show biz

Some would argue that Downton failed to steal the crown of this classic.

Some things are simply unbeatable. A classic period drama, one as critically acclaimed as it was popular, remains regarded as amongst the finest ever produced — Upstairs, Downstairs.

The family saga charted the lives of the aristocratic Bellamy family and their staff in the early 1900s. Spanning three decades, the programme’s narrative stretched both World Wars and the jazz age through to the Great Depression.

As the quintessential period drama of its era, comparisons between Upstairs, Downstairs and Downton Abbey are inevitable. The BAFTA-winning ITV series established the benchmark for costume dramas with storylines that mirror its successor.

Upstairs, Downstairs came before Downton Abbey by 50 years. Both programmes portray the lives of an aristocratic family and their servants against a backdrop of social and political upheaval in the early 20th century.

They diverge in some major ways though, with the most obvious being Downton Abbey’s production values. The 1970s show looks more understated, a quality that strikes viewers as either nostalgic of off-putting.

Downton’s location is fundamentally more grand. The Bellamy family inhabit a London townhouse, worlds apart from the Crawley family’s lavish country manor which became a character in its own right.

Whilst Downton was famed for its visual spectacle, a share of the audience felt the series occasionally strayed into the melodramatic. In contrast, Upstairs, Downstairs has been likened to theatre due to its more grounded visuals and plot lines.

Fans of both period dramas have invariably come together online to compare the shows and name their favourite.

One person sparked a debate on a Downton Abbey forum by asking: “If you have seen both shows, which show do you think is better?” to which one person simply responded: “Upstairs Downstairs without question.”

“The original Upstairs Downstairs is one of the finest TV programmes ever made,” argued another. “Downton Abbey is a jumped up soap opera.”

Of course it would be remiss not to mention the BBC’s reboot of Upstairs, Downstairs in the 2010s, but that’s a whole ‘nother debate.

Upstairs, Downstairs can be streamed on ITVX.

ALL Saints star Melanie Blatt says taking part in the Strictly Come Dancing Christmas special stripped away her confidence.

The 1990s girl group singer, 50, said she did not feel comfortable in the flowing yellow dress she wore, which she said made her “look like custard”.

Speaking to Good Housekeeping UK she said: “I felt extremely vulnerable.

“It’s taken me 50 years to feel as good as I have ever felt about myself and Strictly stripped it away from me. Nothing dodgy went on — I think they’re on their best behaviour — but I just didn’t feel comfortable in a dress.”

Mum Mel and her professional dance partner Kai Widdrington finished fifth out of six couples after performing an American smooth in the telly extravaganza.

It was won by TV host Scarlett Moffatt and Vito Coppola, who got a perfect 40 score for their cha-cha-cha.

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Despite finishing second from bottom, Mel and Kai scored 36 out of 40 and she was hailed “fabulous” by judges Shirley Ballas and Anton Du Beke.

Mel had been tipped to take part in the full series this autumn but her comments suggest there is no way back.

Yet following her Christmas Day dance on the BBC One show, watched by 7.75million at home, Mel told host Tess Daly: “I really enjoyed it.

In a telling remark, she added: “It’s been amazing yet challenging, getting out of my comfort zone, having to wear a dress, having to look like custard . . . all of these things.”

A source insisted that Mel had taken her own dress which was “styled and adjusted” by the Strictly costume team to her specifications.

They added: “Strictly would never make anyone wear something they felt uncomfortable in.”

Mel, who had five No1 singles with All Saints, revealed last year that she was serving burgers at a North London boozer.

She is no longer in the pub but wants to start a new career in the food industry.

Mel, who performed in All Saints with Shaznay Lewis and sisters Nicole and Natalie Appleton said: “The main thing I want from life is peace and happiness.

“My dream is to do a cookery book or have my own cookery programme, something like ‘Cheeses of the World’. I will make it happen.”

• Mel’s full interview can be read now in April’s Good Housekeeping.

Paramount Skydance is betting its future on its streaming business, as gains at the media and entertainment company’s Paramount+ platform helped boost earnings for the fiscal fourth quarter of 2025.

On Wednesday, Paramount reported $8.1 billion in revenue for the three-month period that ended Dec. 31, up 2% compared to the previous year’s quarter. That was due to growth in its streaming business, which saw a 10% increase in quarterly revenue to $2.2 billion, as well as gains at Paramount’s filmed entertainment segment, which reported revenue of $1.3 billion,an increase of 16% compared to the previous year.

The company’s TV media business, however, had a tougher quarter.

That segment reported revenue of $4.7 billion, down 5% compared to last year, as traditional broadcast networks continue tolose subscribers. Paramount also cited a 10% decrease in advertising, partially due to a drop in political spending and not having the Big 10 championship as it did in 2024.

Paramount reported an operating loss of $339 million, which included $546 million in restructuring and transaction-related costsattributed to its merger with Skydance last year. Diluted losses per share totaled 52 cents, compared to a loss of 33 cents during the prior year.

Chief Executive David Ellison praised the company’s progress under his tenure, noting that investments in the film studio, original series, UFC and tech upgrades to Paramount+’s streaming platform and advertising would build momentum in the coming years.

“It’s been six months, but we really do feel good about the work the team has done to date,” he said during an earnings call with analysts Wednesday afternoon. “You can expect that to accelerate into the future quickly.”

The company said it expects total revenue of $30 billion for 2026, which would mark a 4% increase compared to 2025. Paramount signaled the primary driver of that growth will be its streaming business, though the company also anticipates a boost from its studio segment.

Company executives declined to answer questions on the call about Paramount’s bid to acquire rival Warner Bros. Discovery.

The only mention of the ongoing fight was in Paramount‘s letter to shareholders, which noted that the company was “confident” in its standalone strategy and growth trajectory, but that adding Warner would be an “accelerant to achieving these goals more quickly” and in a way that would be “economically compelling” for Paramount’s shareholders.

Paramount submitted a higher bid Monday offering $31 a share in cash to Warner Bros. Discovery investors. Previously, the offer was $30 a share.

The company also agreed to pay $7 billion to Warner should the deal fail to clear various regulatory hurdles. That was a $2 billion increase. (The previous commitment was $5 billion.)

Paramount reaffirmed that it would cover the $2.8 billion termination fee that Warner would owe Netflix if Warner abandoned its deal with the streamer.

Paramount also said it would pay a so-called ticking fee sooner. Now, the company said it would pay an additional $0.25 per quarter to shareholders after Sept. 30 until a Paramount-Warner transaction closed. It also agreed to cover Warner’s potential $1.5 billion in financing costs associated with a planned debt exchange offer.

Additionally, Paramountsaid it “agreed to an obligation to contribute additional equity funding to the extent needed to support the solvency certificate required by PSKY’s lending banks.” That provision was offered because Warner board members have expressed concerns that Paramount may not be able to round up sufficient financing to close such a gargantuan deal.

But the company’s earnings — and the declines its facing in its own TV business — raised concerns about the potential Warner acquisition, John Conca, analyst at Third Bridge, wrote in an email.

“It is becoming questionable why leadership is aggressively pursuing [Warner], a deal that would effectively double their exposure to dying linear networks while also creating even more massive integration headaches,” he said.

Neve Campbell helped cement the “Scream” franchise’s legacy in the horror genre, which is why stepping away from the sixth movie was a difficult decision.

But it’s one the actor stands by, she told “CBS Mornings” on Tuesday, adding that she “didn’t think I could live with myself walking on set.”

Campbell, the original “Scream” queen, declined to return for the sixth film following a pay dispute.

“I just didn’t feel right. I just knew that my value to this franchise was bigger than what had been offered,” Campbell told the morning show. “For me, I needed to make that choice.”

However, the actor is now back for “Scream 7” after securing a nearly $7-million deal, according to Variety.

The seventh installment is expected to open to a franchise-high $45 million to $50 million in North America this weekend, according to Variety.

But the film’s journey to the big screen wasn’t easy. Melissa Barrera and Jenna Ortega led the sixth movie in lieu of Campbell, both of whom subsequently left the franchise in 2023. Director Christopher Landon also exited the movie shortly after.

Barrera was fired from the seventh film in late 2023 after sharing on social media pro-Palestinian statements regarding the Israel-Hamas war. Ortega then exited the film, citing her conflicting filming schedule for Netflix’s “Wednesday.”

In “Scream 7,” Sidney Prescott is now a mom living a quiet family life; a “pretty bold choice” for the character, Campbell told “CBS Mornings,” “considering what happens to most of the people she loves, but she’s decided not to let her past dictate the way she’s going to live her life now.”

Campbell’s co-stars from the original film, along with fans of the franchise, were quick to voice their support for the actor’s decision in 2022. Matthew Lillard, who starred opposite Campbell, tweeted that the decision was “straight up sexism.”

“When I spoke out about it, it wasn’t really to sort of rally everybody,” Campbell said. “It was really just my truth at the time and the fact that people sort of got behind me, I got lovely support and that was really nice.”

Lauren Chapin, the former child actor best known for portraying Kathleen Anderson in the 1950s series “Father Knows Best,” has died. She was 80.

The actor’s son, Matthew Chapin, announced on Facebook that his mother succumbed to her “long hard fought battle” with cancer after five years. He did not disclose additional details about her death or her condition. He said in his post he is “at a complete loss for words right now.”

“Please keep my sister and family in your thoughts and prayers as we go through this incredibly tough time,” Matthew Chapin added.

Lauren Chapin, a Los Angeles native born on May 23, 1945, began her screen career in the 1950s with a minor role in 1954’s “A Star Is Born” starring Judy Garland and James Mason, appearances in TV including the anthology series “Lux Video Theatre” and the family sitcom “Father Knows Best.”

“Father Knows Best” aired from 1954 to 1960 — bouncing between networks CBS and NBC — and starred Robert Young as the patriarch of the middle-class Anderson family. Chapin’s Kathleen, also “Kathy” and nicknamed “Kitten,” was the youngest of Jim Anderson Sr. (Young) and Margaret Anderson‘s (Jane Wyatt) three children. Her screen siblings were played by Elinor Donahue and Billy Gray.

The Emmy-winning sitcom, which ran for more than 200 episodes over six seasons, comprised the bulk of Chapin’s screen career. Chapin followed up her time on “Father Knows Best” with a single appearance on “General Electric Theater,” and nearly two decades later a role in 1976’s “The Amorous Adventures of Don Quixote and Sancho Panza” and two “Father Knows Best” reunion specials. In 1980, she appeared alongside Gary Coleman in the film “Scout’s Honor.”

She would not return to the screen until the late 2010s, starring as an elderly school bus driver in the YouTube series “School Bus Diaries” from 2016 to 2017, according to IMDb.

Off-screen, Chapin was an evangelist who shared her faith through public speaking, ministry and outreach, according to her website. She also concerned herself with various charitable efforts and work as a talent agent, channeling her experience to guide rising stars, including a young Jennifer Love Hewitt. Chapin’s website notes her accolades, including five Junior Emmy awards for child actress and “Honorable Mayor” titles from Oklahoma, Texas and Florida for her charity work.

In 1989, she penned “Father Knows Best: The Lauren Chapin Story,” which chronicled her time on the beloved sitcom but also illuminated the emotional and sexual abuse she allegedly endured from several family members off-screen. The memoir also concerned itself with Chapin’s post-”Father Know Best” life, including struggles with drug addiction, suicide attempts, troubled marriages and legal trouble.

“Lauren Chapin’s story reminds us that while fame may introduce a person to the world, it is perseverance, honesty, and compassion that define a life well lived,” says the description on Chapin’s website.

She is survived by her son, her daughter Summer and her brother Michael Chapin, according to the Hollywood Reporter.

THE Bachelor Australia star Megan Marx has given an update on her battle with a degenerative brain condition that has left her “grieving” her “unlived life”.

Megan, 36, was diagnosed with rare Spinocerebellar ataxia in 2023 which targets the part of the brain that controls coordination as well as the spinal cord.

There’s currently no cure for the disease, which affects one to five people in every 100,000 and can impact vision, speech and mobility.

In an essay for Mamamia, Megan wrote: “There is a kind of grief that rarely earns a name. It is not the grief of death, nor even the grief that follows a diagnosis. It is the grief of the life we imagined we might live, and the slow recognition that it will not arrive.”

The reality star said the ever-widening gap between her new reality of survival and the hopes and dreams she harboured should be mourned in a bid to stop feelings of shame developing.

She wrote: “The grief of what-if is often waved away. Be realistic, we’re told. Accept what is. But denial carries its own risk.

“If regret is untreated, if it hardens into identity, it becomes corrosive. It ceases to be grief and becomes a creed. That is where the damage quietly deepens.

“Pretending nothing was lost binds us to shame; naming it allows movement. It challenges the belief that worth is measured by productivity, consistency, or visibility. Survival, when understood honestly, is not failure; it is a form of adaptation.”

Megan said she’s stripped away all unnecessary elements of her life to focus on what she can still do.

She remains active, spending time outdoors when she can, camping, windsurfing and walking her dog on the beach.

Creative activities also feed her soul, from playing the guitar to painting and reading and allow her a certain structure.

The star had an important message for other people living with chronic illnesses: “do not let your grief be dismissed.”

She continued: “Do not bypass it for the comfort of others. Mourn what was lost, but remember what is still left of your life. In doing so, you clear space not for fantasy, but for a life that is honest, inhabitable, and still your own.”

Heartbreakingly, Megan said the day will come when she will no longer be able to talk, walk, or swallow.

She also laments how experimental therapies that could help her condition, like stem cell treatments, are far removed from what she can afford.

Despite this, she has ruled out ever crowdfunding.

Selflessly, she wrote: “I am acutely aware that there are people whose need is far more immediate than mine.”

Megan found fame on The Bachelor in 2016, becoming the first contestant to refuse a rose when offered by Richie Strahan.

She said the situation didn’t feel right and she went on to form a relationship with fellow female contestant Tiffany Scanlon.

Speaking afterwards, she said: “I got along with Richie really well, we had great banter… but for me, it was more the environment of the show that wasn’t very conducive to love.”

Following The Bachelor, she appeared on Bachelor in Paradise and The Challenge Australia.

Nexstar Media Group is slashing personnel from its TV stations, including several on-air veterans at Los Angeles outlet KTLA.

Glen Walker and Lu Parker, anchors of KTLA’s late morning and midday newscasts, are out along with meteorologist Mark Kriski, according to people briefed on the moves not authorized to speak publicly.

Kriski had been with KTLA since 1991, while Walker has been at the station’s anchor desk since 2010. Parker joined KTLA in 2005.

A representative for Nexstar said the company does not comment on personnel issues, adding it is “taking steps necessary to compete effectively in this period of unprecedented change.”

The layoffs are part of a company-wide cost reduction across Nexstar’s stations. The Irving, Texas-based media giant, which recently agreed to a $6.2-billion merger with station group Tegna, is looking for savings as traditional TV viewing declines and puts pressure on ad revenue as consumers continue to move to video-streaming platforms.

Television station groups have been lobbying the government to lift restrictions that limit them to 39% coverage of U.S households. They say lifting the cap will enable them to better compete with technology companies that have no such restrictions.

Nexstar is the largest TV station ownership group in the U.S. It also operates the cable network NewsNation, which has been slow to make significant inroads against established channels CNN, Fox News and MSNBC since it launched in 2020.

Nexstar has been chipping away at the staff of its Chicago station WGN, which produces 12 hours of local news daily. A total of 21 people have been cut in recent weeks, including nine reporters and anchors on Monday.

Known locally as “Chicago’s Very Own,” WGN has long been a source of civic pride in the city. Insiders at the station say they have been deluged with emails and texts expressing dismay over Nexstar’s moves, which eliminated a number of staffers with decades of experience and institutional knowledge.

Among those let go is Dean Richards, WGN’s longtime entertainment reporter and critic who has been a fixture at Hollywood press junkets.

At New York’s WPIX, Nexstar eliminated at least three on-air positions, including weekend anchor and reporter John Muller and afternoon anchor Arrianee LeBeau, who covered transit for the morning newscast.

SAG-AFTRA, which represents employees at KTLA and WGN, issued a statement blasting the cuts.

“By laying off journalists across the country, Nexstar is eroding the resources and talent that local communities rely on for trusted news,” SAG-AFTRA President Sean Astin said. “These actions highlight the risks of media consolidation and underscore the urgent need for regulators and the company to prioritize the public interest and the professionals who serve it.

KTLA, WGN and WPIX have been part of Nexstar since 2019, when the company completed its acquisition of Tribune Broadcasting.

Oliver “Power” Grant, the close Wu-Tang Clan affiliate who oversaw the group’s enormously popular Wu Wear fashion line, has died. He was 52.

Grant’s death was confirmed by social media posts from several Wu-Tang members including Method Man, who wrote “Paradise my Brother safe Travels!!” under a post of the two together.

“We couldn’t have done it without him,” GZA wrote in his own post. “Wu wouldn’t have come to fruition without Power. His passing is a profound loss to us all.”

The group members’ posts did not cite a cause of death. The news was first reported by outlets including Okayplayer and Hot 97.

Grant, a childhood friend of Wu-Tang co-founder RZA’s older brother, was a crucial figure in the sprawling New York hip-hop collective’s ascent. Though he was not a performing member of the group, he helped raise capital for early recording sessions and structured Wu-Tang’s finances and record deals — no small feat for a collective with such a vast archipelago of group and solo projects.

“We knew that if a brother got a deal for 150k, he could keep the majority of it, but it also would facilitate and help the other brothers,” he told Passion of the Weiss in 2011. “It was part of our core and movement for us to spread the money around and help brothers eat, without a project out. It was like we were trust fund babies.”

His work set a precedent for autonomy and creative control as hip-hop became a commercial juggernaut in the ’90s.

“Everything that we learned was hard knock life, you figure it out as you go along, and take cues from those that are actively doing things,” he said. “I wasn’t a rapper, but the thrill of being a part of going and where they went, it was the inspiration for how it ended up that lead us all to going back, soaking up what we’d absorbed and coming back with ‘Protect Ya Neck.’”

He was also the driving force behind Wu Wear, the group’s wildly popular fashion line that netted tens of millions in revenue and became a fixture of ’90s hip-hop iconography. The line was later revamped as Wu-Tang Brand, and relaunched as Wu Wear in 2017. He also had cameos as an actor alongside Method Man in the 1998 hip-hop classic “Belly” and 1999’s “Black and White,” and served as an executive producer for the group’s many LPs.

“Every makeup artist has their own style, but it was really important to keep what was passed down,” says Naomi Hibino, the kabuki makeup artist behind director Sang-il Lee’s “Kokuho,” a mesmerizing tale of centuries-old Japanese theatrical tradition told through a lens of friendship, rivalry and the cost of pursuing perfection. Orphaned Kikuo (Ryô Yoshizawa) is taken in by a renowned kabuki actor (Ken Watanabe) and raised alongside his son Shunsuke (Ryûsei Yokohama), as the two devote their lives to mastering the stylized art. Their breakthrough arrives with a performance of Temple Maiden, a dance tracing the love and envy of two maidens who turn into serpents. Together with kabuki hairstylist Tadashi Nishimatsu — Kyoko Toyokawa did the film’s non-performance hair and makeup — Hibino blended faithful Edo era references with visual distinctions between characters. “Shunsuke is from a well-to-do family, so I wanted to give him a vibrant, youthful and also a cute look,” notes Hibino. “The way I imagined Kikuo was to keep it simple, so the simplicity is reflected in the makeup. [In Temple Maiden] it’s really subtle, but the edge of the eye is a little different. I made [Kikuo] look more down-turning.” Hibino applied the white foundation (oshiroi) using methods from the theater, refining it for film to look more “beautiful and delicate.” Hints of pink eye shadow, dark eyeliner, red pigmented eyebrows and crimson lipstick complete the transformation — the next “national treasure” has taken the stage.

THE Pretty Woman star who infamously scolded Julia Roberts in the iconic scene looks very different these days.

Dey Young has made a rare appearance 35 years after starring as a rather snobby saleswomen on Rodeo Drive in the 1990 romantic comedy.

She has appeared in over 100 movies and television programs throughout her career, but is perhaps best known for her Pretty Woman stint, alongside Julia Roberts and Richard Gere.

The actress, who is now 70-years-old, was seen on a leisurely Sunday morning stroll with her pooch by her side.

She and her dog were strolling along the sidewalk in Los Angeles.

Dey looked chic but kept things simple in a red zip-up, black trousers, and a burgundy colored cap. 

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As she walked her dog, which was on a leash, the actress also donned some sunglasses and wore her phone on a lanyard across her body.

In Pretty Woman, Dey’s character works at a swanky shop on Rodeo Drive in Beverly Hills.

Julia Robert’s character of Vivian Ward works as a prostitute and goes shopping with her client’s credit card.

When she walks into Dey’s character’s shop, the saleswoman tells Vivian they don’t have clothes for her.

Vivian later goes shopping elsewhere before returning to the snobby shop to tell them “big mistake” after splashing hundreds of dollars.

Despite having long been in the business, Dey isn’t slowing down.

She currently has two projects in the works.

Dey previously spoke about her Pretty Woman role.

Speaking to Today in 2021, she said, “I never knew that this movie would be as big as it was, or that this scene would be so iconic.

“I really think the reason is that it’s a moment a lot of people can relate to it.”

Before her Pretty Woman stint, Dey had taken on roles in the likes of Rock ‘n’ Roll High School and Strange Behavior.

She wasn’t planning to audition for Pretty Woman until a chance encounter.

“Alan Thicke and I were friends and he invited me to a tennis party,” she said.

“I got paired with up Garry Marshall.

“We ended up winning our match, and that was a really fun thing. At the end of it, Alan told him I was an actress and (Marshall) was like, ‘Oh, really? Well, you know, I think I might have something for you.’”

She then went on to audition for the film, which was in fact originally called 3,000.

The reason the movie was originally titled 3,000, was because that was the amount negotiated for Julia Robert’s character’s rate.

SOME fans across the country have discovered that their tickets to see Harry Styles have been automatically refunded.

The popular artist, 32, announced his latest tour Together, Together last month which will debut new songs from his upcoming album Kiss All The Time. Disco, Occasionally.

In addition to performing 12 shows in Wembley Stadium, Harry had one gig booked at Manchester‘s Co-op Live in March.

However, due to overwhelming demand that couldn’t be met, select tickets to the show have been cancelled and refunded.

Ticketmaster released a statement on the decision to axe the tickets, explaining that some customers managed to purchase tickets they shouldn’t have been able to buy in the first place.

These include many of the £20 tickets which were later resold on other ticket selling sites, and therefore were no longer eligible for use at the venue.

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Ticketmaster explained: “We’re working with the Harry Styles ‘One Night Only’ team to cancel and refund any orders that have violated the rules of sale.

“As all tickets are non-transferable, any tickets listed on unauthorised resale sites are void and will not get fans into the show – so we’re cancelling and refunding these.

“There is also a ticket limit of 2 tickets per person, so any orders above that are being cancelled and refunded.”

The majority of the voided tickets appear to have been sold on Viagogo.

Ticketmaster added: “They [Viagogo] have been asked to stop listing tickets, in line with the artist team’s goal of keeping tickets in the hands of fans for no more than £20 [+ fees].

“While we are cancelling all tickets we find listed there, ultimately Viagogo controls what is on their site – meaning listings can remain even after we’ve cancelled them.”

If you’re hoping to see Harry at the event, your best bet is to keep an eye on Ticketmaster’s wesite.

Though the show is in incredibly high demand, so luck will need to be on your side.

We made it! After this weekend, when the Producers Guild of America and Screen Actors Guild hand out their highly predictive precursors, the final shape of the Oscar race should be (reasonably) clear — and nominees worn out by months of campaigning will be breathing a sigh of relief.

Before I share highlights from this week’s issue, one programming note: This will be my last letter from the editor until our inaugural Cannes issue drops in May. (Don’t worry, I will be plenty busy in the interim catching up on this year’s top Emmy contenders.)

Thanks as always for following along, and may you triumph in your Oscar pool!

Cover story: Rose Byrne

(Ryan Pfluger / For The Times)

Times columnist Mary McNamara and I don’t agree on everything, but we do agree on this: “Damages” deserves to be ranked alongside “Mad Men” and “Breaking Bad” in any discussion of the Golden Age of TV.

That’s thanks in one part to a gripping flash-forward narrative structure now so common it could be considered a cliché, and in another to Glenn Close’s indelible performance as ruthless litigator Patty Hewes. But it’s also a testament to the multifaceted talents of Rose Byrne, who went “toe-to-toe” with Close in what would become her breakthrough role — and then confidently pivoted to projects like “Insidious,” “Bridesmaids” and “Spy.”

“Byrne is something of a creative chameleon, moving easily from drama to comedy to horror, film to television to stage and back again,” McNamara writes in this week’s cover story. “In many ways, her gut-wrenching, darkly funny performance as a woman pushed beyond all endurance in “If I Had Legs I’d Kick You” is a culmination of all the characters she brought to life before it.”

Inside Warner Bros.’ dominant Oscar haul

(Christina House/Los Angeles Times)

Whether you come down on the side of “Sinners” or “One Battle After Another” in the best picture race may be perfect fodder for debate with friends over a few small beers, but for Warner Bros. executives Mike De Luca and Pam Abdy it would be akin to choosing a favorite child. After all, both projects emerged from the pair’s desire, as contributor Gregory Ellwood writes, to make WB “a destination where filmmakers of all varieties, including auteurs, bring their projects for ‘white glove’ treatment.”

As De Luca explains, “Everything was original once… If you don’t refresh the coffers with new IP to create new franchises, at some point you get to Chapter 10 or 11 and people start to move on.”

The many faces of ‘The Secret Agent’

(Ryan Pfluger/For The Times)

The moment Tânia Maria arrives onscreen as Dona Sebastiana in “The Secret Agent,” you can’t help but ask yourself, “Who is that?!” (Star Wagner Moura had the same reaction.) But the real feat casting director Gabriel Domingues pulls off in the Oscar-nominated Brazilian thriller is to make you ask yourself the same question, over and over, every time a new character appears.

How did Domingues find a range of actors to represent the country’s endless diversity? It’s part of his process, writes contributor Carlos Aguilar: “He prides himself on doing the shoe-leather work of looking for fresh, compelling faces in cities where others might not think to look — those without a prominent arts scene, for instance.”

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FANS of Benny Blanco have been left feeling queasy after noticing a “disgusting” detail from his new podcast.

On Tuesday, the musician – who is married to Selena Gomez -launched his new multimedia podcast, Friends Keep Secrets; but fans were more taken by the host’s hygiene than the show itself.

Just minutes into the first episode, which features Benny and his co-hosts Lil Dicky and Kristin Batalucco, the record producer kicked back on a couch with no socks on.

And fans quickly noticed that he the soles of his feet appeared dirty, quickly taking to social media.

“EW! benny, get off the couch and go take ,a shower. you’re not a toddler,” wrote one fan to X.

Another horrified user said: “The fact that his feet are ACTUALLY that filthy makes me sick to my stomach like selena girl what’s going on”.

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“Yikes! That’s definitely a “don’t look down” moment.

Sounds like Benny Blanco didn’t expect his feet to make a cameo on the podcast. The joys of live recordings sometimes the unexpected gets all the attention!,” said a third.

“Benny blanco go wash your damn feet,” simply echoed another.

With Benny’s feet garnering more attention that the podcast itself, others shared messages directly for his wife Selena.

“How is Selena dealing with this?” one social media user said.

One even went as far to say: “Selena needs to divorce him and find someone better”.

Benny and his co-hosts are set to welcome a string of A-listers on the new podcast series, with the producer teasing that Selena will also come onto the show.

The couple have been together since June 2023 and married back in September.

At the time, we reported how they hosted their guests at the luxury El Encanto Hotel in Santa Barbara, and held their ceremony at a residence nearby.

Before things turned romantic, the couple actually knew one another for over a decade – meeting back in 2008 when Selena was beginning her career.

The pop star previously had a very public romance with Justin Bieber, before dating The WKEND for around a year.

The Great British Bake Off winner Nadiya Hussain, who rose to fame on the 2015 series, has spoken out about her change of career and experiences of working as a teaching assistant

Winner of the Great British Bake Off Nadiya Hussain has spoken out about the television industry and the difficult choice she made to leave her agent and her manager.

Nadiya, 41, who won the Bake Off in 2015, spoke about the industry just days after it was announced that she was leaving her teaching assistant job, as she continues this next phase of her career.

Speaking about the matter, she discussed the “overwhelming whiteness of TV and publishing” and admitted she was tired of working in what she described as a broken industry.

She told the Guardian: “It’s broken. This last year has been really important for me to realise that, really accept that, actually, I can’t fix a broken industry.”

Nadiya also talked about what 2025 was like for her, and how it gave the renowned baker an opportunity to think about the next decade of her life after admitting that she felt like she had “started to feel like a caricature of myself”.

She added: “It has been really enlightening at the same time. I’ve had the opportunity to sit back and look at how I see the next 10 years…It’s been scary, but I’ve also really enjoyed figuring out what that looks like for me.”

Last year Nadiya released a cookbook titled ‘Rooza’, one containing dishes inspired by important elements of the Islamic world and culture, including Eid and Ramadan. She also created another volume titled ‘Nadiya’s Quick Comforts’.

With her decision to take back control of her career has come new freedoms and new locations, with Nadiya announcing earlier this month that she was leaving her teaching assistant job.

However, in a post on Instagram, Nadiya said she was leaving the role because of the negative impact it was having on her health. Nadiya has a weakened immune system and lives with fibromyalgia, a chronic condition that causes musculoskeletal pain and fatigue, among other symptoms.

In the social media post, Nadiya explained why she had to leave a job she had been in for only three months: “I’ve always wanted to work with children in younger years as a teaching assistant and I applied for a few jobs, which in itself was difficult for lots or reasons.

“I applied and got a job as a TA (teaching assistant) at a primary school and I’ve got to say, apart from raising my own children, it was one of the best jobs I’ve ever done.

“I loved every second of waking up in the morning with a spring in my step for these beautiful children. I just loved every second of doing that job.

“But unfortunately doing a job like that as somebody with a weakened immune system it just played havoc with my health…. I was sick all the time and it got to the point where it was affecting my mental health and I just wasn’t performing, giving my best because I was always sick.”

She added: “But unfortunately with a weakened immune system working as a TA in a primary school was just proving impossible and it was one of the hardest decisions I had to make to step away for it.”

A MUMMY influencer lifted the lid on how much social media stars actually earn for their content.

On Tiktok, Charli Wooley documents her life with her hubby and young children, and also her incredible shopping hauls and skincare routine.

The mum-of-two has 89,000 followers on TikTok with a combined 9.8 million likes across her hundreds of videos.

In late 2024, Charli went viral thanks to her hilarious video showing a compilation of her husband scaring their oldest son.

The video has 2.9 million likes and racked up a whopping 22.2 million views.

She recently made a video speaking to the camera where she explained exactly how much she earned for going viral and explained she had joined TikTok’s Creator Fund, which pays content creators for their views.

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To join the program TikTokers must be 18 or older, have a minimum of 10,000 followers, a minimum of 100,000 views within 30 days of the video upload and run an account that follows TikTok Community Guidelines.

“So, I had a video that got 22.2 million views and I earned £3,500 from it,” Charli explained but then went into detail about how the rate of pay is calculated.

She told how TikTok pays a ‘rate per minute (RPM)’, but that rate change depending what time of the month the video is viewed.

“When it gets to near the end of the month in the Creator Fund, the RPM seems to drop. So if you do a video from the first to the 15th, my RPMs are normally about 50p, but when it gets past the 15th, it drops,” Charli said.

“And I think I did this video just after the RPM was lower and I’m pretty sure my RPM was only 20p. So, if my RPM would have been 50p, it would have been so much more but I’m super grateful anyway for what I got.”

Charli continued by saying “I would definitely advise joining” the Creator Fund because “it’s ridiculous that you can get that much money from one video.”

According to the TikTok official website, the Creator Fund “gives TikTok’s best and brightest the opportunity to earn money with their creative talent.”

While it is not a grant or ad revenue program, the Creator Fund provides payment to qualified TikTokers based on a “variety of factors” across their content.

“We want all creators to have the opportunity to earn money doing what they love and turn their passion into a livelihood,” the website continues.

With no limit on the number of qualified TikTokers who can join the fund, payments may increase or decrease at different times throughout one’s run on the platform.

Some factors affecting the funds a qualified TikToker may earn include number of authentic views per video, the amount of engagement, and whether or not the work falls within the Community Guidelines.

At more than 2,700 feet, “The Great Wall of Los Angeles” is one of the longest murals in the world and among the most important public artworks in the city. Created by artist Judy Baca between 1974 and 1984, the mural is a groundbreaking depiction of Southern California history from the viewpoint of women and minorities and a potent national symbol at the intersection of art and activism.

Baca’s leadership of the collaborative project made her a legend in the art world. She is the co-founder and artistic director of Social and Public Art Resource Center, or SPARC, a community mural nonprofit and has been hailed as one of the most influential figures of L.A.’s Chicano muralism. “The Great Wall” is on the National Register of Historic Places, and Baca is a National Medal of Arts recipient.

But now Baca, 79, has come under criticism from some of those who have worked most closely with her in recent years.

In interviews, 10 former SPARC employees — including two managers — accuse Baca of using her nonprofit to benefit her private, for-profit art practice, Judy Baca Inc. They allege Baca personally benefited from a $5-million Andrew W. Mellon Foundation grant to expand “The Great Wall,” sold the project’s archives to the Lucas Museum of Narrative Art at a large profit to herself, and has blurred the line between her nonprofit and for-profit endeavors.

Baca and SPARC’s board chair, Zojeila Flores, vigorously deny any impropriety or misuse of funds. In an interview, they said grant funds were used appropriately and that Baca maintains a mutually beneficial profit-sharing agreement with SPARC.

Baca ascribes the criticism to disgruntled former employees and hopes SPARC can finish its work on the mural “without more of this sort of rage and hostility and anger and hate.” It’s on schedule to be completed by 2028, she said, showing The Times sections of the mural in progress at a rented space at Bergamot Station Arts Center, an acclaimed, high-end gallery in Santa Monica.

Artist Judy Baca talks to the media after starting to paint a new section of “The Great Wall of Los Angeles” as part of a LACMA exhibition on Oct. 26, 2023.

(Genaro Molina / Los Angeles Times)

Baca supporters believe she is a visionary who has used the reputation she earned with “The Great Wall” to continue lifting underserved communities.

“I don’t know how to better serve a community than to represent them well,” said Kelly Watts, who, as a teen in the 1980s, participated in painting “The Great Wall” as a student artist. Watts now lives in Tennessee and said she isn’t familiar with the inner workings of SPARC but that what matters to her is Baca’s guidance over the years. “Judy has been a mentor of mine and has always been a really positive influence on me and my growth as an artist.”

The $5-million grant

At the root of the allegations is Baca’s 2017 announcement that she intended to expand “The Great Wall” to include hundreds of feet of new imagery, representing history from the 1960s up to the present day. The mural, which is in a floodwater channel that runs through the leafy Valley Glen neighborhood in the San Fernando Valley, originally concluded with depictions of two Olympic gold medalists, track star Wilma Rudolph and Native American runner Billy Mills. Baca also sought to add interpretive stations, illuminate the mural at night and build a pedestrian bridge over the Tujunga Wash flood control channel to provide a better view of the work.

Judy Baca painting “The Great Wall of Los Angeles” in 1983.

(SPARC Archives / SPARCinLA.org)

Baca’s goals were boosted in 2021 when the Mellon Foundation — one of the largest and most important nonprofit funders of art projects in the nation — supported “The Great Wall” plans with a $5-million grant to be paid over three years, ending in 2024. The grant was distributed through Mellon’s newly formed $250-million Monuments Project “to express, elevate, and preserve the stories of those who have often been denied historical recognition.” (Los Angeles County Museum of Art, the Emmett Till Interpretive Center in Mississippi and other noted institutions also received separate grants.)

Among those who question Baca’s stewardship of the grant are Pete Galindo, a former director of the Great Wall of Los Angeles Institute, which SPARC formed to oversee the mural expansion, and Carmen Garcia, who served as director of SPARC for six months ending in early 2023. Both alleged Baca required SPARC employees to also do work for Judy Baca Inc., Baca’s private business for her art.

Garcia resigned after repeatedly raising concerns about alleged misappropriation of Mellon grant funds, which Baca denied, and calling for the board to investigate Baca. She said she was “forcefully” led out of the building.

Galindo was fired in February 2022 after less than a year in his role. He alleges Baca terminated him in retaliation for questions he raised about how she was using the grant and objecting to her work assignments. Before his Great Wall Institute role, Galindo said he had known Baca for nearly 30 years, beginning as a UCLA student in 1996 and later working in various roles on a variety of SPARC initiatives, including as a community public art director.

According to documents reviewed by The Times, including Galindo’s offer letter and a spreadsheet with Mellon grant line items, Galindo’s $75,000 salary was paid through SPARC and the grant, which stipulates the money be used “to support the preservation, activation, and expansion of one of the country’s largest monuments to interracial harmony through civic engagement and muralist training.” But Galindo alleged Baca assigned him work outside SPARC and the Great Wall: to help sell her personal artwork, aid in fixing a termite infestation in her archives and help to manage the production of a mural titled “La Memoria de la Tierra: UCLA,” which was not related to “The Great Wall.”

The Times reviewed a series of text messages between Galindo and Baca in which Baca asked Galindo to help with jobs outside his Great Wall duties, including dealing with termites. The messages included a question to Baca from Galindo confirming she’d like the team to “print the UCLA mural at scale for review.” Baca replies that she will call momentarily. Another group chat between Galindo and two other SPARC employees is about meeting to move Baca’s belongings out of her office at UCLA in 2021.

Baca denied Galindo’s allegations, including that she asked Galindo to help manage the UCLA mural — a task outside of the Mellon grant’s purview. She said the project was brought to her personally and she referred the work to SPARC. The mural was completed on-site through a research and teaching facility known as the Digital/Mural Lab, she said. SPARC received money for the project, Baca wrote in a statement, although Baca got paid a commission — an “established practice” at SPARC for paying artists for their work.

In an interview, SPARC board chair Flores declined to say how much Baca earned from that project or Baca’s specific commission rate. However, on a hypothetical $200,000 project she said about $58,000 could go to SPARC for costs and fees. The remaining $142,000 could go to other vendors and Baca.

For decades, Baca brought in dozens of commissions to SPARC without being paid, SPARC said in a statement. The board voted to change that in recent years with a so-called “fiscal sponsorship arrangement,” which allows paid projects to piggyback on SPARC’s tax-exempt status. In this case, Baca earns a commission and SPARC receives funds for employee work on projects.

SPARC’S website currently lists nine board members. Baca and Flores are included, as is Mercedes Gertz, who rents an art studio in SPARC’s building. Baca’s cousin, Anthony Salcido, serves as the board’s finance chair. Bookkeeper Gloria Thompson is also Baca’s cousin.

“Mr. Salcido began working with SPARC only after consultation with legal counsel and Board approval, with Judy recused from the vote,” Flores wrote in an email. “Ms. Thompson began with SPARC as a volunteer and later became bookkeeper following formal consultation with legal.”

In 2022, after he was fired from SPARC, Galindo wrote a letter to Emil J. Kang, then the Mellon Foundation’s program director for arts and culture, to allege that Baca had misused the Mellon grant money by asking him to do work for her personal business.

“Throughout my time as the Great Wall of Los Angeles Institute Director, she focused my work on her personal exhibitions, sale of artworks, training her personal assistant, overseeing commissions, press and documentation,” Galindo wrote in the letter, concluding, “While Judy’s contribution to the field over the years cannot be denied, her treatment of employees, unequal pay scales and overall exploitation of staff and artists is anathema to the values and ideals of social justice movements and the monuments they inspire.”

Baca said she could not comment on personnel matters, but in a statement, SPARC said, “We strive to be fair and professional in all our personnel matters.”

Judy Baca poses in front of her artwork “La Salsera” at LA Plaza de Cultura y Artes in downtown Los Angeles in 2024.

(Christina House / Los Angeles Times)

Galindo said he did not receive a reply to his letter from Kang or the Mellon Foundation.

The Mellon Foundation issued a statement to The Times, confirming it had received Galindo’s letter, which “was handled in accordance with Mellon policy on third party complaints about our grantees.” The foundation added that it “does not comment on issues pertaining to internal matters of its grantees.” SPARC’s grant status never changed.

Garcia, who was hired as SPARC’s executive director after Galindo left the organization, remembered dealing with heightened inquiries from Mellon representatives, including culture program director Kang. Once, she said, the foundation asked SPARC for additional information on how grant money was being spent.

SPARC said in its response to The Times that such questions from funders were routine.

“Mellon consistently reviews all of its grantees’ performance, as is standard for nonprofit funders,” SPARC said.

Baca told The Times that she was unaware that Mellon had raised questions about how the grant was being used. However, in a text exchanged with Garcia in 2023 and reviewed by The Times, she indicated she had spoken to Kang at a National Medal of Arts event in Washington, D.C.

“They will ask us to improve some things but generally we had a long discussion and lots of laughs about me ‘hating the interrogation by a bunch of white me[n],’” Baca wrote. “He got a laugh out of it and knew they were a pain in the a—.”

When asked about the text she sent to Garcia, Baca said, “It was an informal conversation at a White House reception. We didn’t talk about the specifics of the grant itself. The conversation really was about the review process.”

Who should profit from ‘The Great Wall’?

Work on “The Great Wall of Los Angeles” began in 1974 and was completed over five summers by Baca with the help of many now well-known artists including Isabel Castro, Ulysses Jenkins, Judithe Hernández, Patssi Valdez, Margaret Garcia, Christina Schlesinger and Judy Chicago. More than 400 young people and their families — many from underserved neighborhoods — also contributed to the project, including 80 youths recruited from the juvenile justice system.

The collective effort made “The Great Wall” a work of social justice, and in 1976 led to the founding of Baca’s nonprofit, SPARC, with its stated mission of producing, preserving and promoting, “activist and socially relevant artwork,” and fostering “artistic collaborations that empower communities who face marginalization or discrimination.”

“The Great Wall of Los Angeles” on April 9, 2025.

(Carlin Stiehl / For The Times)

Some former SPARC employees feel that Baca has failed to honor the community that toiled to create “The Great Wall.” They have expressed concern that Baca has benefited unfairly from the project, and, in particular, the sale of work related to it.

Flores disagrees, writing, “For 50 years, SPARC has used art to empower communities facing marginalization and/or discrimination. This currently includes immigrant populations traumatized by ICE. Further, SPARC ensures that working artists can remain in Venice, a neighborhood with deep artistic and cultural roots.”

When “The Great Wall” was originally copyrighted in 1983, authorship of the work was attributed to both “Judith F. Baca” and the “Social Public Art Resource Center.” In 2011, however, after a restoration effort led by SPARC in which the mural was completely painted over, the project was again copyrighted, this time solely under Baca’s name. Former employees question the ethics of Baca’s profiting off a celebrated community effort, but Flores said Baca has always retained ownership of her work and that, “Owning a copyright is not the same as owning an artwork itself.” Baca, Flores said, evenly splits copyright licensing fees with SPARC.

Baca sold “The Great Wall” archives to the Lucas Museum in 2021. The sale included more than 350 objects and ephemera, including concept drawings, site plans, sketches and correspondence with community leaders, scholars, historians and collaborators.

A Lucas Museum representative declined to comment on how much the museum paid for the archive or whether or not the acquisition was made from Baca or SPARC.

Galindo said he was told by former SPARC executive director Carlos Rogel that it sold for $1.5 million. Rogel declined a request for comment. Another source close to SPARC, who asked to remain anonymous out of fear of retaliation, also said the sale was for $1.5 million.

Baca and Flores declined to say what the archives sold for. In an emailed response, Flores wrote that Baca was the owner of “The Great Wall” archive and was not paid by SPARC to produce that work.

“Nonetheless, following the sale, and although Judy was not required to do so, she generously donated $521,000 to SPARC,” Flores wrote.

Galindo and other former employees also expressed concern about Baca’s rising salary and believe it is out of proportion with SPARC’s mission of uplifting and aiding underserved communities and youth. In the two years prior to receiving the Mellon grant, Baca made $42,916 and $50,000, respectively. The year after SPARC received the grant, Baca’s salary rose to $215,000. In 2023, she made $236,149, and the following year, $211,004. The increase in Baca’s salary is discussed in an internal email and executive board meeting minutes reviewed by The Times, which state that SPARC’s board voted to set Baca’s annual compensation to be commensurate with what Baca was paid before she retired as a UCLA professor and that the additional money should come from the Mellon grant. Records of her 2025 and 2026 salaries were not currently available.

“The Great Wall of Los Angeles” depicts the history of California through the 1950s. An expansion to be completed in 2028 will add scenes from the 1960s to 1990s.

(Carlin Stiehl/For The Times)

SPARC said in a statement that Baca’s salary “is lower than the market rate for similar non-profit CEOs and lower than the market value commissioning rate for artist Judy Baca who is the author of The Great Wall Mural.”

Ongoing work on “The Great Wall” is currently done by a variety of people. For the new panels, which begin with the civil rights era of the 1960s, research is done by Baca and her team from the Great Wall Institute (there is currently no institute director, according to SPARC’s website). From there, Baca creates rough drawings, and drafts are made by artists from SPARC’s Digital/Mural Lab. Baca suggests edits and gives directions, and later she will add her own personal touches.

Eventually, colorations are submitted by various artists, and Baca does one final hand coloration of the entire piece. During The Times’ visit to see the mural expansion in progress, two artists were painting on sketches that had been fine-tuned by Baca and printed onto giant panels. These panels will eventually be attached to the wall of the flood water channel where “The Great Wall” resides, Flores said.

Former SPARC digital mural artist Toria Maldonado alleged it was not always clear if the work they were doing was for SPARC or for Judy Baca Inc. They were asked on occasion to work on assignments that appeared to be for the benefit of the latter, Maldonado said.

Maldonado said they and two other SPARC employees once redrew the 1960s segment of “The Great Wall” for a private collector. Baca, Maldonado said, “was selling a print, and wanted to refine it, and had us do that assignment.” Maldonado shared a checklist with The Times featuring notes about what work needed to be done on the segment, including shading Malcolm X’s hair.

In an email, Flores called Maldonado’s allegations, “factually inaccurate” and “misleading.”

“Judy was the owner of the segment referenced. It was hand-colored by Judy and assistants whom Judy paid personally, and this work was done in her personal studio,” Flores wrote. Baca’s studio is a Frank Gehry-designed space at her Venice home.

Maldonado said that they had never been to Baca’s personal studio and that their salary was always paid through SPARC.

From May through August 2023, segments of “The Great Wall” were exhibited at Jeffrey Deitch Gallery in L.A. Baca didn’t sell any works during that show, Flores wrote in an email, but in 2025, “a coloration by Judy’s hand of a segment presented in that show was sold. This work was created in Judy’s private studio and owned by her.” Baca declined to disclose how much the segment sold for. SPARC began showing more of “The Great Wall” expansion in February at Jeffrey Deitch Gallery. The original panels will not be for sale, but “if a work of Judy’s is sold at the show, she receives the proceeds as the owner of the work,” Flores wrote.

The room where art happens

Galindo and Garcia also alleged that SPARC inappropriately leases its premises to board member Gertz and others.

Since 1977, SPARC has been housed in a former Venice police station and jail, a 1920s Art Deco building owned by the city of Los Angeles. In 2000, the city signed a lease allowing SPARC to use the building for free until 2055. That agreement stipulates the property be used for “production, exhibition, promotion and distribution of and education about public art on a nonprofit basis.” SPARC can sublease portions of its building to those engaged in similar work with a city official’s approval. It must submit annual financial reports to the city with earnings from such deals.

The Times reviewed Instagram posts made by Gertz touting a 2023 exhibition of her personal art at SPARC, another in 2024 advertising a holiday sale, as well as one that shows her working in her studio inside the building. SPARC said Gertz pays market rate for her studio but declined to specify how much that is, only that it is, “equivalent to the rent paid by all the other artists who sublet space in the building.”

Judy Baca outside her Venice nonprofit, the Social and Public Art Resource Center, better known as SPARC, in 2021.

(Gary Coronado / Los Angeles Times)

According to documents obtained through a California Public Records Act request, the city only has one sublease on file for SPARC from 1991. When asked if the city had approved SPARC’s deal with Gertz, Amy Benson, the director of the city’s real estate services division, wrote in an email that she had no further information to provide.

Flores wrote in an email that she was unable to speak to the specifics of a question about whether or not SPARC submits annual financial reports, inclusive of its subleasing income, to the city but noted, “we will follow up to make sure that the City has the documents you mention.” According to the latest available tax filings, SPARC made $64,991 in “rental property income” in 2024 and $57,590 in 2023.

Asked if Gertz’s use of SPARC for her personal, for-profit art practice, violates SPARC’s understanding of the lease, Flores wrote, “Our understanding is that our lease allows any use of the premises that is reasonably consistent with our nonprofit mission… Ms. Gertz uses her studio to weave textiles and also to lead art workshops for immigrants in the community, an activity that we think is entirely in keeping with our mission.”

Baca has also sold her personal art for profit at SPARC. When Baca’s art is for sale she “is treated like all other artists” and receives 60% of profits, the nonprofit said in a statement.

According to SPARC’s website, of the eight exhibits presented by SPARC in Venice and at Bergamot Station since 2022, five showcased Baca’s work, including on “The Great Wall,” and one featured work by Gertz. The remaining two shows accounted for roughly five months of programming in more than three years.

“I’m certain there are hundreds of artists in Los Angeles making socially engaged work who would benefit from a solo exhibition at SPARC,” Galindo wrote in an email.

Tayari Jones was feeling intense pressure to deliver a follow-up to her 2018 bestseller, “An American Marriage.” She was three years past her publisher’s deadline. Worse, she had begun to suffer symptoms of what was ultimately diagnosed as Graves’ disease, a serious autoimmune condition that attacks the thyroid. At the time she didn’t know what was causing pain in her right leg and the intense itching on her arms, legs and torso — or why her handwriting had “gone funky.” Meanwhile, 200 pages in, the novel she owed Knopf Publisher and Editor in Chief Jordan Pavlin wasn’t coming together.

She confided to a close friend, “This book got me feeling like a clown right now.” Jones began to doubt that she was ‘worthy’ of another literary success.

“You know how musicians say ‘that band was swinging’? I wasn’t swinging,” Jones, who lives in Atlanta, tells me during a recent phone call.

She says she turned to an empty notebook, and began word doodling — scrawling random words, going wherever her pen took her. “Kin,” the magnificent novel that emerged, is out now. Oprah recently announced that it’s her latest book club pick (the second time Jones has been honored with the selection).

“Kin: A Novel” by Tayari Jones

(Knopf)

“Kin” was supposed to have been an entirely different book — an of-the-moment novel about gentrification in the New South — but what materialized from Jones’ creative experiment was a tiny Louisiana town called Honeysuckle, amid the 1950s and Jim Crow. Then, as Jones puts it, “Annie and Vernice [her main characters] introduced themselves.” All of Jones’ previous fiction has been contemporary, and at first she didn’t know what to make of the path Annie and Vernice were leading her on. “I don’t write historical,” observes Jones, “I’m a writer of my own era.” Not to mention she’d always been suspicious of writers who claim their characters came to them fully realized.

Even at that point, Jones still believed Vernice and Annie might just be part of a larger backstory, perhaps parents to protagonists she had yet to conjure. “So I stuck with it to find out.” The more she wrote, the more the puzzle pieces began to fit together. Annie’s journey out of Louisiana takes her through a sharecropping brothel in Mississippi, then on to Memphis where she is convinced she will find and reunite with her mother. Meanwhile, Vernice attends Spelman (the HBCU Jones is a ’91 graduate of).

Jones began to suspect that she’d had a previously undetected ulterior motive for moving her book to the past. She wondered if “Kin” was actually an effort to better understand her parents, particularly her mother, a former economist who’d been active in the civil rights movement. “My mother is a very tight-lipped person,” Jones says. “I knew very little about her life, and maybe this was my imagination trying to crack the code.”

Jones’ progress wasn’t without its setbacks. She was deep into the writing of “Kin” when her Graves’ disease flared in earnest. Her blood pressure spiked. She got winded just climbing the stairs to her bedroom. She landed in the emergency room with a life-threatening “thyroid storm,” requiring surgery and daily medication. Then her eyesight deteriorated, which necessitated a month of radiation. But she powered through, and sent off the manuscript.

Jones’ editor, Pavlin, admits the novel she received was a surprise. “But it was as perfect a novel as I’ve ever read,” she says. “No publisher in their right mind would stand on anything as insignificant as a contractual description in the face of such a work.”

“Kin” deftly alternates points of view between Vernice and Annie, narrating events by way of a vernacular that would be at home on a front porch rocking chair. When Annie takes a job at a nightclub in Memphis, she says of its penny-pinching owner: “The man was tight as a skeeter’s teeter.” Jones is equally adept at the delicate prose, as in this description of a well-worn family Bible: “The paper, thin as butterfly wings, was heavy with wisdom.”

While Jones had Toni Morrison’s short story “Recitatif” in mind while writing “Kin,” her take on the subject is singular. “Vernice and Annie remain friends because each of them is the keeper of the other’s true self,” she says. “Friendship is particularly meaningful because it’s a relationship you’re constantly recommitting to — reupping.”

Now that “Kin” is out in the world, and Jones has weathered the bumpy road to publication day, we asked her if she’s nervous about how it will be received eight years after her previous novel was published. “I am not ambitious now in the way I was then,” she says. “I’ve learned what success can and cannot do for a person. You have to learn to be satisfied. People say ‘don’t rest on your laurels,’ but what are laurels for?”

Haber is a writer, editor and publishing strategist, and co-founder of the Ink Book Club on Substack. She was director of Oprah’s Book Club and books editor for O, the Oprah Magazine.

To prepare for his role on the 1984 comedy “Revenge of the Nerds,” Robert Carradine spent two weeks wearing “nerd clothes,” a wig and glasses everywhere he went.

This included heading to fraternity row at the University of Arizona during rush week while in character with a fellow actor. They asked the head of a fraternity if they could join.

“The guy took one look at us and said, ‘No way,’ ” Carradine recalled in 1990. “By the time the first day of shooting rolled around, I was in full flight as a nerd.”

Carradine, who played Lewis Skolnick, the king of the college nerds with a signature laugh, in the “Revenge of the Nerds” movie franchise, has died. He was 71.

In a Monday statement to Deadline, Carradine’s family said he struggled with bipolar disorder and died by suicide.

“It is with profound sadness that we must share that our beloved father, grandfather, uncle, and brother Robert Carradine has passed away. In a world that can feel so dark, Bobby was always a beacon [of] light to everyone around him,” the statement said. “We are bereft at the loss of this beautiful soul and want to acknowledge Bobby’s valiant struggle against his nearly two-decade battle with Bipolar Disorder.

“We hope his journey can shine a light and encourage addressing the stigma that attaches to mental illness. At this time we ask for the privacy to grieve this unfathomable loss. With gratitude for your understanding and compassion.”

The youngest of a prolific Hollywood family, Carradine’s siblings include actors David and Keith and architect Christopher, of Walt Disney Imagineering. David Carradine died in 2009 at age 72. Their brother Bruce, who died in 2016, was also an actor.

Keith Carradine told Deadline that his family wanted everyone to know about Robert’s struggle with bipolar disorder.

“We want people to know it, and there is no shame in it,” he told the outlet. “It is an illness that got the best of him, and I want to celebrate him for his struggle with it, and celebrate his beautiful soul. He was profoundly gifted, and we will miss him every day. We will take solace in how funny he could be, how wise and utterly accepting and tolerant he was. That’s who my baby brother was.”

The youngest son of prolific character actor John Carradine, Robert Carradine was born on March 24, 1954, in Los Angeles. Known for both his film and television work, Carradine made his debut in a 1971 episode of the long-running western “Bonanza.” His first film appearance was in the 1972 John Wayne western “The Cowboys.”

During his 50-year Hollywood career, he appeared alongside his brother David in a 1972 episode of “Kung Fu” and the 1973 Martin Scorsese film “Mean Streets.” David, Keith and Robert joined other sets of acting siblings to portray sets of real-life siblings in the 1980 Western “The Long Riders.” Carradine also landed roles in Hal Ashby’s 1978 Vietman War drama “Coming Home” and Samuel Fuller’s 1980 World War II epic “The Big Red One.”

While Carradine found success in the family business, he also had a love for racing.

“There are certain people who are supposed to be race car drivers,” Carradine told The Times in 1991. “And I’ve got that. I’ve got that thing that makes me have to race. I have to do it.”

At the time he was balancing both careers, racing at the Grand Prix level in a Lotus Esprit Turbo SE. But it was clear he would have chosen racing over acting if he could.

“The thing about racing that appeals to me is your destiny is in your own hands at that moment,” Carradine said. “I won a race in the Lotus at Road America, and I won it. And that’s it. You can’t do better.”

In the 2000s, Carradine charmed a new generation of fans as lovable TV dad Sam in “Lizzie McGuire.”

“There was so much warmth in the McGuire family and I always felt so cared for by my on-screen parents,” the show’s star Hilary Duff wrote in her Instagram tribute to her on-screen dad. “I’ll be forever grateful for that. I’m deeply sad to learn Bobby was suffering. My heart aches for him, his family, and everyone who loved him.”

Jake Thomas, who portrayed Lizzie’s brother Matt on the show, said he “looked up” to Carradine, who he’s known for most of his life.

“My heart hurts today,” Thomas wrote in his Instagram tribute. “[H]e was one of the coolest guys you could ever meet. Funny, pragmatic, sometimes cranky, always a little eccentric. He was a talented actor, musician, and director. But more than anything, he was family.”

Carradine is survived by his three children — actor Ever Carradine, Marika Reed Carradine and Ian Alexander Carradine — as well as his brothers, nieces (including actor Martha Plimpton), nephews and grandchildren, according to Deadline.

In her tribute to her father, Ever Carradine described him as a “sweet, funny dad” and “the guy that’s always there.”

“Growing up in the 70s and 80 with a single dad in Laurel Canyon is not exactly the recipe for a grounded childhood, but somehow mine was,” Carradine wrote on Instagram. “Whenever anyone asks me how I turned out so normal, I always tell them it’s because of my dad. I knew my dad loved me, I knew it deep in my bones, and I always knew he had my back.”

“My dad was a lover, not a fighter. He was all heart, and in a world so full of conflict and division, I think we can all take a page out of his book today, open our hearts and feel and share the love,” she added.

Suddenly it feels like the 2000s again, with a revived “Scrubs” premiering Wednesday on ABC and Tracy Morgan reincarnating the spirit of “30 Rock” in NBC’s “The Fall and Rise of Reggie Dinkins” — network television shows, too, as in the days when streaming was just something tears and traffic did.

Beginning as a tale of new doctors at work and in love, “Scrubs” may also be seen as a looking-glass “Grey’s Anatomy,” although as “Scrubs” premiered first, it’s fairer to say that “Grey’s” is a straight-faced “Scrubs,” probably not a thought that ever crossed Shonda Rhimes’ mind. The show, then and now, combines a sentimental, satirical, soapy, sometimes surreal comedy with a straightforward medical show. Stars Zach Braff, Donald Faison and Sarah Chalke are back full-time, not quite in their old places, but arranged in close quarters, with Judy Reyes and John C. McGinley listed as recurring and other old faces slated to peek in.

The show left the air in 2010, after its ninth season, a virtual spin-off that has been declared noncanonical. The Season 8 finale saw protagonist, narrator and inveterate daydreamer J.D. (Braff), a person who really needs people — “I can’t do this all on my own” runs the show’s title song — looking into a happy future, married with a child to surgeon Elliot (Chalke). But that was just a dream, just a dream. The new season finds them at odds, and while a child is mentioned, it remains unseen, at least for the four episodes (of nine) out for review.

As we begin again, J.D. is working as a concierge doctor, tending to the minor ailments of the rich — cut toe, long-lasting chemically induced erection — when he’s drawn back to Sacred Heart Hospital to check on a patient. By the end of the first episode, his former mentor, the acerbic yet strangely sympathetic Dr. Cox (McGinley), will give him a job, of which is officially a spoiler to describe — even though it’s the premise of the show — noting his gift for teaching and reuniting J.D. with bromantic best friend Turk (Faison), the chief of surgery. (“Two chiefs!” is their chanted motto, followed by a special handshake. They are men who will be boys.) Turk is still married to head nurse Carla (Judy Reyes); they have four daughters, whom we do see, briefly. (J.D.’s appointment rankles Dr. Park, played by Joel Kim Booster, the series’ designated mean person.)

Moving into the space Turk, J.D. and Elliot occupied 25 years earlier are a new crop of interns, bringing youth appeal and naivete (the better to instruct them). Blake (David Gridley) is a cocky know-it-all, who will become a less cocky know-it-not-all; Asher (Jacob Dudman) is British, insecure and attracted to Amara (Layla Mohammadi), who is homeschooled (“I almost won prom queen twice but my brothers voted for my mom”) and a fan of Sam (Ava Bunn), a social media star who hangs her hands like Alexis Rose. Dashana (Amanda Morrow), the serious one, who sees Turk as an ally: “You’re, like, the only Black surgeon in this place; the rest of them just got, like, Coldplay on loop in the ER and say things like, ‘You’re so articulate.’” (“This brother likes Coldplay, too,” says Turk, pressing play on “Clocks.” Another lesson learned.)

As before, the show is fast-paced, packed with asides and ironic cutaways, with jokes riding on the back of jokes and some unexpected slapstick (the best kind), though it will shift into a lower gear when something capital-I important needs to be said. The world has changed in 16 years (“I am now supposed to watch every word that comes out of my mouth because apparently they are all fragile little Christmas ornaments,” grumbles Dr. Cox) and so the risqué material is left to the older characters, though the sex jokes now mostly amount to lack-of-sex jokes. (“She used to get worked up by ‘Bridgerton,’” Turk says of Carla, “but the new season doesn’t come out for another year.” “Spring 2027,” nods J.D.) Monitoring behavior is Vanessa Bayer as Sibby, a tightly wound administrator with an effortful smile, whom Turk calls “the feelings police.” (A longtime favorite of this department, Bayer is a brilliant addition. Told that Tarzan is a fictional character, Sibby replies, “I wouldn’t be so sure. They did make a movie about his life.”)

They say you can’t go home again, but with a good map and a good crew you can get pretty close. Not every bucket drawn up from the well of old IP will prove potable, but it often has: “Arrested Development,” “Veronica Mars,” “Party Down,” “Roseanne/The Conners,” “Frasier,” even “Dallas.” “Twin Peaks: The Return” is, of course, a work of art. Under the watchful eye of creator Bill Lawrence — later to co-create “Ted Lasso,” which is coming back for a fourth season even though it really ended after the third — with Aseem Batra, who wrote for the original series, as showrunner, it is very much the sitcom of old, older. (But everyone still looks good.)

There will undoubtedly be some who find nits to pick, but it’s hard to imagine any less-than-obsessed fans unhappy with this lagniappe, apart from its comparative brevity. And references to the original run notwithstanding — appletinis, “Star Wars,” a certain closet — it’s intelligible and funny on its own terms , and as full of love as ever. “When this work makes you fall apart,” says J.D., narrating, “someone is there to patch you up.”

New viewers will not be shut out.

AN EGGHEADS star has given a quarter of his £200,000 fortune to charity.

Chris Hughes died last year age 77 after a long career of quizzing and left his estate to several charities and his cousin.

Fans of historical dramas are in for a treat as Outlaw King is now available on Netflix UK. The 2018 film stars Chris Pine as Robert the Bruce in a stirring tale of Scotland’s fight for independence.

Fans of historical dramas and period productions are set for a real treat as an outstanding option has landed on the Netflix UK catalogue.

The film, featuring Chris Pine in the leading role alongside Florence Pugh, Aaron Taylor-Johnson, Tony Curran, Callan Mulvey, Billy Howle, Sam Spruell, James Cosmo and Stephen Dillane, portrays pivotal moments from the Scottish Wars of Independence spanning 1304-07.

Outlaw King, a rousing 2018 historical drama, was co-written, produced, and directed by David Mackenzie. The official synopsis reads: “After being crowned King of Scotland, legendary warrior Robert the Bruce is forced into exile by the English and leads a band of outlaws to help him reclaim the throne.”

It’s a classic underdog story of how the 14th century Scottish ‘Outlaw King’ Robert the Bruce employed cunning and courage to vanquish the considerably larger and better equipped occupying English army.

Speaking to Entertainment Weekly, Pine revealed the challenges of perfecting the Scottish accent for the role. The actor admitted: “It was difficult to get an accent to be organic that is so foreign from my own. There were particular sounds that I stumbled on, but also just getting the musicality of the language down.”

“I didn’t want it to be a movie about an accent; I didn’t want people to not believe I was Scottish, but I also couldn’t draw too much attention to it and away from the story.”

Holding a 69 per cent audience approval rating on review aggregator site Rotten Tomatoes, Outlaw King received largely positive notices, with one fan saying: “Great movie all around, deserves way more love than it has received. This one will age well, fantastic period piece with stunning cinematography, solid acting/cast, and realistic fight scenes.”

A further viewer lauded the production, writing: “Noticed that not only were the cast amazing but the extras in the battle scenes were unbelievable, probably the best extras I’ve seen in any movie.”

One noted: “I quite enjoyed this historical tale. It has a quick pace, simple dialogue, brutal violence and charming characters. Quite simply a fun film to watch.”

A professional assessment of the film reads: “The film lifts itself and has great technical and production design, great lead performances, and a story that whilst familiar, is a much better representation of the same story we have gotten before.”

Yet another critic heaped praise upon Chris Pine for his portrayal of the Scottish king: “Chris Pine gives a strong performance in this well-constructed tale of Robert the Bruce’s fight for Scotland’s freedom.”

A third reviewer weighed in on the picture: “Outlaw King is a gripping, moving and grand film full of spellbinding performances. Pine effortlessly embodies Bruce’s conviction, bravery, and compassion.”

Outlaw King is streaming on Netflix now.

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