YouTube TV customers are bracing for another frustrating weekend.
For the last week, YouTube TV’s 10 million subscribers have been denied access to ESPN, ABC and other Walt Disney Co. channels in a dispute that has swelled into one of the largest TV blackouts in a decade. Instead of turning on “College GameDay,” “Monday Night Football” or “Dancing With the Stars,” customers have been greeted with a grim message: “Disney channels are unavailable.”
The standoff began Oct. 30 when the two behemoths hit an impasse in their negotiations over a new distribution contract covering Disney’s channels and ABC stations.
Google, which owns YouTube, has rebuffed Disney’s demands for fee increases for ESPN, ABC and other channels. The Burbank entertainment giant has been seeking a revenue boost to support its content production and streaming ambitions, and help pay for ESPN’s gargantuan sports rights deals.
Talks are ongoing, but the two sides remain apart on major issues — prolonging the stalemate.
“Everyone is kind of sick of these big-time companies trying to get the best of one another,” said Nick Newton, 30, who lives near San Francisco and subscribes to YouTube TV. “The people who are suffering are the middle-class and lower-class people that just love sports … because it’s our escape from the real world.”
Both companies declined to comment for this article.
The skirmish is just the latest between YouTube and programming companies. Since August, Rupert Murdoch’s Fox Corp., Comcast’s NBCUniversal and Spanish-language broadcaster TelevisaUnivision have all complained that YouTube TV was trying to use its market muscle to squeeze them for concessions.
Here’s a look at what’s driving the escalating tensions:
Google’s growing clout in television
The struggle between Disney and YouTube reflects television’s fast-shifting dynamics.
Disney has long entered carriage negotiations with tremendous leverage, in large part because it owns ESPN, which is a must-have channel for legions of sports fans.
Programmers, including Disney, structured their distribution contracts to expire near a pivotal programming event, such as a new season of NFL football. The timing motivated both sides to quickly reach a deal rather than risk alienating customers.
But for Google’s parent, Alphabet, YouTube TV is just a sliver of their business. The tech company generated $350 billion in revenue last year, the vast majority coming from Google search and advertising. That gives YouTube a longer leash to hold out for contract terms it finds acceptable.
“This dispute is not that painful for Google,” said analyst Richard Greenfield of LightShed Partners, noting that YouTube TV could probably withstand “two weekends without college football, and two weeks without ‘Monday Night Football’ — as long as their consumers stay with them.”
Disney, however, depends on TV advertising and pay-TV distribution fees. The week-long blackout has already dampened TV ratings, which means less revenue for the company.
Consumers like YouTube TV
For decades, throngs of consumers loathed their cable company — a sentiment that Disney and other programmers were able to use in their favor in past battles. Customer defections prompted several pay-TV companies to find a compromise to restore the darkened TV channels and stanch the subscriber bleeding.
But YouTube is banking on a more loyal user base, including millions of customers who switched to the service from higher-priced legacy providers.
“I’ll stick this thing out with YouTube TV,” Newton said, adding that he hoped the dispute didn’t drag on for weeks.
“This is one of the problems facing Disney,” Greenfield said. “It’s been a noticeable change in tone from past carriage fee battles. If customer losses stay at a minimum, then Disney is going to be in a tough place.”
It boils down to power and money
YouTube TV is the fastest-growing television service in the U.S. Analysts expect that, within a couple of years, YouTube TV will have more pay-TV customers than industry leaders Spectrum and Comcast.
In the current negotiations, Google has asked Disney to agree to lower its rates when YouTube TV surpasses Comcast’s and Spectrum’s subscriber counts. Disney maintains that YouTube already pays preferred rates, in recognition of its competitive standing, and that Google is trying to drive down the value of Disney’s networks.
“YouTube TV and its owner, Google … want to use their power and extraordinary resources to eliminate competition and devalue the very content that helped them build their service,” top Disney executives wrote last Friday in an email to their staff.
People close to YouTube TV reject the characterization, saying the service has been a valuable partner by providing a strong service that brings Disney billions of dollars a year in distribution revenue.
“The bottom line is that our channels are extremely valuable, and we can only continue to program them with the sports and entertainment viewers love most if we stand our ground,” the Disney executives wrote in last week’s email. “We are asking nothing more of YouTube TV than what we have gotten from every other distributor — fair rates for our channels.”
Higher sports rights fees
A major reason Disney is asking for higher fees is because it’s grappling with a huge escalation in sports costs.
Disney is on the hook to pay $2.6 billion a year to the NBA, another $2.7 billion annually to the NFL, and $325 million a year for the rights to stream World Wrestling Entertainment. Such sports rights contracts have nearly doubled in the last decade, leading to the strain on TV broadcasters.
In addition, deep-pocketed streaming services, including Amazon, Apple and Netflix, have jumped into sports broadcasting, driving up the cost for the legacy broadcasters.
The crowded field also strains the wallets of sports fans, and appears to be adding to the fatigue over the YouTube TV-Disney fight.
Newton wrote in a recent Twitter post that he was spending $400 a month for his various internet, phone and TV services, including Disney+ and NFL Sunday Ticket, which is distributed by YouTube TV.
“I’m already on all the major subscriptions to watch football these days,” Newton, a third-generation San Francisco 49ers fan, said. “You need Netflix. You need Peacock, you need Amazon Prime and the list goes on and on. I’m at the point where I’m not paying for anything else.”
White Lotus star Aimee Lou Wood will no longer front the Marks & Spencer Christmas advert despite being involved in the promotional clip in August
12:09, 07 Nov 2025Updated 12:09, 07 Nov 2025
Aimee Lou Wood (Image: Getty Images)
Aimee Lou Wood has been ‘dropped by M&S’, according to reports. The White Lotus star was set to be the face of the new Marks and Spencer Christmas advert, but appears to have been cut from the production.
The claim comes after the retail giants are said to have initially wooed the 31-year-old actress with a huge fee. Any appearance would have seen her follow the likes of Hannah Waddingham and Sophie Ellis-Bextor in featuring in the festive fun.
However, despite appearing in the promo clip in August, Aimee is thought to have been removed by the brand who have reportedly chosen to go in a different direction.
A spokesperson for M&S told Mail Online: “We really enjoyed working with Aimee Lou Wood during the early stages of this year’s Christmas campaign – she brought great energy and creativity to the process.
“As the campaign evolved, we started to embed a new product-focused strategy under new leadership. So, rather than a single-hero advert, the campaign was reshaped around a series of festive films and influencer content-drops aligned to key seasonal shopping moments – from gifting and hosting to partywear – delivered through a social-first, multi-channel approach across social media, digital, out-of-home and print.”
It could be seen as a blow for the Stockport-born actress. However, after finding fame in Netflix’s comedy drama Sex Education, she has continued to go from strength to strength before the M&S dropping.
She also portrayed Chelsea in the third series of the Sky Atlantic drama last year. It’s thought she had signed a deal to lead the M&S ad in the summer. But with a change in direction, comes new faces.
It comes as the eagerly anticipated John Lewis advert received a mixed response. It was attempting to pull at the heartstrings with its latest offering that focuses on a father and son struggling to find the words to say how much they care about each other.
That all changes when Dad finds a present addressed to him while packing away the wrapping paper for another year on Christmas morning. This year the famous advert is soundtracked by 90s dance icon Alison Limerick’s hit Where Love Lives, with a newly reimagined version by globally acclaimed artist and producer Labrinth also featuring.
However, while some shed a tear, others blasted the production as “Depressing, boring and not very Christmassy!”
“Just seen the John Lewis Christmas advert,” one user wrote on Twitter/X. “Thought it was dull, depressing, boring and not very Christmassy,”
Another posted on the platform: “The John Lewis Christmas Advert is TERRIBLE!!! What a bunch of nonsense. Unimaginative, unfestive, rubbish. Bring back Moz the Monster or Edgar the Dragon!! #JohnLewisChristmasAdvert #JohnLewis #Rubbish.”
A third was left conflicted, writing: “John Lewis ad 2025 – I’m not sure, it’s underlying message of father son communication is great, but it’s portrayed in such a dark way, you don’t know what’s happening, it’s very vague, and not very festive at all, bordering on depressing even!”
CHERYL Tweedy and Jade Thirlwall looked sensational at the Harper’s Bazaar Women of the Year Awards this week.
The iconic singers, 42 and 32, arrived at the glamorous event last night alongside an A-list lineup of women.
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It marks Cheryl’s first red carpet appearance since Liam’s funeralCredit: SplashJade turned heads in a tight red dress that perfectly accentuated her figureCredit: GettyFellow girlband members Cheryl and Jade got together at the eventCredit: Getty
Girls Aloud icon Cheryl stole the spotlight in a chic black satin dress with a boxy neckline.
It flowed effortlessly to the floor, covering her shoes, and featured lace detailing on the chest.
She finished the look by simply tying her hair up out of her face and accessorised with a pair of small silver studs and a glossy natural pink lip.
The star posed for a series of snaps next to Little Mix‘s Jade in the “winner’s room”, as Jade smiled ear to ear holding up a glass trophy for the “Musician Award”.
The unique ensemble featured cut-outs at the side of the bust as well as silver floral detailing that scattered down the right-hand side of her body.
The sporty star enjoyed the night in a pair of silver heeled sandals, comfier on her feet than a higher heeled counterpart.
Melanie C, aka Sporty Spice, posed alongside Chloe in the winners room after she took home the award for Sportswoman of The Year.
In a sweet snap together the duo are throwing up peace signs as Chloe holds the award in her free hand.
Melanie’s smiling in an off the shoulder black dress featuring red piping and a floor-length ruffle detail.
The duo looked absolutely stunning as Jade posed with her “Musician Award” trophyCredit: GettyThey were joined by an array of other amazing women including Chloe Kelly and Melanie CCredit: GettyChloe Kelly dazzled on the red carpet in a hooded gownCredit: GettyCelebrity Traitors star Celia Imrie put on hold her ‘snooping’ to attend the awards ceremonyCredit: PA
Her red nail polish peeks out of her open-toed shoes, matching the piping to perfection.
She also received the Trailblazer Award at the Rolling Stone UK 2024 awards.
Reese Witherspoon was also in attendanceCredit: PAGilllian Anderson brought the glamour in a pastel yellow gownCredit: GettyInfluencer Charly Sturm showed off her long pins a bold black lace gownCredit: GettyKate Winslet’s daughter Mia Threapleton was present at the awards bashCredit: AP
A third “Gremlins” movie is officially in the works and eyeing a theatrical release ahead of the 2027 holiday season, Warner Bros. Discovery President and Chief Executive David Zaslav announced Thursday during the company’s third-quarter earnings call. The upcoming project is set to hit theaters Nov. 19, 2027, and will reunite original “Gremlins” scribe Chris Columbus with Steven Spielberg’s Amblin Entertainment, which produced the first two “Gremlins” films.
Columbus will direct and produce the film and Spielberg returns as an executive producer, Zaslav said. The new “Gremlins” film will be franchise’s first movie in more than 30 years. Columbus will write the script with “Final Destination Bloodlines” directing duo Zach Lipovsky and Adam B. Stein.
Oscar nominee Columbus introduced audiences to the mysterious and maniacal ways of the Mogwai — furry, wide-eyed bipeds with giant ears — with the release of “Gremlins” in 1984. The first film, directed by Joe Dante, established the three nonnegotiables of Mogwai care: Don’t get them wet, don’t feed them after midnight and don’t expose them to bright light. Both the 1984 release and its 1990 sequel, also directed by Dante but written by Charles S. Haas, tracks the havoc that arises when the first two rules are ignored, from unstoppable spawning to unruly mutation into Gremlins.
The “Gremlins” films starred Zach Galligan, Phoebe Cates, Howie Mandel as the voice of two-toned Mogwai Gizmo and Frank Welker as the voices of the films’ antagonists.
Though it has been decades since the last “Gremlins” movie hit the big screen, the furballs got their own spotlight in the 2023 animated prequel TV series “Gremlins: Secrets of the Mogwai.”
The series, from showrunner and executive producer Tze Chun, took a deep look into its namesake creatures’ origins, briefly hinted at in the first film by shopkeeper Mr. Wing (played by the Chinese American actor Keye Luke). “Secrets of the Mogwai” zooms in on Mr. Wing’s relationship with Gizmo, who became a through line in the “Gremlins” movies.
Series executive producer Brendan Hay told The Times in 2023 that setting “Secrets of the Mogwai” in 1920s China was “a chance to own the somewhat throwaway origin that the Mogwai have in the films.”
“In the films, it’s clear that they’re of Chinese origin, but it’s not that developed,” Hay said. “This is our chance to tell that story and really embrace it [by] actually try[ing] to find a place for Mogwai that fits into Chinese mythology, or at least builds off of existing Chinese mythology, and have fun in that world.”
Galligan hinted this summer that a new “Gremlins” movie was in the works while appearing at Comic-Con Manchester. According to a TikTok, the actor said “they’ve come up with a script” and that Warner Bros. was “incredibly interested in doing it, apparently it’s waiting upon Mr. Spielberg to read it and approve it.”
A new trailer has been released for an upcoming crime drama on Sky that fans won’t want to miss
08:58, 07 Nov 2025Updated 09:12, 07 Nov 2025
Rising star Luca Lubrano takes on the leading role(Image: SKY)
Sky has unveiled the thrilling first trailer for an upcoming prequel series to one of their best shows.
Gomorrah – The Origins will be released in early 2026 and revealing the startling story of how Pietro Savastano, originally portrayed by Fortunato Cerlino, became one of the most notorious crime bosses in Naples.
The original Italian crime drama aired between 2014-2021 and was one of Sky’s biggest international shows, becoming a worldwide hit after airing in 190 countries.
Now, rising star Luca Lubrano steps into Pietro’s shoes in a six-part origin story kicking off in 1977.
Sky says the gripping new drama will tell “the story of how it all began — how a very young Pietro Savastano will enter a criminal world set against the backdrop of a city in transformation: poor, rough-edged, hooked on cigarette smuggling and about to enter a new era of heroin use.”
Also joining the cast are Francesco Pellegrino as reluctant gangster Angelo ‘A Sirena’, Flavio Furno as charismatic convict ‘O Paisano’, Tullia Venezia as musician Imma, who goes on to become Pietro’s wife, and Fabiola Balestriere as young mother Annalisa Magliocca before she became the notorious female drug lord Scianel.
Supporting cast includes Antonio Buono, Ciro Burzo, Luigi Cardone, Antonio Del Duca, Mattia Francesco Cozzolino, Junior Rancel Rodriguez Arcia, and Antonio Incalza.
The first trailer revealed a fun and fast-paced thriller that will nevertheless delve into Naples’ darker underbelly as fans follow the rise of one of the most iconic characters in international drama.
Based on the bestselling novel by Roberto Saviano, it’s a must-watch for fans of the original series and is also bound to attract newcomers to the franchise who will immediately want to binge all five seasons of the flagship hit.
An official synopsis for Gomorrah – The Origins from Sky reads: “Pietro is a tough city kid who grew up in the poorest parts of Secondigliano.
“He and his friends survive any way they can, riding their mopeds around town and committing petty theft.
“But he has a big dream: to become like Angelo ‘A Sirena, the neighbourhood’s ‘king’. When he manages to get in the graces of the young boss, he finds himself caught in a power game far beyond him.
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“He ends up wondering whether this dark, violent criminal life is really what he wants or if his love for Imma can save him from such a fate.”
The original series overwhelmingly received five-star reviews from fans and, with writers Leonardo Fasoli, Maddalena Ravagli and author Saviano back on board for the prequel, it’s expected to reach similar soaring heights.
One fan raved about the original Gomorrah: “I absolutely adore this show. It’s raw, realistic, and unflinchingly brutal.
“As someone hailing from the North of Italy, I was already familiar with the Camorra, but this series opened my eyes to just how merciless it can be.
“The actors deliver outstanding performances, the script is flawlessly executed, and the storyline is gripping.”
Gomorrah – The Origins premiere in early 2026 on Sky and streaming service NOW.
SITTING in her ex-fiance’s car, Sydney Sweeney looked a far cry from her usual glamourous self as she screamed during a very heated row.
And now we can reveal that the secret meeting with Jonathan Davino sparked a huge row with her new boyfriend Scooter Braun, who was left feeling “furious” and “disrespected” – and the fallout could have grave consequences.
We reveal the truth behind Sydney Sweeney’s car showdown with ex-fiance Jonathan DavinoCredit: GettySydney was spotted arguing with former fiance Jonathan over the weekend in Santa MonicaCredit: BackGridIt forced her to hold crisis talks with her new man Scooter BraunCredit: Getty
The 28-year-old Hollywood star had been enjoying dinner with friends and her ex in Santa Monica over the weekend when things appeared to turn sour.
She was later seen in Jonathan’s car and, according to reports from TMZ, she could be heard screaming and telling him: “I don’t believe you. Please leave, leave me alone.”
The unlikely scene raised eyebrows, even more so when just days later Sydney headed out for dinner again – this time with Scooter, putting on a united front after the pair held crisis talks.
“He’s made it clear that he wants her 100%, that she needs to compromise on some things, and that seeing her ex like that crossed a line.”
Scooter Braun insider
An insider close to the couple told us how Scooter, 44, made it clear to the actress that she had ‘crossed a line’.
They explained: “Scooter got really mad. He doesn’t like that kind of behaviour at all, especially knowing the history between her and Jonathan.
“He knows they had a serious relationship, were together for a long time, and even got engaged. So, seeing her with him again — and getting caught on camera getting into his car — really set him off.”
Scooter’s upset is said to stem from just how much he loves the Euphoria star, who we previously revealed he is planning to move in with.
The insider continued: “He’s not controlling, but he wants her to know that he truly cares about her and that his feelings are real.
“He’s deeply in love and serious about building a future together. Scooter’s a man with strong values and morals — and for him, it’s not acceptable for his partner to be seen with other men, especially exes.
“He thought what she did with Jonathan was disrespectful and not cool, and he didn’t want to stay silent about it.
“He was hurt and wanted her to know. What he wants is full transparency between them — and for her to be the same way, but also to act like someone who’s in a committed relationship, not single anymore.
“He’s made it clear that he wants her 100%, that she needs to compromise on some things, and that seeing her ex like that crossed a line.”
Scooter is said to be aware that, given their age difference, he could be considered “old fashioned”.
Our insider says he “does a lot” for the star, stating he’s “present, supportive, and fully committed”.
‘Public humiliation’
Sydney was due to marry businessman Jonathan, 41, earlier this year but called off their engagement after mounting speculation over the state of their relationship.
The pair met in 2018 and got engaged in February 2022.
At the time, the actress spoke at length about their wedding and future before things came to an end.
Sydney had been planning to marry businessman Jonathan this yearCredit: GettyShe is understood to have left Jonathan to concentrate on her careerCredit: Getty
Our insider added: “It has to be a blow for Jonathan that she has moved on so publicly and seems really ready to settle down this time.
“He feels like he was a huge part of her career to start with, really building up her confidence but now she’s flying without him. It’s painful to see.”
At the time it was reported that they split so she could concentrate on her career.
“He thought what she did with Jonathan was disrespectful and not cool, and he didn’t want to stay silent about it.
Scooter Braun insider
She certainly did that – she’s currently promoting Christy – her new biopic about the female boxing trailblazer Christy Martin – and there’s already been some Oscar buzz round her role.
It hasn’t just been work and no play though… over the summer she was first linked to Scooter – the billionaire businessman and record executive who became public enemy number one for Swifties worldwide in 2019 after he bought pop megastar Taylor Swift’s master recordings.
They started dating back in August after being seen spending time together at Jeff Bezos’s wedding in Italy two months before.
In August they were seen together in public for the first time on a date after having dinner at Jon & Vinny’s restaurant in Los Angeles.
The romance has proved to be more than just a summer fling, and Scooter seems to have well and truly fallen for her charms, even after the public humiliation of her arguing with her ex.
Will her new romance survive?Credit: Getty
Get the look: Expert tips to swoon like Sweeney
Looking to create that doe-eyed look at home? Here, pro make-up artist Sarah-Jane Froom shares her exclusive top tips on how to achieve Sydney’s signature eyes…
TOP TIPS
Start with a good primer: This ensures the eye shadow stays in place all day and gives a smooth base for blending.
Define the crease: Use warm, neutral shades such as soft browns or terracotta to add depth to the crease. This helps enhance the natural shape of the eye without it feeling too heavy.
Smoky eyes: Sydney often favours a smoky eye, typically with dark eyeliner along the lash line. I recommend blending a dark brown or black shadow into the liner to soften it and create that sultry, lived-in look.
Lashes are essential: To get Sydney’s eye-popping lashes, I always recommend a volumising mascara. For a more dramatic effect, you can add some natural-looking false lashes that provide length and lift, but without being too over-the-top.
Highlight the inner corners: This little trick instantly brightens the eyes, making them look more awake and larger – perfect for achieving Sydney’s signature bright-eyed gaze.
Renate Reinsve is the new face of Scandinavia: depression with a smile. Standing 5 feet 10 with open, friendly features, the Norwegian talent has a grin that makes her appear at once like an endearing everywoman and a large, unpredictable child. Reinsve zoomed to international acclaim with her Cannes-winning performance in Joachim Trier’s 2021 “The Worst Person in the World,” a dramedy tailor-made to her lanky, likable style of self-loathing. Now, Trier has written his muse another showcase, “Sentimental Value,” where Reinsve plays an emotionally avoidant theater actor who bounces along in pretty much the same bittersweet key.
“Sentimental Value” gets misty about a few things — families, filmmaking, real estate — all while circling a handsome Oslo house where the Borg clan has lived for four generations. It’s a dream home with red trim on the window frames and pink roses in the yard. Yet, sisters Nora (Reinsve) and Agnes (Inga Ibsdotter Lilleaas) aren’t fighting to keep it, perhaps due to memories of their parents’ hostile divorce or maybe because they don’t want to deal with their estranged father, Gustav (Stellan Skarsgård, wonderful), who grew up there himself and still owns the place, even though he’s moved to Sweden.
Trier opens the film with a symbolically laden camera pan across Oslo that ends on a cemetery. He wants to make sure we understand that while Norway looks idyllic to outsiders jealous that all four Scandinavian countries rank among the globe’s happiest, it can still be as gloomy as during the era of Henrik Ibsen.
More impressively, Trier shifts to a fabulous, time-bending historical montage of the house itself over the century-plus it’s belonged to the Borgs. There’s a crack in it that seems to represent the fissures in the family, the flaws in their facade. Over these images, Reinsve’s Nora recites a 6th-grade school essay she wrote about her deep identification with her childhood home. Having grown up to become terrified of intimacy, today she’s more like a detached garage.
Nora and Agnes were young when their father, a modestly well-regarded art-house filmmaker, decamped to a different country. At a retrospective of his work, Gustav refers to his crew as his “family,” which would irritate his kids if they’d bothered to attend. Agnes, a former child actor, might note that she, too, deserves some credit. Played in her youth by the compelling Ida Atlanta Kyllingmark Giertsen, Agnes was fantastic in the final shot of Gustav’s masterpiece and Trier takes a teasingly long time to suggest why she retired from the business decades ago, while her older sister keeps hammering at it.
Gustav hasn’t made a picture in 15 years. He’s in that liminal state of renown that I’m guessing Trier has encountered many times: a faded director who’s burned through his money and clout, but still keeps a tuxedo just in case he makes it back to Cannes. Like Reinsve’s Nora, Gustav acts younger than his age and is at his most charming in small doses, particularly with strangers. Trier and his longtime co-writer Eskil Vogt have made him a tad delusional, someone who wouldn’t instantly recognize his graying reflection in a mirror. Sitting down at a cafe with Nora, Gustav jokes that the waitress thinks that they’re a couple on a date. (She almost certainly doesn’t.)
But the tension between Gustav and Nora is real, if blurry. He’s invited her to coffee not as father and daughter, but as a has-been angling to cast Nora as the lead of his next film, which he claims he’s written for her. His script climaxes with a nod to the day his own mother, Karin (Vilde Søyland), died by suicide in their house back when he was just a towheaded boy of 7. Furthering the sickly mojo, Gustav wants to stage his version of the hanging in the very room where it happened.
His awkward pitch is a terrific scene. Gustav and Nora are stiff with each other, both anxious to prove they don’t need the other’s help. But Trier suggests, somewhat mystically, that Gustav has an insight into his daughter’s gloom that making the movie will help them understand. Both would rather express themselves through art than confess how they feel.
When Gustav offers his daughter career advice, it comes off like an insult. She’s miffed when her dad claims his small indie would be her big break. Doesn’t he know she’d be doing him the favor? She’s the lead of Oslo’s National Theatre with enough of a social media following to get the film financed. (With 10 production companies listed in the credits of this very film, Trier himself could probably calculate Nora’s worth to the krone.)
But Gustav also has a lucky encounter with a dewy Hollywood starlet named Rachel (Elle Fanning) who sees him as an old-world bulldog who can give her resume some class. Frustrated by her coterie of assistants glued to their cellphones, Rachel gazes at him with the glowy admiration he can’t get from his own girls. Their dynamic proves to be just as complex as if they were blood-related. If Rachel makes his film, she’ll become a combo platter of his mother, his daughter, his protégée and his cash cow. Nora merely merits the financing for a low-budget Euro drama; Rachel can make it a major Netflix production (something “Sentimental Value” most adamantly is not).
It takes money to make a movie. Trier’s itchiness to get into that unsentimental fact isn’t fully scratched. He seems very aware that the audience for his kind of niche hit wants to sniffle at delicate emotions. When Gustav’s longtime producer Michael (Jesper Christensen) advises him to keep making films “his way” — as in antiquated — or when Gustav takes a swipe at Nora’s career as “old plays for old people,” the frustration in those lines, those doubts whether to stay the course or chase modernity, makes you curious if Trier himself is feeling a bit hemmed in.
There’s a crack running through “Sentimental Value” too. A third of it wants to be a feisty industry satire, but the rest believes there’s prestige value in tugging on the heartstrings. The title seems to be as much about that as anything.
I’ve got no evidence for Trier’s restlessness other than an observation that “Sentimental Value” is most vibrant when the dialogue is snide and the visuals are snappy. There’s a stunning image of Gustav, Nora and Agnes’ faces melting together that doesn’t match a single other frame of the movie, but I’m awful glad cinematographer Kasper Tuxen Andersen got it in there.
The film never quite settles on a theme, shifting from the relationship between Nora and Agnes, Nora and Gustav, and Gustav and Rachel like a gambler spreading their bets, hoping one of those moments will earn a tear. Nora herself gets lost in the shuffle. Is she jealous of her father’s attention to Rachel? Does she care about her married lover who pops up to expose her issues? Does she even like acting?
Reinsve’s skyrocketing career is Trier’s most successful wager and he gives her enough crying scenes to earn an Oscar nomination. Skarsgård is certainly getting one too. But Fanning delivers the best performance in the film. She’s not only hiding depression under a smile, she’s layering Rachel’s megawatt charisma under her eagerness to please, allowing her insecurity at being Gustav’s second pick to poke through in rehearsals where she’s almost — but not quite — up to the task.
Rachel could have been some Hollywood cliché, but Fanning keeps us rooting for this golden girl who hopes she’ll be taken seriously by playing a Nordic depressive. Eventually, she slaps on a silly Norwegian accent in desperation and wills herself to cry in character. And when she does, Fanning has calibrated her sobs to have a hint of hamminess. It’s a marvelous detail that makes this whole type of movie look a little forced.
‘Sentimental Value’
In Norwegian and English, with subtitles
Rated: R, for some language including a sexual reference, and brief nudity
The cost of a standard TV Licence rose this year, with the Government increasing the price to £174.50 in April
Certain people do not have to pay for a TV Licence(Image: Dennis Fischer Photography via Getty Images)
The cost of the standard TV Licence has seen a hike for many this year, with the Government jacking up the price to £174.50 in April. This annual fee is typically mandatory for households or businesses that watch live TV or use BBCiPlayer.
However, it might come as a surprise that certain people could be eligible for a free or discounted licence under specific conditions. These reductions could also apply to those with black-and-white TVs, which usually incur a yearly cost of £58.50 under the licence scheme.
Government guidance suggests that it’s primarily people over 75 years old who receive Pension Credit who can bag a free TV Licence. The same applies if you live with a partner who receives Pension Credit, as the licence covers everyone at a particular address.
It’s crucial to make clear that Pension Credit is different from the State Pension. It refers to a means-tested benefit for people over State Pension age on a low income, topping up weekly income to £227.10 if you’re single or £346.60 with a partner.
Those claiming Pension Credit can apply for a free TV Licence when they turn 74, but will still need to cough up until the end of the month before their 75th birthday. After this point, they will be covered by the free licence, according to the Express.
Additionally, the Government states that anyone who is blind or in residential care can apply for a discounted TV Licence. To be eligible for the residential care home discount, a person must be either retired and over 60 or disabled.
For those who are eligible, the TV Licence cost plummets to just £7.50. Housing managers at residential care homes can also make applications on behalf of residents.
Furthermore, anyone who is registered blind or lives with someone who is can get a 50% reduction on their TV Licence. This slashes the price of a colour licence to £87.25.
Government guidance explains: “The licence must be in the blind person’s name – if it’s not, you can make a new application to transfer it into their name. You’ll need to provide your existing TV Licence number when you apply.”
People over 75 who receive Pension Credit can apply for a free licence online or by telephone. The Government’s official numbers for this are 0300 790 6071 (telephone) and 0300 709 6050 (minicom).
Last year, the Secretary of State announced a 2.9% price rise, coming into force from April 1 2025, in line with annual CPI inflation.
The official TV Licensing site confirms this represented an increase of slightly more than 1p daily and marks only the second licence fee rise since April 1 2021.
The change has seen the annual colour licence fee rise to £174.50, while the black and white licence fee now stands at £58.50 per annum. Future increases in the licence fee will be tied to CPI inflation for the next four years, ending in 2027.
Now, according to a fresh Mirror report, several newspapers have speculated that the annual cost could reach £182 next year. However, the Department for Culture, Media and Sport reportedly told Sky Money: “No final decision has yet been made on the exact level of next year’s licence fee. We will set this out in due course.”
Elle Fanning as Thia and Dimitrius Schuster-Koloamatangi as DekCredit: PA
WHAT happens when the hunter becomes the hunted? That’s the question in this latest outing for the marauding monster franchise.
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And for the first time it’s a Predator and not a person who is our protagonist.
This fundamental plot twist takes the action into pure sci-fi territory, too.
While Badlands still has a cat-and-mouse chase at its core, director Dan Trachtenberg disposes of the previous man versus masked extraterrestrials that glued together all predecessors.
And not a single human lifeform features in this script.
Forget Predator’s 1980s roots, which saw Arnold Schwarzenegger battling other-worldly beings in the jungle.
Decent curveball
Here an epic 22-minute opening explainer sees our lead Predator — young Dek (Dimitrius Schuster-Koloamatangi) — witness the murder of his brother Kwei by their Yautja father.
Cast out from his clan he takes flight to a far-flung planet with the intention of hunting down and slaying the gigantic apex hunter known as the Kalisk.
As well as this mutinous adversary, poisonous plants that can paralyse and lethal grass made of razor blades, here Dek also encounters Thia (Elle Fanning) — a Weyland-Yutani android left hanging from a tree after the Kalisk cut off her legs.
This becomes Dek’s cyborg-in-crime as they help each other across the Badlands with the aim of taking out their mutual target.
Thia’s spoken sentences after an awful lot of subtitled (uncannily Dutch-sounding) Yautja language are a welcome relief.
There’s an unexpected amount of humour too, mostly centred on an additional cute critter travelling companion called Bud.
But amusing segues aside, the idea that everyone is doggedly hunting something does still stand.
The Kalisk and Thia’s evil android twin Tessa are intent on trying to capture Dek, which enables all the heavyweight stand-off set pieces you could hope for.
The graphics are consistently excellent and there’s a decent curveball at the end to leave the door to the next instalment open.
Predator fans may feel dissatisfied by just how far-removed Badlands has travelled from the original.
But doing so does pave the way for some unadulterated futuristic action that can be enjoyed entirely on its own merits, and by a whole new audience.
ANEMONE
(15) 126 mins
★★☆☆☆
Day-Lewis plays Ray alongside his estranged brother (Sean Bean)Credit: PA
DANIEL DAY-LEWIS makes his big-screen return after seven years in this movie directed by his son Ronan.
On paper, that reunion sounds moving. In practice, the film feels heavy, distant and difficult to connect with.
It’s set in the late 1980s on a grey northern coast, and the movie commits fully to that gloom, as every scene reminds of the weight of past burdens the characters still carry.
Day-Lewis plays Ray, a recluse who has cut himself off from almost everyone.
His estranged brother (Sean Bean), seeks to bridge the gap, bringing with him long-buried resentment and unfinished conversations.
The performances themselves are strong, especially from Day-Lewis, who can still command a screen with the smallest gesture.
But the script – written by the actor and his director son – rarely gives the audience room to breathe.
Silence stretches on, metaphors pile up, and the film’s symbolism grows so thick it begins to feel jarring.
There are flashes of genius – a confrontation here, a quiet confession there – but the slow, sombre bits in between offer little or no reward.
The film wants to be profound about pain passed between generations, yet its emotional impact gets lost in its own seriousness.
LINDA MARRIC
THE CHORAL
(12A) 113mins
★★★★☆
Ralph Fiennes is superb as choirmaster Dr GuthrieCredit: PA
YORKSHIRE royalty, writer Alan Bennett, is the recognisable voice behind the script of this feelgood World War One drama.
Set in his native God’s Own Country and with a stunning scenic backdrop, the movie is laced with Bennett’s trademark dry comedy and explores the hope and the horror of wartime Britain through the members of a local community choir.
Ralph Fiennes – superb as choirmaster Dr Guthrie – is brought in to help raise the roof for the ensemble’s annual performance.
Here he heads up a comforting cast of acting heavyweights including Mill owner Duxbury (Roger Allum), pianist Horner (Robert Emms) and Simon Russell Beale as the composer Elgar.
Initially regarded with suspicion thanks to pre-war years spent living in Germany and his fondness for reading naval pages (aka relationships with men) Dr Guthrie soon galvanises his motley mixed generational gang of voices, all dealing in their own way with consequences of war.
Lofty (Oliver Briscombe) and cheeky-chappy pal Ellis (Taylor Uttley) are about to be conscripted, others are grieving those who will not return.
Movies that depict the history of war criminals on trial will almost always be worth making and watching. These films are edifying (and cathartic) in a way that could almost be considered a public servic and that’s what works best in James Vanderbilt’s “Nuremberg,” about the international tribunal that tried the Nazi high command in the immediate wake of World War II. It’s a drama that is well-intentioned and elucidating despite some missteps.
For his second directorial effort, Vanderbilt, a journeyman writer best known for his “Zodiac” screenplay for David Fincher, adapts “The Nazi and the Psychiatrist” by Jack El-Hai, about the curious clinical relationship between Dr. Douglas Kelley, an Army psychiatrist, and former German Reichsmarschall Hermann Göring during the lead-up to the Nuremberg trials.
The film is a two-hander shared by Oscar winners: a formidable Russell Crowe as Göring and a squirrely Rami Malek as Kelley. At the end of the war, Kelley is summoned to an ad-hoc Nazi prison in Luxembourg to evaluate the Nazi commandants. Immediately, he’s intrigued at the thought of sampling so many flavors of narcissism.
It becomes clear that the doctor has his own interests in mind with this unique task as well. At one point while recording notes, in a moment of particularly on-the-nose screenwriting, Kelley verbalizes “Someone could write a book” and off he dashes to the library with his German interpreter, a baby-faced U.S. Army officer named Howie (Leo Woodall), in tow. That book would eventually be published in 1947 as “22 Cells in Nuremberg,” a warning about the possibilities of Nazism in our own country, but no one wants to believe our neighbors can be Nazis until our neighbors are Nazis.
One of the lessons of the Nuremberg trials — and of “Nuremberg” the film — is that Nazis are people too, with the lesson being that human beings are indeed capable of such horrors (the film grinds to an appropriate halt in a crucial moment to simply let the characters and the audience take in devastating concentration camp footage). Human beings, not monsters, were the architects of the Final Solution.
But human beings can also fight against this if they choose to, and the rule of law can prevail if people make the choice to uphold it. The Nuremberg trials start because Justice Robert Jackson (Michael Shannon) doesn’t let anything so inconvenient as a logistical international legal nightmare stop him from doing what’s right.
Kelley’s motivations are less altruistic. He is fascinated by these men and their pathologies, particularly the disarming Göring, and in the name of science the doctor dives headlong into a deeper relationship with his patient than he should, eventually ferrying letters back and forth between Göring and his wife and daughter, still in hiding. He finds that Göring is just a man — a megalomaniacal, arrogant and manipulative man, but just a man. That makes the genocide that he helped to plan and execute that much harder to swallow.
Crowe has a planet-sized gravitational force on screen that he lends to the outsize Göring and Shannon possesses the same weight. A climactic scene between these two actors in which Jackson cross-examines Göring is a riveting piece of courtroom drama. Malek’s energy is unsettled, his character always unpredictable. He and Crowe are interesting but unbalanced together.
Vanderbilt strives to imbue “Nuremberg” with a retro appeal that sometimes feels misplaced. John Slattery, as the colonel in charge of the prison, throws some sauce on his snappy patter that harks back to old movies from the 1940s, but the film has been color-corrected into a dull, desaturated gray. It’s a stylistic choice to give the film the essence of a faded vintage photograph, but it’s also ugly as sin.
Vanderbilt struggles to find a tone and clutters the film with extra story lines to diminishing results. Howie’s personal history (based on a true story) is deeply affecting and Woodall sells it beautifully. But then there are the underwritten female characters: a saucy journalist (Lydia Peckham) who gets Kelley drunk to draw out his secrets for a scoop, and Justice Jackson’s legal clerk (Wrenn Schmidt) who clucks and tsks her way through the trial, serving only as the person to whom Jackson can articulate his thoughts. Their names are scarcely uttered during the film and their barely-there inclusion feels almost offensive.
So while the subject matter makes “Nuremberg” worth the watch, the film itself is a mixed bag, with some towering performances (Crowe and Shannon) and some poor ones. It manages to eke out its message in the eleventh hour, but it feels too little too late in our cultural moment, despite its evergreen importance. If the film is intended to be a canary in a coal mine, that bird has long since expired.
Walsh is a Tribune News Service film critic.
‘Nuremberg’
Rated: PG-13, for violent content involving the Holocaust, strong disturbing images, suicide, some language, smoking and brief drug content
Alan Carr won The Celebrity Traitors in a tense series finale on Thursday and, overcome with emotion, the comedian told viewers: “I am and have always been a traitor”
But his own career is now set to change, with The Celebrity Traitors thought to act as a springboard for more success. An insider has even said Alan is being considered for Strictly, as Tess Daly and Claudia Winkleman are set to leave. They added: “He has got to be up there with the BBC to get a huge new role… Wink, wink, nudge, nudge, Strictly.”
And a BBC source said: “Alan has always been a star – but it’s amazing what a month in a Scottish castle can do to elevate your career. He’s ours now.”
The Mirror had reported how chatter linked Alan to one of the Strictly vacancies, but now his triumph in the Scottish castle is said to have firmed his bid to take the Saturday night gig. The presenter had been praised for “super competitive streak” and charisma during his time on The Celebrity Traitors, which began at the start of October.
A source on The Celebrity Traitors said “people just love Alan”. The BBC believes viewers “loved him and [think] he has been the star of the Traitors,” one insider told the Daily Mail.
Alan, snubbed for a potential role as a judge on Britain’s Got Talent in 2023, was hoping for nothing more than a bit of a giggle when he signed up for the BBC show. He got off to a difficult start as fellow traitor Jonathan Ross worried Alan, born in Weymouth, Dorset, might give himself away.
But Alan showed the resilience and courage to thrive and eventually beat former England rugby star Joe Marler and his fellow Traitor Cat Burns. Bursting into tears when he was declared the winner, the comedian said: “I am and have always been a traitor… I’m so sorry, it’s been tearing me apart.” He told host Claudia Winkleman: “All that lying, all that treachery was worth it, wasn’t it?”
Nick Mohammed covered his mouth in shock when Alan revealed the other traitors. The Ted Lasso star said: “Not Joe!” He added: “Alan Carr. He played an absolute blinder.” Alan said: “What a rollercoaster, how did this happen? I was awful at lying and had a terrible poker face and here I am, the winner.”
REMEMBER those big rectangular pre-digital VHS tapes?
Well, Shooter Jennings, son of late country music great Waylon, has held on to a few of them.
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Waylon Jennings is remembered as a pioneer of the ‘Outlaw’ country sceneCredit: HandoutWaylon with The Dukes Of Hazzard stars Tom Wopat and John Schneider in 1984Credit: AlamyWaylon’s son Shooter Jennings
Now I’ll explain why they’re so precious to him.
They contain episodes of a TV show almost as popular as Dallas in the early Eighties — The Dukes Of Hazzard.
As the opening credits roll, you see “The General Lee”, a souped-up 1969 orange Dodge Charger, careering into view.
Inside are outlaw cousins Bo and Luke Duke, on the run from crooked officials, Boss Hogg and Sheriff Rosco P Coltrane.
You hear the rollicking theme tune, Good Ol’ Boys, being sung in commanding, if tongue-in-cheek fashion by — you might have guessed — Waylon Jennings.
He also serves as the show’s laidback narrator, The Balladeer, and one of his pearls of wisdom is about poster girl Daisy Duke, remembered for her skimpy denim shorts.
“She drives like [stock car racer] Richard Petty, shoots like Annie Oakley, and knows the words to all of Dolly Parton’s songs.”
But he doesn’t appear on screen until season seven when, after demands from fans, he is presented as an old friend of the Dukes in an episode titled Welcome, Waylon Jennings.
‘A massive cultural moment’
“Just last night, my wife and I were watching some episodes,” Shooter tells me via Zoom from America’s West Coast as we discuss a fabulous new project involving his father’s previously unreleased music.
“It made me think what a massive cultural moment the show was,” he continues. “Just how perfect my father’s voice was for it.
“I think he loved doing those shows and it wasn’t a lot of work for him. He’d be on the road and just stop by a studio and do the voiceovers.
“There’s real humility about them. He seems to be making fun of himself the whole time. It’s really funny to hear.”
Waylon is remembered as a pioneer of the “Outlaw” country scene, a singer who wrestled the Nashville music-making machine and won control over his recorded output.
Hellraiser, maverick and bearer of a rich baritone, he was an obvious choice to join fellow renegades Johnny Cash, Willie Nelson and Kris Kristofferson in Eighties supergroup The Highwaymen.
Born in Littlefield, Texas, in 1937, he was consumed by music at an early age and, in 1958, came under the wing of Buddy Holly, who arranged his first recording session.
Shooter says: “If my dad had got on the plane, the music world would be quite different. I often think what it must have been like for him to have survived that.
“Throughout his life, Buddy was huge to him and he used to talk about him all the time.
“A lot of his spirit and energy came from rock and roll, from Buddy, who gave him little lessons in songwriting.
“But he also loved country music, the beauty and sentiment of it, and his voice was just so vulnerable and awesome.”
From the mid-Sixties onwards, Waylon would become a fixture at the top of the country charts but his best work appeared after he gained creative control from RCA Records in 1973.
He delivered a string of fine unvarnished albums including Lonesome, On’ry And Mean, Honky Tonk Heroes, Dreaming My Dreams and Are You Ready For The Country.
In 1979, he and fourth wife Jessi Colter, a fellow “Outlaw” country singer, had their only child together, Waylon Albright “Shooter” Jennings.
The Albright comes from Richie Albright, Waylon Snr’s right- hand man and drummer in The Waylors.
And the main reason I’m talking to Shooter is because he has unearthed a goldmine of unreleased Waylon recordings, taped between 1973 and 1984.
This has resulted in the appearance of Songbird, the first of three albums culled from the material and lovingly restored by him with the help of surviving members of his dad’s band, along with younger musicians and backing singers.
‘Passion and soul alive today’
“It’s been surreal,” says Shooter, a singer in his own right and in-demand producer. “Everything has lined up for me to have this purpose.
“This project has given me an entirely new chapter in my relationship with my father and working on this music has brought a whole new understanding about how, when and why my dad made music.
“The hard work is there on the tapes and the passion and the soul within is as alive today as it was the day it was recorded.”
I guess the reason The Dukes Of Hazzard cropped up in our chat is because much of the Songbird album’s music was recorded around the same time as the show aired.
Then I just kept finding these hidden albums,” he says. “It didn’t feel like stuff that was not meant to be released and there were songs I never knew he’d attempted.
Shooter Jennings
Shooter became aware of Waylon’s buried treasure in 2008, “about six years after he died” aged 64 from complications of diabetes.
But the project only began in earnest last summer when he started sorting through hundreds of high-resolution multitrack transfers of his father’s personal studio recordings.
What Shooter discovered blew his mind.
Listening to his dad performing with his ace band became “a wild adventure”. When Shooter heard their cover of Fleetwood Mac’s Rumours track Songbird, written by Christine McVie, he realised he was on to something “really exciting”.
“Then I just kept finding these hidden albums,” he says. “It didn’t feel like stuff that was not meant to be released and there were songs I never knew he’d attempted.”
Shooter says that much of the material was “professional cuts with a lot of attention to detail, much more than sketches”.
“My mom told me that my dad always said that every song he recorded should be good enough to be a single when it was done. He had a great work ethic.”
Hellraiser, maverick and bearer of a rich baritone, he was an obvious choice to join fellow renegades Johnny Cash, Willie Nelson and Kris Kristofferson in Eighties supergroup The HighwaymenCredit: RedfernsShooter Jennings discovered his late father Waylon’s haunting cover of Fleetwood Mac’s Songbird while restoring hundreds of lost studio tapes — inspiring a new album that brings the legend’s voice back to lifeCredit: Getty
Shooter settled on Songbird as the opening track and album title because he realised that Waylon “was a kind of songbird”.
“I wanted to hit home how good a song interpreter he was and how he could make a song his own,” he says. “And I wanted to bring him back with an emotional song, one that’s going to make you cry.
“Every time I play it for anyone, they tear up at the bit which goes, ‘And I feel that when I’m with you, it’s all right’.
“It’s such a beautiful take that people are shocked they haven’t heard it before.”
In order to take Songbird to even greater heights, Shooter enlisted contemporary country singers Ashley Monroe and Elizabeth Cook to provide backing vocals.
‘Obsessed with Hank Williams’
“They’re the funniest people, like a duo, and they’re hillbillies like me,” he says.
“Elizabeth and I have been really good friends for 15 years plus and she brought Ashley to my studio around the time I was going through this.
“And they were so moved by Songbird. I realised their airy, birdlike voices could elevate it to some fantasy realm.
“So I asked them to come back and do some background vocals and they really killed it.”
Also adding finishing flourishes to the album’s ten tracks are some surviving Waylors including guitarist Gordon Payne, bassist Jerry Bridges, keyboardist Barny Robertson, and backing vocalist Carter Robertson.
The second song The Cowboy (Small Texas Town) is credited to Johnny Rodriguez but Shooter suspects his father had a hand in writing it.
These telling lines back up that theory: “My long shaggy hair, and the clothes that I wear/Ain’t fit for no big fancy ball.”
The song fits with Waylon’s image of staying true to his humble origins — a quality Shooter sees in today’s stars such as Charley Crockett, Tyler Childers and Benjamin Tod.
He credits his father with blazing a trail for these independent spirits thanks to his battle with RCA Records. “My dad really opened it up. And even though Nashville got their grip back on it for a little while, they’ve been blown apart now.
“They’re just scrambling to find anyone who’s like one of these guys.”
I ask Shooter what Waylon used to tell him about growing up in Littlefield, Texas.
“He would tell me how poor they were, for sure, that they had dirt floors, that his mom would put him in places the rats wouldn’t get to.”
When Waylon became famous, the town would hold a Waylon Jennings Day and their favourite son “would go back there and do a show”.
Shooter adds: “I loved my dad’s family, his brothers and his mom. I got to know all of them and his brother James is still around and runs this little gas station there.”
Unbeknown to the residents of Littlefield in 2025, Shooter decided to put up billboards around town featuring lyrics to some of the Songbird songs.
He and Johnny [Cash] came from the exact same background. They both picked cotton. They both listened to Hank Williams on the radio and both journeyed to Mecca [Nashville] to make music.
Shooter Jennings
“I didn’t even tell them. But when we put out that song, The Cowboy, I really wanted to put the focus on Littlefield.”
We’ve heard about Buddy Holly but I’m keen to find out from Shooter who else was his father’s music hero. He instantly mentions country music’s first superstar — Hank Williams, who lived fast and died young.
“My father was obsessed with Hank Williams. He was similar in a way because of the vision he had for his songs.”
As for Waylon’s reputation as a hellraiser, Shooter has this to say: “It’s funny, he didn’t drink. People always get that wrong.
“He only did the uppers but we had an empty alcohol cabinet in our house because he just didn’t get any.”
And what does Waylon’s recently remarried widow Jessi Colter, Shooter’s mother, think of the Songbird project?
“She has helped us,” he replies. “I had to borrow money from her to do it because I didn’t want to get a label involved.
“She was also a great emotional support to me, even if she wasn’t emotionally tied up in the project.”
Hearing Waylon sing “didn’t make her sad but she loved it. She’d say something like, ‘They sound like they were having a good time that day.’ ”
Before we go our separate ways, Shooter opens up about Waylon’s famous friends, notably his Highwaymen buddies Johnny Cash, Kris Kristofferson and Willie Nelson, still touring and making records at 94.
Waylon and Cash shared an apartment in Nashville in the mid-Sixties and had a strong, if sometimes tempestuous bond.
“They loved each other,” says Shooter. “Just like anybody else, they would have little bicker fights and not talk for a couple of weeks here or there.
“But he had a great relationship with Johnny and June [Carter Cash].
“He and Johnny came from the exact same background. They both picked cotton. They both listened to Hank Williams on the radio and both journeyed to Mecca [Nashville] to make music.”
Shooter continues: “And I loved Cash. We used to go to his house when I was little. He was always very nice to me.”
Shooter in the studio with his father in 1995Credit: Beth Gwinn1995
He also remembers hanging out with Nelson’s daughters Amy and Paula. “We were all around the same age and together on the road during the Waylon and Willie tours.
“And then The Highwaymen happened and I was around Kristofferson’s kids because they lived in Tennessee.
If our waking hours are a canvas, the art is how one fills it: tightly packed, loosely, a little of both. At a time when they were both 40 and the art scene in ’70s New York was in thrall to street-centered youth of all stripes, real-life writer Linda Rosenkrantz asked her close friend, photographer Peter Hujar, to make a record of his activities on one day — Dec. 18, 1974 — and then narrate those details into her tape recorder the following day at her apartment.
The goal was a book about the great mundane, the stuff of life as experienced by her talented confidants. In Hujar’s case, an uncannily observant queer artist and key gay liberation figure planning his first book, what emerged was a wry narrative of phone calls (Susan Sontag), freelancing woes (is this gig going to pay?), celebrity encounters (he does an Allen Ginsberg shoot for the New York Times) and chance meetings (some guy waiting for food at the Chinese restaurant). The Hujar transcript, recovered in 2019 sans the tape, was ultimately published as “Peter Hujar’s Day.”
Now director Ira Sachs, who came across the text while filming his previous movie “Passages,” has given this quietly mesmerizing, diaristic conversation cinematic life as a filmed performance of sorts, with “Passages” star Ben Whishaw perfectly cast as Hujar and Rebecca Hall filling out the room tone as Rosenkrantz. (They also go to the roof a couple of times, which offers enough of an exterior visual to remind us that New York is the third character getting the time-capsule treatment.)
From the whistle of a tea kettle in the daylight as Hujar amusingly feels out from Rosenkrantz what’s required of him, to twilight’s more honest self-assessments and a supine cuddle between friends who’ve spent many hours together, “Peter Hujar’s Day” captures something beautifully distilled about human experience and the comfort of others. For each of us, any given day — maybe especially a day devoid of the extraordinary — is the culmination of all we’ve been and whatever we might hope to be. That makes for a stealthy significance considering that Hujar would only live another 13 years, succumbing to AIDS-related complications in 1987. It was a loss of mentorship, aesthetic brilliance and camaraderie felt throughout the art world.
Apart from not explaining Hujar for us (nor explaining his many name drops), Sachs also doesn’t hide the meta-ness of his concept, occasionally offering glimpses of a clapperboard or the crew, or letting us hear sound blips as it appears a reel is ending. There are jump cuts too, and interludes of his actors in close-up that could be color screen tests or just a nod to Hujar’s aptitude for portraits. It’s playful but never too obtrusive, approaching an idea of how art and movies play with time and can conjure their own reality.
The simple, sparsely elegant split-level apartment creates the right authenticity for Alex Ashe’s textured 16mm cinematography. The interior play of light from day to night across Whishaw and Hall’s faces is its own dramatic arc as Hujar’s details become an intimate testimony of humor, rigor and reflection. It’s not meant to be entirely Whishaw’s show, either: As justly compelling as he is, Hall makes the act of listening (and occasionally commenting or teasing) a steady, enveloping warmth. The result is a window into the pleasures of friendship and those days when the minutiae of your loved ones seems like the stuff that true connection is built on.
Celebrity Traitors star Joe Marler seemed stunned when Uncloaked host Ed Gamble questioned him about calling his co-stars ‘scumbags’ after his shock exit from the BBC series
00:05, 07 Nov 2025Updated 00:05, 07 Nov 2025
There was some backtracking where insults were concerned on The Celebrity Traitors on Thursday.
Joe Marler was caught out taking aim at his co-stars after they eliminated him from the show, at the final hurdle. As he watched the moment back in the audience of spin-off series Uncloaked, he called out the celebs who let him down.
What’s rather hilarious is Joe had zero recollection of doing so, but someone heard him. Host Ed Gamble wasted no time in putting Joe on the spot about the moment he called David Olusoga and Nick Mohammed “scumbags” for thinking he was a Traitor.
The moment itself was a shocker that left viewers fuming, and Joe clearly did not see it coming. He was openmouthed with confusion as the stars explained their decision to banish him, all because he’d apologised to Cat Burns for voting her out moments earlier.
As the crowd watched the finale together, Ed heard Joe say “scumbags” as he was voted out of the castle. When Joe joined Ed on the stage for Uncloaked, he told him: “I was sitting in the row in front of you watching that.
“When you saw you get banished, you did shout scumbags at them.” Joe looked really shocked, gasping as he appeared to forget he’d said it. He asked: “Did I?”
It’s then that he completely backtracked and said he “didn’t mean” to call Nick and David that term. He told Ed, and his co-stars: “No, I didn’t mean that.
“I didn’t mean that, I just couldn’t work out… what was it?” He then revealed how he’d been banished for being polite to Cat Burns. One amused viewer posted: “I can’t believe Joe yelled scumbags at them when he was banished.”
Meanwhile, Alan Carr’s victory left the star sobbing. As Alan announced he was and always had been a Traitor, Nick screamed: “Oh f**k,” and nearly collapsed in shock.
David was left speechless as he fell to the table, and stared on in disbelief – despite co-star Joe’s warning before his elimination moments earlier. But they were stunned as Alan then burst into tears, telling his new pals: “It’s been tearing me apart. I am so sorry.”
Nick was first to rush over to Alan, tearful as he consoled him and told him all was fine. He said: “You’ve been absolutely brilliant. You’ve been amazing. It’ a game.”
Iron Maiden rocker Bruce Dickinson has revealed the surprising reason behind his decision to take up fencingCredit: GettyBruce has told how he used the sport to help him fend off sex-hungry groupiesThe rocker spent months training with Team GB and represented a semi-pro club – and was once an outside contender for the OlympicsCredit: Getty – Contributor
Run to the Hills singer Bruce — worth about £100million – was at one point ranked No7 in the UK and an outside contender for the Olympics.
He tried fencing as a teenager and then took it up as a hobby in 1983 to distract himself from the temptations of sex, booze and drugs after finding fame.
He spent months training with Team GB and represented a semi-pro club.
Asked why he picked up the blade, he told Classic Rock mag: “I was busy sh*****g everything that moved and none of it was healthy.
“I remember something that (The Who guitarist) Pete Townshend once said about groupies — ‘The moment you realise you can click your finger and manipulate people into having sex with you, that’s the moment you’re going down the slippery slope’.
“You can’t believe women are throwing themselves at you. You think, ‘Well this is nice’. And it is. It’s f*****g great. But there’s a dark side to this.
“Where do you stop? When does it become a prop, like alcohol or cocaine?
“So that’s when I started doing extracurricular activities like fencing.
“I was thinking, ‘I’ve got to do something to keep my brain clean’.”
Bruce, also a qualified pilot who flies Iron Maiden’s private 747 on tour, still takes part in fencing competitions for his age group.
The band has sold more than 130million albums since forming in London in 1975.
British actor Pauline Collins, who earned an Oscar nomination for her turn as the stuck-in-a-rut housewife of “Shirley Valentine,” has died. She was 85.
Collins’ family said in a statement Thursday that the actor died peacefully this week at her care home in north London after living with Parkinson’s disease for several years. In the statement, her family said Collins “was so many things to so many people, playing a variety of roles in her life.”
“A bright, sparky, witty presence on stage and screen,” the family described the versatile actor, whose career began in the 1960s.
Collins was well into her 40s when she starred in “Shirley Valentine,” a witty but disgruntled homemaker who accepts a girlfriend’s offer to travel to Greece to bring much-needed spice back to her life. “Sex for breakfast, sex for dinner, sex for tea and sex for supper,” Shirley proudly declares in the 1989 film, directed by Lewis Gilbert.
For Collins, “Shirley Valentine” was more than just an ode to womanhood, self-love and self-discovery. It was also a chance to challenge the conventions of aging in entertainment, including by shooting a nude scene for the film.
“My only sorrow was that I wasn’t younger and thinner,” a 49-year-old Collins told The Times in 1989. “But if I were Jamie Lee Curtis, I wouldn’t have been right for the part.”
“Shirley Valentine,” which also starred Tom Conti as her on-screen Greek lover and Alison Steadman as her friend, led Collins to receive her sole Academy Award nomination, a nod in the leading actress category. The film also received an original song Oscar nomination for Patti Austin’s “The Girl Who Used to Be Me,” written by Marvin Hamlisch and husband-wife lyricist duo Alan and Marilyn Bergman.
Two years before the film’s premiere, Collins originated the role of Shirley Valentine in London for Willy Russell’s one-woman play of the same name. That led to her Broadway debut in 1989 and a Tony Award for best actress in a play the same year. She also won accolades for the play at the Laurence Olivier Awards and a BAFTA for her work in the film adaptation.
Beyond “Shirley Valentine,” Collins was also known for appearing in dozens of TV series including “Upstairs, Downstairs,” “Forever Green,” “The Ambassador,” “Mount Pleasant” and “Dickensian.” She also appeared in films including “City of Joy,” “Paradise Road” and “You Will Meet a Tall Dark Stranger,” counting Patrick Swayze, Glenn Close, Frances McDormand, Antonio Banderas, Josh Brolin and Anthony Hopkins among her co-stars.
Throughout her decades-long screen career, Collins also continued her work in theater, including productions of “The Importance of Being Earnest,” “Woman in Mind” and “Cinderella.”
Collins, born in 1940, was raised near Liverpool by a schoolteacher mother and a headmaster father. She told The Times in 1989 that her dad “was one of the early feminists.”
“He had three daughters and always offered us everything that a boy would have — education and stuff,” she said. “[My parents] had a completely shared domestic situation, they both worked, cooked, did the washing. He even washed nappies [diapers] by hand.”
Her marriage to “Upstairs, Downstairs” co-star John Alderton — they married in 1969 — was not too different. “He just spent five months holding down the fort at home while I was on Broadway,” she recalled.
Alderton, 84, said Thursday that Collins’ “greatest performance was as my wife and mother to our beautiful children.”
While Collins was known for her scenic and romantic on-screen vacation to the Greek coast, she preferred a different kind of destination off-screen: St. Petersburg, Fla.
“It’s amazing, people think when you’re on your own you’re going off to have wonderful sexual adventures. Here I am, on my own, going off to Disney World,” she told The Times. “What does that say about me?”
Harley Moon Kemp has revealed that she never receives an invite to the pub from her brother Roman as they made their debut together on Celebrity Race Across The World
Harley Moon Kemp makes heartbreaking complaint to Roman about their relationship(Image: CREDIT LINE:BBC/Studio Lambert)
Harley Moon Kemp has revealed that she never receives an invite to the pub from her brother, Roman. The photographer,36, who is the daughter of TV legend Martin Kemp and pop singer Shirlie Kemp, has stayed largely out of the spotlight, whilst her sibling, 32, has carved out a successful career as a radio host, One Show presenter and general television personality.
In their introduction, Roman admitted: We’ve got some slightly different traits. Harley was always the one going out, getting in trouble; I was more boring!”
Harley Moon responded: “Roman is going to be practical; and the planning and the budgeting,” as he replied: “You’re in charge of cups and ice.”
It was then that she explained: “We’ve got that conventional family thing going on when you call each other when you need stuff,” before Roman replied: “I don’t know what it’s like to hang out with Harleymoon.”
Implying that was his fault, Harley Moon hit back: “You never invite me to the pub,” before the former I’m A Celebrity…Get Me Out Of Here! star clarified: “Because I never go!”
Just months before taking on Celebrity Race Across the World 2025 with his older sister, which will see the sibling duo competing with other stars as they race 5,900km across Central America on just £30 each a day, Loose Men star Roma opened up about the struggle he remembers most vividly from his childhood.
In a conversation with singer Tom Grennan on their You About? podcast, Roman shared memories of him and Harley Moon featuring in national magazines alongside their famous parents during a period when finances were tight for the family.
My parents had no money at the time because my dad had all these operations and s*** for his brain, so, like, they were trying to get more money,” Roman explained to podcast co-host Tom. He went on to admit that even though they had appeared in magazines as a family, Martin and Shirlie were still anxious about their children being snapped by paparazzi on holiday.
Roman continued: “But then, even up to when I was maybe 13, if we’d gone on holiday, we were never allowed to go to the beach because when we went on the beach, my mum and dad would always be like, ‘there it is’ and you’d see a boat come past, quite far out, and then, like, stop, and there would just be a long lens camera just taking pictures of kids on beaches.”
Roman heartbreakingly revealed his mum would often be left in tears after seeing pictures the paparazzi had taken of them appearing in the press. He shared: “It’s mad in that sense, you see it less and less now, like those old celebrity pictures on the beach, you see that a lot less now.
“But at the time, my whole life, me growing up, was my mum crying because they’re taking horrendous pictures and they’d only use the worst picture.” Reflecting on a specific traumatic moment following a holiday, Roman said Shirlie “cried for, like, five days” when photos of the family on a banana boat were published in the press.
Ahead of Celebrity Race Across the World airing on Thursday night, Harleymoon explained she was previously given the chance to go on the BBC show with her mum, but Shirlie had concerns, so the pair missed out.
Harleymoon told the Radio Times: “My mum was asked to be in the first Celebrity Race Across the World and was going to take me, but thought it sounded too hard. I was glad to have another chance to go.”
Sharing his own motivations to sign up to the series, Roman, who has been open about his struggles with anxiety and depression, said: “I came off all medication [antidepressants] over a year ago and the race was a good test for my anxiety.”
ROCK legend Jon Bon Jovi is the next big name star to join CBeebies Bedtime Story slot.
And he uses his stint to share a loving message about his new granddaughter.
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Jon Bon Jovi is the next big name star to join CBeebies Bedtime Story slotCredit: BBC/Guy LevyThe rock legend uses his stint to share a loving message about his new granddaughterCredit: BBC/Guy Levy
The Bon Jovi singer said: “Some of my favourite things in life are music and being a grandad – or as I like to say,‘papa’ – and going on adventures.
“When my grandchildren are a little older, I can’t wait to take them on amazing adventures.
“Music has played a part in all of my kids’ childhoods and I’m looking forward to watching my children become parents and seeing our grandchildren become part of our lives.
“It’s not about what I’m going to teach my grandchildren, but what they’re going to teach me!”
The TV storytelling gig has welcomed everyone from Harry Styles to Idris Elba to the bedtime armchair.
Jon has chosen to read his friend Paul McCartney’s book Hey Grandude! tomorrow night (Friday 7 November) at 6.50pm on CBeebies and BBC iPlayer.
He added: “I picked Hey Grandude! because it’s written by the great Paul McCartney, singer, songwriter, storyteller.
“He’s someone I’ve always admired and looked up to, not just for his music but for his parenting and grandparenting skills. He’s a dear friend and someone we all admire.”
Jon will also feature in an episode of the CBeebies Parenting Helpline podcast, out November 27 on the CBeebies Parenting website and BBC Sounds.
He will pose a question about when (and when not) to give parenting advice to your own children.
Los Angeles County Museum of Art management on Wednesday declined to voluntarily recognize the union its employees announced they were forming last week. This means LACMA United cannot move forward with collective bargaining efforts until it is formalized by a National Labor Relations Board election. Complicating matters further, NLRB activities — including elections — are on hold amid the federal government shutdown.
The disconnect between staff — a clear majority of whom signed union authorization cards — and management comes at a significant moment in the museum’s history as LACMA works tirelessly to open its $720-million David Geffen Galleries. The new home for its encyclopedic permanent collection, designed by Pritzker Prize-winning architect Peter Zumthor, contains 110,000 square feet of gallery space and is scheduled to open to the public in April after more than a decade of planning, fundraising and building.
In a news release, the union noted that organizing efforts — in the works for more than two years — have taken on added urgency as workloads have increased in the face of opening the new building.
“Staff across departments — many performing demanding physical labor — are stretched thin as deadlines accelerate,” LACMA United wrote. “Without adequate protections, this pace is unsustainable and has already contributed to burnout and turnover among dedicated employees who deserve better from an institution they’ve helped build.”
The union’s organizing committee added in a statement, “We are disappointed that LACMA leadership has chosen to delay rather than embrace the democratic will of its workers. While the museum reimagines itself as a more collaborative, less hierarchical institution in its new David Geffen Galleries, it has declined to extend that same vision to its relationship with the very people who bring LACMA’s mission to life every day.”
“LACMA’s leadership has great respect for our team and for everyone’s right to make their own choice on this important issue,” Michael Govan, the museum’s director and chief executive, said in an email. “No matter the outcome, my commitment to our employees — to listen, to support them, and to continue building a strong and respectful workplace — remains unchanged.”
Management’s decision stands counter to those made by other cultural institutions across the city, including the Museum of Contemporary Art, the Academy Museum and the Natural History Museum, all of which voluntarily recognized their unions over the last six years.
LACMA United represents more than 300 workers from across all departments, including curators, educators, art installers, conservators, registrars, visitor services staff, facilities workers, researchers and designers. The union is asking for improved wages, benefits and working conditions in what has proved to be a challenging climate for museum workers across the county.
The union did not demonstrate at last week’s celebrity-packed LACMA Art + Film Gala, which was co-hosted by Leonardo DiCaprio and fashion designer Eva Chow, and raised more than $6.5 million in support of the museum and its programs.
EXCLUSIVE: With the Celebrity Traitors final just hours away, a PR expert has revealed which stars are coming out to TV opportunities – and which have been left worse off
17:37, 06 Nov 2025Updated 17:40, 06 Nov 2025
The Celebrity Traitors real winners and losers have been revealed by an expert(Image: CREDIT LINE:BBC/Studio Lambert/Euan Cherry)
The Celebrity Traitors airs its huge finale tonight on BBC One – and while fans are asking whether the Traitors or Faithful will win the game, others are wondering what’s next for its viral stars. Tonight’s episode will see finalists Alan Carr, Cat Burns, David Olusoga, Nick Mohammed and Joe Marler compete for the chance to win up to £100,000 for their chosen charities.
However, celebrity PR specialist Kayley Cornelius has revealed who the real winners from the BBC One series are – as well as who hasn’t come of as well as they had hoped. One of those coming out on top is ex rugby player Joe Marler, who is rumoured to be taking on a big presenting role with the BBC after the show.
Speaking on behalf of Online Casino provider Slingo, Kayley said that Joe has gained a whole new fanbase thanks to the Celebrity Traitors. “He has a lot to gain from this show – he’s recently retired from his sporting career and stepped into this new chapter of his life,” she said.
“Celebrity Traitors was his first bash at giving a reality career a try and he’s going to attract a lot of new listeners to his podcast. People have been so impressed with how clever he’s been throughout the process. He’s proven himself as being entertaining, clever, he comes across very well on screen.
“I can see him being lined up for every show under the sun – he’s probably going to be on Strictly next. He would be perfect for the glitz and glam. He’s such a good team player and he’s from sport so has discipline. He’s going to be a very booked and busy man.”
However, he’s not the only finalist who’ll be going on to bigger and better things – Kayley reveals that Cat Burns’ brand awareness has shot up thanks to the show. “She entered as this quiet underdog among line-up of really well known names. This show was a great opportunity for brand awareness for her,” she said.
“She’s just had to push back her tour but I have no doubt that it is going to sell out in no time. She’ll be able to headline bigger stages, do more arena-based shows. She might get a support slot on a stadium tour. It’s an exciting time where she’s going to be in demand.”
Kayley added that Cat could also go into fashion after showing off her style on Celebrity Traitors. “Some of her looks from the show, she came across as like quite cool, quite grungy and I think that aesthetic from an editorial sense, she’ll probably make thousands off the back of that.”
While there are rumours that the treacherous Alan Carr could become the next host of Strictly Come Dancing, Kayley doesn’t think it would be the right fit for the standout star. “When I think about what he will realistically do next, I can’t imagine it being Strictly,” she said.
“I think with the position that Strictly Come Dancing is in at the moment, as they’re recovering from these scandals, I think they want to keep two female presenters so I don’t know if I can quite see him taking Strictly on, even though it would be brilliant.
“I suppose for Alan, he’s just made a nation fall in love with him again and there’s chats of Chatty Man being revived – I can see it.”
As for the stars who haven’t found success from the show, YouTube star Niko Omilana is one of them thanks to his early banishment. The influencer was the first person to be accused of being a Traitor on the show and left in episode two.
“Niko unfortunately has lost out on quite a lot from doing this show,” Kayley said. “This is the kind of move that should have been a massive career break for Niko as he goes from online reality star into a mainstream celebrity. Like what we’re witnessing with George Clarke on Strictly at the moment.
“Unfortunately, with him being on the show for such a short amount of time, he wasn’t in there long enough to make much of an impact on this new audience.”
“I think Paloma might have some damage control to do,” Kayley says. “She’s quite angry with Alan Carr and how the game panned out. People might see her as a bit petty and a bit pathetic. Originally, the public said, ‘We need Paloma back – she was done so dirty.’ They’re now turning on her and saying she’s been a sore loser.
“From that perspective, she just needs to be a bit cautious and careful about how she speaks about her experience on the show and there might be more behind the scenes than we’re being let on to know at the minute, but I think if she is going to be a bad loser about this situation, it’s not going to go down well with viewers at home.”
