— Yvonne Villarreal

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Recommendations from the film and TV experts at The Times

Mordecai, a blue jay who works at the park, in “Regular Show: Lost Tapes.”

(Cartoon Network)

“Regular Show: The Lost Tapes” (Cartoon Network )

Nearly a decade after “Regular Show” flashed into history with a metafictional battle for the fate of the universe, J.G. Quintel is restoring his cult-beloved cartoon series to life, with its cast and creatives back in place. (Following the “Gumball” revival, these are great days for old-school CN fans.) A surreal hardly workplace comedy, it’s set in a city park (even when, in the last season, the park was hijacked into a tree-shaped space station), where the characters — a blue jay, a raccoon, a lollipop man, a Yeti, a muscular little green monster, a video-game ghost with a hand growing out of its body-head and a walking gumball machine, who runs things — get into scrapes as strange as that cast list might suggest. As the original series ended 25 years into the future, “The Lost Tapes” no doubt indicates a rewind — VHS is the preferred format of this crew — into an earlier world we can regard as the present. Though what, after all, is time to a cartoon? (The show premieres Monday on Cartoon Network, and will come to Hulu and HBO Max later in the year.) — Robert Lloyd

Eric C. Lynch, Brittney Jefferson and Jenna Nolen in a scene from “Screen Time.”

(Liliane Lathan)

“Screen Time” (TikTok, PineDrama)

When word hit that Issa Rae’s Hoorae Media was set to premiere its first microdrama series, which are essentially super-short TV shows shot for smartphones, it felt like it was finally time for me to see what this format on the rise is all about. “Screen Time” begins with a double-date movie night that goes off the rails after a mysterious figure hijacks the TV and sends two couples — Danielle (Brittney Jefferson of “Rap Sh!t”) and Marcus (Eric C. Lynch of “Queen Sugar”); and James (Xavier Avila of “Á La Carte”) and Olivia (Jasmine Luv of “Tell It Like a Woman”) — on a tailspin as they’re forced to confess their secrets or risk their online footprint being made public. It’s a fun and ridiculous ride, made all the more entertaining when you scroll the comments for a full communal experience. It’ll have you doing an inventory on your phone’s contents, if you’re not busy unplugging any nearby virtual assistants while questioning what’s up with Marcus. There are 27 episodes now available to watch, with each clocking in at roughly a minute and flowing into the next. (For a bit of comparison, the viral “Who TF Did I Marry?” TikTok series by Reesa Teesa, which held me hostage in 2024, had about 50 videos, with many lasting around 10 minutes. But that was real-life drama.) Of course, Rae knows something about making online content stand out. Long before “Insecure” made her an in-demand storyteller in TV and film, Rae broke through with her YouTube series “The Mis-Adventures of Awkward Black Girl.” The next episode drop arrives on May 22. — Y.V.

Catch up

Jon Bernthal as Michael “Mikey” Berzatto and Ebon Moss-Bachrach as Richard “Richie” Jerimovich in a stand-alone episode of “The Bear” titled “Gary.”

(FX)

Everything you need to know about the film or TV series everyone’s talking about

“Dutton Ranch” isn’t the only show spinning off family dynamics in new places. “The Bear” made a surprise episode drop earlier this week. Titled “Gary,” the stand-alone episode — listed on Hulu separate from the main show and not considered part of a season — is a one-hour flashback that mostly functions as a prequel. It follows Richie (Ebon Moss-Bachrach) as he sets out on a work trip to Gary, Ind., with Mikey (Jon Bernthal).

Though not biologically related, the pair are best friends who consider each other family of the “cousin” variety. And they’re tasked with running an errand for cousin Jimmy (Oliver Platt) to deliver a box whose contents neither knows. Moss-Bachrach and Bernthal, who have been friends since 2003, co-wrote the episode. And TV critic Robert Lloyd had this to say about the pair’s collaboration here: “One senses that as writers, they’ve built themselves a playground to act in; both are phenomenal.”

It’s also worth noting that, a day after the episode’s release, FX confirmed the Emmy-winning series is coming to an end next month. Fans questioned the show’s fate when the fourth season concluded with its tortured but deeply ambitious head chef Carmy Berzatto (Jeremy Allen White) announcing he planned to leave the restaurant. So, yes, chef: When “The Bear” returns on June 25 for it’s fifth season, it will be the series’ last.

Guest Spot

A weekly chat with actors, writers, directors and more about what they’re working on — and what they’re watching

(Emerson Miller / Paramount+)

A pair of “Yellowstone” siblings are keeping television screens supplied with Dutton drama. After “Marshals,” the CBS procedural that follows Kayce Dutton (Luke Grimes) as he leaves ranch life to join an elite U.S. Marshals unit in Montana, became runaway hit for the network when it premiered earlier this year, quickly earning a Season 2 renewal, the fictional character’s sister, Beth (Reilly), is poised for her spin-off debut. Joined by her husband Rip (Hauser) and their surrogate son Carter (Fin Little), the trio relocate to South Texas to escape the ghosts of the Yellowstone ranch and build a new life in “Dutton Ranch.” Managing a new 7,000-acre property, they encounter new friends (a compassionate veterinarian played by Ed Harris) and foes (a rival rancher played by Annette Bening). The nine-episode series premieres with two episodes on May 15. Ahead of the show’s launch, reports surfaced that Chad Feehan, the show’s creator and showrunner, would not return for Season 2. I spoke with Voros, a longtime collaborator of Sheridan, about how the new series is different from the mothership, whether its central couple parallels the epic love story featured in “The Madison” and the show’s she’s been watching. — Y.V.

How is “Dutton Ranch” different from “Yellowstone”?

“Yellowstone” was entirely about a family holding on to the legacy of a place, and “Dutton Ranch” is entirely about building a new legacy. From a spiritual sense, what is driving these characters is similar — it is the bond to family, it is protection of each other. But the landscape has changed. In many ways, what was about land in the mothership has alchemized into being about family in “Dutton Ranch” because that’s what is left. The land that has brought them to their knees in war for generations is no longer something that burdens them, but they are tasked with building a new life and protecting that new life that they have built.

What is it about Beth and Rip that struck a chord with “Yellowstone” viewers? And why do you think they are well–suited to stretch this TV universe?

Everyone loves a good love story and everyone loves an imperfect hero. When two people find each other and complete each other in a way that is both untraditional and heroic and romantic, it’s hard not to fall in love with them — and it’s hard to not want to fight for them and want to see them succeed. I’ve been with “Yellowstone” since the first season, and I remember very clearly being out there in Montana, making this crazy, big, ambitious TV show. And I remember, the next year, no one could go out to a restaurant in town without being accosted. Then the next year, there were Rip and Beth costumes at the store for Halloween. It takes a very special kind of actor to be able to carry that story and that character forward and to keep evolving, and to not become a caricature of themselves, but to grow not just the fictional person, but to also grow as an artist, to continue breathing life into that character. And I think Kelly and Cole have done so with with such grace and such a profound commitment to each other and to the show and to storytelling. They’re both EPs this season, and it’s so well-earned. It’s not just on face value. They have been in the trenches from the very beginning, really fighting for and protecting themselves and the DNA of the series.

I know, in theory, Taylor’s other series that you worked on, “The Madison,” is not in the same fictional universe. But at the heart of that series is this epic, once-in-a-lifetime romance. Do you see parallels? Do you think Preston (Kurt Russell), whose character loved visiting Montana, and Rip would have ever crossed paths? Would they have liked each other?

They would have enjoyed a beer together if they stumbled into each other at the same bar. I think the pursuits that feed their souls are different. Beth and Stacy would have ultimately gotten along after probably some kind of caustic series of remarks at the same bar.

I think there’s something about enduring love that is in both of those relationships. There are parallels in terms of the secrets that people carry, not necessarily nefarious ones, but sides of yourself that you don’t always see. I will say, Rip and Beth understand all the facets of each other in a way that is different from Stacy and Preston. The love story of “The Madison” is about two people who share everything but this one thing. Rip and Beth’s characters have also known each other since they were teenagers, and they have experienced most of each other’s lives together. If you look at Taylor’s writing, and maybe this comes from his own love story, he loves writing these strong romances, whether it’s Rip and Beth or Stacy and Preston. There are these grounding relationships that are formed by these volatile people, and it is fascinating to watch, and I think people find something familiar in them.

Ed Harris as Everett McKinney and Annette Bening as Beulah Jackson in “Dutton Ranch.”

(Emerson Miller / Paramount+)

The cast in the Sheridan TV universe are all pros. You’re also working with some major screen heavyweights — Kevin Costner, Helen Mirren, Harrison Ford, Michelle Pfeiffer, etc. In “Dutton Ranch,” you have Annette Bening and Ed Harris. What was the pinch-me moment?

I don’t even know where to start. Ed came into my office to chat at the very beginning, before we started prep. I just froze for a second; I lost my ability to speak like a normal human being. You have to forget that they are who they are in the beginning until you settle into a routine, otherwise you would be too awe-inspired to really do anything productive with your day. I feel so spoiled by the caliber of artists that I’ve had the opportunity to work with. I’m working with Sam Jackson right now on “Frisco King.” I look at the work that I’ve done with Michelle and Kurt, then Annette and Ed on this — it’s such an honor that artists of that caliber are excited to come play in these worlds. Everyday on set with Annette and Ed makes me a wiser director, makes me a smarter human being.

It was recently reported that Chad Feehan, the series co-creator, departed the series as showrunner. What was your collaboration with him like? And how do you think he handled setting the foundation for this series?

Writing a spin-off to “Yellowstone” comes with a tremendous amount of responsibility and a tremendous amount of opportunity. It’s a gift to be able to work with characters like Rip and Beth, and I think Chad did a wonderful job creating a world of characters for them to go toe to toe with in the Jacksons. The original DNA of the No. 1s on our call sheet was always there, but they are entering a new path and a new part of their own journey and worthy adversaries were needed.

OK, before I let you go, what have you watched recently that you are recommending to everyone you know?

“The Beast in Me” [Netflix], I thought was unbelievable. It’s not the kind of thing that I normally watch. I just finished watching “Imperfect Women” [Hulu]. I was so taken by the performances in both of those shows. I love “Hacks” [HBO Max], I love “Shrinking” [Apple TV]. I balance my dark thriller with comedy.

ICYMI

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Sir David Attenborough will narrate Blue Planet III when it hits the screen on BBC1 this autumn. The veteran broadcaster, who celebrates his 100th birthday today, has already recorded his voice-over for the six-part series, which is returning for a third outing 25 years after the first one aired.

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In 2017, the Blue Planet II sequel galvanised a huge campaign to rid the sea of single use plastic, with Sir David even taking to the stage at the Glastonbury Festival to hammer home the point.

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Where Blue Planet II exposed the threats to the world’s oceans, Blue Planet III aims to explore stories of adaptation and resilience, showing both hope and recovery. The first five episodes will focus on the planet’s five key underwater habitats: Tropical Seas; Open Ocean; Seasonal Seas; Polar Waters; and The Deep. As is now traditional, the sixth and final episode, Future Seas, will turn to the issue of conservation and examine what further changes must be made.

Jonny Keeling, head of BBC Studios’ Natural History Unit, said they were thrilled to have the world-famous naturalist take the lead on the latest landmark programme to address the issue of our oceans.

“We are so excited to have David narrate this new blockbuster series,” he said. “It’s full of never-before-seen animal behaviour, new locations, new science, and heartfelt storytelling. David is the perfect voice to inspire audiences across the globe to love, understand and protect the oceans.”

BBC specialist factual boss Jack Bootle, added: “I’m thrilled that David is taking the helm of Blue Planet once again. His extraordinary talent for storytelling has shaped the way generations of audiences understand and connect with the natural world, and his voice remains synonymous with the very best of the BBC’s natural history output. I’m absolutely delighted that he’ll be once more bringing his unique skill and authority to Blue Planet III. ”

Expert oceanographer Dr Phillip Sexton, who is an academic consultant on the upcoming series, said that this third run would build on the ground-breaking legacy of the last two, and “offer rays of hope” when it comes to further saving the planet.

“Blue Planet II catapulted issues surrounding our oceans’ health into the public consciousness and demonstrably changed people’s attitudes and behaviour with regard to our oceans,” Dr Sexton explained. “Underpinned by breakthroughs in marine science and cutting-edge technology, this new series will transform our view of what is possible for life on Earth and offer rays of hope for us to conserve the ecological wonders that lie beneath the waves.”

The series will make new breakthroughs in underwater film-making thanks to a “whole new generation” of camera technology, to reveal brand new and previously untold stories. It will build on the legacy of the previous two series to reveal brand new and untold stories from magical underwater worlds using new technology including splash drones and long-term remote underwater cameras.

Blue Planet III was announced by Liz Bonnin and Steve Backshall at an event held at the Royal Albert Hall last night to mark Sir David’s milestone birthday. The glittering show included music from the BBC Concert Orchestra and many clips showing iconic moments from his programmes over the decades.

Tributes were paid by both King Charles and Prince William, and he was also sent a heartfelt message from Felix Ndagijimana at the Dian Fossey Gorilla Fund Karisoke research centre in Rwanda, giving an update on how they all are doing since his visit there fifty years ago.

Celebrities paying tribute and sending birthday wishes on the night included Chris Packham, Michael Palin, Dame Judi Dench, Chris Martin, Hamza Yassin, Kate Winslet and even Paddington Bear. They were joined by more celebrities interested in conservation work, including Leonardo di Caprio, Cate Blanchett, Nile Rodgers, Phoebe Waller-Bridge, Louis Theroux, Camila Cabello and Alan Titchmarsh.

After many musical performances from the likes of Bastille, Icelandic band Sigur Rós and Sienna Spiro – performing music that has been used in series including Planet Earth – the evening closed with a clip of the presenter in action as Sir David recorded his narration to Blue Planet III, followed by him reading the lyrics from the song What a Wonderful World, accompanied by stunning wildlife footage.

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