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Coronation Street revealed surprise death news in Monday’s episode of the ITV soap and Debbie Webster has implied that all is not what it seems after the surprise passing

Coronation Street aired scenes of a shock death on Monday evening. Earlier this year, Carl Webster (Jonathan Howard) arrived as the long-lost half brother of Kevin Webster, and whilst things were going well to begin with, their reunion quickly soured when it was revealed that Carl had been having an affair with his brother’s wife Abi.

Little is known about Carl’s past, but what has been established is that he grew up in Germany with his parents Bill and Elaine Webster. Bill was the father of Kevin (Michael Le Vell) and Debbie Webster (Sue Devaney), and their mother Alison never appeared on the programme, having died in 1980. Carl was then born to Bill and Elaine off-screen in 1986.

On Monday’s episode of the world’s longest-running TV soap, Abi was at Debbie’s hen-do when she got a panicked phone call and rushed straight home. Once there, Carl revealed to her that his mother had died, and he had been completely unaware that she had been fighting cancer.

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For the first time, Carl began to open up about his mother to Abi and hinted at a mystery that was never solved between the pair. He said: “She was… formidable. Not the most loving of mothers, that’s for sure. Our relationship was tricky. I knew she wanted me to settle down, get married and have kids and all then.

“I was immature back then – late developer. She did bail me out a few times, though, let me stay at hers, when I hit the skids. I remember my 30th, I had to come home, tail between my legs, after my latest job and relationship had gone pear-shaped.

“She was back in Southampton then. I must’ve been there a week and I hadn’t really got out of bed. She came in my room one morning, dragged me out of bed and said we were going to the beach. I hadn’t been to the beach with my mum since I was a little boy.

“And I said I was sorry for being a mess. 30 and still kipping in my mum’s spare room. She was quiet for a long time and then said I deserved more from my growing up. But if I knew what had happened, then I would understand why.”

Abi then asked if she ever explained herself to him, and Carl replied: “No. I’m sorry Abi, for being the kind of person that not even a mother can love.” It was then that Abi pulled Carl in close, her eyes wide, clearly worried about what her partner had just said to her. She later reminded him that just because Elaine rarely called, that didn’t make him a bad son, and Debbie then burst in, having heard that something terrible had happened.

Through tears, Carl told his half-sister: “Apparently she’d been in the hospice for months. I didn’t even know that she was ill,” and when he and Abi voiced their dismay that Elaine had never been in touch, Debbie began to justify it. She said: “Well, we don’t know what’s gone on, do we?

“She might not have been well enough.” Carl then asked Debbie when she last spoke to Elaine, and the hotel owner quickly claimed that they hadn’t spoken since Bill died, which would have been in 2023.

But there was a further twist in store when Debbie, who was diagnosed with vascular dementia earlier this year, went home to her fiancé Ronnie. When he said it was odd that Elaine had not got in touch with the family, Debbie revealed: “She tried to. Recently. I just… I just forgot to tell him. With everything going on, it just… it just went out of my head.

“I haven’t told Carl – I can’t. He’d never forgive me. Ronnie, don’t tell him, will you? I feel terrible Really terrible.” When Ronnie reassured Debbie that it wasn’t her fault and she didn’t do it on purpose, she didn’t respond and simply gave a weird look.

Coronation Street airs Mondays, Wednesdays and Fridays at 8pm on ITV1 and ITV X. * Follow Mirror Celebs and TV on TikTok, Snapchat , Instagram , Twitter , Facebook , YouTube and Threads

Barry Manilow has been diagnosed with lung cancer and will be postponing his January concerts.

“I’m very sorry that you have to change your plans,” the “Mandy” singer wrote in a statement posted to Instagram on Monday revealing his diagnosis. According to Manilow, his doctors had discovered “a cancerous spot” on his left lung that he will have surgically removed.

“As many of you know I recently went through six weeks of bronchitis followed by a relapse of another five weeks,” Manilow wrote in the statement. “Even though I was over the bronchitis and back on stage at the Westgate Las Vegas, my wonderful doctor ordered an MRI just to make sure that everything was OK.”

The “Copacabana (At the Copa)” singer said it was “pure luck” that the cancer was found early and that his doctors “do not believe it has spread.” He added that he is taking additional tests to confirm that diagnosis.

“[N]ow that the Christmas A Gift of Love concerts are over I’m going into surgery to have the spot removed,” Manilow continued in his statement. “So that’s it. No chemo. No radiation. Just chicken soup and I Love Lucy reruns.”

The January arena concerts have been rescheduled because recovery from the surgery will take a month, said the 82-year-old singer, whose hits also include “Could It Be Magic,” “I Write the Songs” and “Weekend in New England.” The new dates, starting in late February and continuing through April, were included in the Instagram post. Ticketholders for the canceled shows will be able to reschedule to the new dates.

Manilow also noted his next scheduled performances will be over Valentine’s Day weekend back at the Westgate Las Vegas, where he has a lifetime residency.

“Something tells me that February weekend is going to be one big party,” Manilow wrote, before wishing his fans “a wonderful Christmas and New Year.” “And remember, if you even have the slightest symptom… get tested!”

MUSIC star Lily Allen has made a shock confession that she’s now in therapy for her addiction to spending.

The 40-year-old admitted that she can’t stop shopping after purchasing designer handbags and an £120,000 Porsche.

Following the success of her latest album, West End Girl, the singer has revealed that she has put herself into therapy over the last four months to cope with her spending habits.

Speaking on her podcast Miss Me? alongside co-host Miquita Oliver for a Christmas special episode, Lily opened up about EMDR therapy.

She said: “I actually did EMDR therapy yesterday on my spending and how it’s related to my sense of self-worth and we tried to separate the two. So let’s see how that goes.”

Lily admitted: “I think I try and get rid of it (money) because I don’t think I deserve it.”

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Miquita later quipped: “What is EMDR again?

Lily replied: “EMDR therapy is a special type of therapy. There’s like, what do you call it? Like stimuli that stimulate the left side and the right side of your brain and basically try and create new pathways in relation to certain behaviours or traumatic experiences or traumatic interactions with certain human beings or anything really. 

“I started doing EMDR about four months ago, five months ago and it’s like been life changing. I just absolutely love it.

“I am not a doctor and I am not qualified to give that kind of advice but this is what is working for me currently,” she added.

Speaking about how the therapy works for her own addiction, Lily continued: “You usually start by sort of deciding on which area you’re gonna focus on during that session and then you visualise the experience. 

“If you’re trying to change your attitude towards a traumatic event, you try and think about how painful that event is from one to 10 and then you activate the stimuli, which in my case is these two vibrating balls that I put in each hand and you sort of close your eyes and put yourself in that situation and then try and identify what the feelings are that are coming up actually in your body, and in your mind. 

“And then you do that sort of five or six times and you find that the pain level associated with it goes down and down and down.

“If you’re trying to get rid of a negative behaviour like spending or drug taking or drinking or addiction to sex or whatever it is, you do the opposite.

“In my case a handbag, you try and separate yourself from thinking this handbag is going to make me a better person. Its really interesting type of therapy and I’m not clear on the science of how it works but its working for me so I’m very happy about it.”

Earlier in the episode Lily revealed she had bought herself “a little present”.

She said: “I’m just playing with my huge diamond and emerald ring, I bought myself a little present but it’s not that little.”

And earlier this week the star was snapped getting out of her new £120,000 porsche and £16,500 Hermes handbag in London.

Lily’s shopping revelation comes during a significant year for the star, who has launched new music widely described as a “revenge” album following her split from husband David Harbour. 

The record, West End Girl, draws on heartbreak and betrayal after Lily publicly accused the actor of cheating. 

Fans have praised the record for its raw honesty and cutting lyrics.

Singer Lily split from Stranger Things actor David, 50, in December 2024 and it was later reported that he’d had a three-year affair.

The details of her open marriage and split were laid bare on her 14-track West End Girl album.

On the album, Lily took aim at David and claimed how he allegedly ­bedded a woman called “Madeline”, which was later revealed to be single mum Natalie Tippett.

She came forward recently with a statement to categorically deny having a three-year affair with the actor.

Alfred Hitchcock never won an Oscar for directing. Neither did Stanley Kubrick nor Robert Altman nor Sidney Lumet nor Federico Fellini nor Orson Welles.

It’s a group almost as distinguished as the list of winners.

But we’re likely going to cross one name off that ignominious list this year — Paul Thomas Anderson.

I’m Glenn Whipp, columnist for the Los Angeles Times and host of The Envelope newsletter. I already gave away who’s on top of our Oscar power rankings for director. How does the rest of the list shake out? Let’s take a look.

1. Paul Thomas Anderson, ‘One Battle After Another’

Anderson has three Oscar nominations for directing — “There Will Be Blood,” “Phantom Thread” and “Licorice Pizza.” That feels light. He has 11 Oscar nominations in all, including five as a writer and three as a producer. He has never won. That feels wrong. So with “One Battle After Another,” he checks off both of the main boxes that Oscar winners often possess — he directed the year’s best movie and he’s well overdue for an honor. Like Sean Baker for “Anora” last year, Anderson likely will come home with an armful of Oscars, as he also produced and wrote the movie.

2. Jafar Panahi, ‘It Was Just an Accident’

Panahi has never been nominated for an Oscar, though his films have won the top prizes at the Venice Film Festival (“The Circle”), the Berlin Film Festival (“Taxi”) and, this year, the Cannes Film Festival (“It Was Just an Accident”). That movie’s withering takedown of the cruelty and corruption of authoritarianism packs a punch; it’s also unexpectedly funny in its clear-eyed social critique. Panahi has been imprisoned by the Iranian government many times for speaking out and was recently again sentenced, in absentia, to a year in prison on charges of “propaganda activities against the system.” Like we needed another reason to celebrate the man and his work.

3. Ryan Coogler, ‘Sinners’

(Eli Ade / Warner Bros. Pictures)

Coogler has two Oscar nominations, but they aren’t what you might expect. He was nominated for producing “Judas and the Black Messiah,” the thrilling 2021 historical drama looking at the politics of race. And he earned a songwriting nod for the Rihanna ballad “Lift Me Up” from “Black Panther: Wakanda Forever.” Coogler should have landed an adapted screenplay nomination for the first “Black Panther” movie, a more inventive, world-building work than the umpteenth remake of “A Star Is Born.” But that’s the past. Coogler, like Anderson, figures to be feted in multiple categories at the upcoming Oscars and may well bring home the prize for original screenplay.

4. Chloé Zhao, ‘Hamnet’

(Agata Grzybowska / Focus Features)

Zhao owns two Oscars for directing and producing “Nomadland,” the empathetic and searching portrait of America that felt like a balm when it premiered during the pandemic. After an ill-fitting detour into the Marvel Cinematic Universe with “Eternals,” Zhao came all the way back with “Hamnet,” a deeply felt look at love, loss and the cathartic power of art. Even those who find it overwrought laud the movie’s climactic sequence, a performance of “Hamlet” at the Globe Theatre. I’d argue the ending works so well because of the care Zhao took earlier in establishing the wonder and joy of the family’s life. “Hamnet,” to my damp eyes, is her best film.

5. Joachim Trier, ‘Sentimental Value’

(Lewis Joly / Invision / AP)

From here, you could shuffle the five through eight slots and make a good case for any of these directors landing the fifth slot in the field. Trier has much to recommend his subtle interweaving of past and present, hope and hurt in “Sentimental Value.” He received a screenplay nomination for his last movie, “The Worst Person in the World,” also starring Renate Reinsve. The directors branch boasts a strong contingent of voters from all over the world, a group that could easily nominate the filmmakers behind two of the year’s most celebrated international feature contenders. Plus, “Sentimental Value’s” salty view of Hollywood is bound to appeal to this bunch.

6. Guillermo del Toro, ‘Frankenstein’

The affable, movie-loving Del Toro has won many fans inside and outside the industry over the years, along with Oscars for directing and producing the 2017 best picture winner “The Shape of Water” and for “Pinocchio,” the enchanting 2022 movie that snagged animated feature. “Frankenstein” is far from his best work, but it probably has enough admirers to land a best picture nomination and mentions in several other categories. Director, though? If Del Toro didn’t make the cut for “Nightmare Alley,” he’s probably a near-miss for this one too.

7. Josh Safdie, ‘Marty Supreme’

(Atsushi Nishijima / A24)

It’s “Marty Supreme” week! The movie finally arrives on Christmas and, over the holidays, we’ll begin to have the sorts of conversations that will shed some light on the movie and its Oscar chances beyond the certain nominations for best picture and lead actor Timothée Chalamet. Is the title character, a single-minded ping-pong player oblivious to anything but his own advancement, a jerk? Or is he just like any other man in his 20s? Is the film’s last shot a sign of growth or a man contemplating his own death sentence? We’ll have time to discuss and, yes, revel in the unhinged chaos Safdie unleashes here.

8. Clint Bentley, ‘Train Dreams’

(Daniel Schaefer / BBP Train Dreams)

And finally, we arrive at the man behind “Train Dreams,” a contemplative film about an ordinary man puzzling through loss, guilt, the mundane and the magnificent. It’s the anti-”Marty Supreme” — quiet, painterly, a tad slow, sure, but hypnotic in the way it evokes a bygone America. Just the second movie Bentley has directed, following the little-seen 2021 drama “Jockey,” it has built a devoted following since landing on Netflix last month.

Driving Home For Christmas singer Chris Rea was making festive posts on social media hours before he died ‘peacefully in hospital’ at the age of 74 following a short illness

Chris Rea made reference to his famous Christmas song in his final social media post which he shared just hours before his sudden death. A spokesperson for the music legend announced on Monday that he had died following a short illness, at the age of 74.

The musician, who was from Middlesbrough, is arguably best known for his 1988 song, Driving Home For Christmas. And amid the 2025 festive season, he had been sharing social media posts about the countdown to Christmas.

On Sunday, the star uploaded a photo of a car driving through snow along a busy motorway. A Variable Message Sign was also in shot which had the message: “Driving home for Christmas with a thousand memories. Adding a caption of his own, Chris wrote: “Top to toe in tailbacks … If it’s a white Christmas, let’s hope the journey’s a smooth one.”

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The singer added the hashtages #DrivingHomeForChristmas, #ChristmasSongs, #ChristmasMusic and #ChrisRea to the post – as well as a snowflake and a car emoji. Just hours later, family members of the singer were around the star as he died.

A spokesperson confirmed on Monday: “It is with immense sadness that we announce the death of our beloved Chris. He passed away peacefully in hospital earlier today following a short illness, surrounded by his family.”

Chris had suffered from a number of health conditions in recent years, including peritonitis, pancreatic cancer and diabetes – while it has been reported that he would inject insulin up to seven times per day as he battled his conditions. Following the news of his death, fans have flooded social media with tributes and memories of the star.

One wrote on X: “Genuinely gutted to hear this. A proper Teesside legend. Safe drive home Chris… Damn… he lived for his cars, wonderful guitarist, and made so many great albums. RIP Chris Rea… Aah no! Bad news…”

Another typed: “Chris Rea has died. Shocked. Talented, he was also a really nice guy. I’m freaked because I mentioned him in a pre-Yule newsletter from my website. Chris had loads of friends in Ireland. He’ll be missed. Ar dheis Dé go raibh a anam…”

Chris had previously discussed his health issues – revealing: “I’ve had nine major operations in ten years. A lot of it is to do with something called retroperitoneal fibrosis, where the internal tissues attack each other. No one knew it existed 20 years ago, and it’s completely unpredictable.. It’s affected the colon, the pancreas, the gall bladder, the liver – and then I get a stroke.”

The singer went on to explain that his health was something that could not be taken for granted, despite the chart and commercial success he enjoyed over the years. He said: “I made a lot of money, but you can dangerously let it lead you on…

“It depends what company you keep. I once said to Michael Winner, ‘I’m the poorest man on this Barbados beach.’ On days like today, the richest man in the world is the one who hasn’t got a bad shoulder.”

Chris is survived by his wife Joan Lesley, who he was together with since they were teenagers, and their two daughters; Josephine, born 16 September 1983, and Julia Christina, born 18 March 1989. As well as Driving Home For Christmas, he penned tracks including On the Beach, Let’s Dance, and The Road To Hell.

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LEGENDARY British singer-songwriter Chris Rea has tragically passed away aged 74.

The singer, from Middlesbrough, penned the smash hit Driving Home For Christmas in 1978.

Christopher Rea was born on 4 March 1951 in Middlesbrough in the North Riding of Yorkshire to an Italian father, Camillo Rea, and an Irish mother, Winifred K. Slee.

In 1973 he joined the local Middlesbrough band, Magdalene and began writing songs.

He went on to enjoy a long and sucesfull career on the British music scene.

His most famous song Driving Home for Christmas, song has made a reappearance on the UK Singles Chart every year since 2007.

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It’s now a chart regular at this time of year, reaching its highest position in 2021 when it made it to number 10.

Rea was diagnosed with pancreatic cancer at the age of just 33 and faced nine serious operations – spending a total of 32 weeks in hospital.

While appearing on the TV show Mortimer & Whitehouse: Gone Fishing Christmas special in 1994 Rea told the hosts he had “never really gotten over” his diagnosis.

He has previously opened up on his health battle, revealing that some of his internal organs, his pancreas, gallbladder, and left quadrant of the liver were “all gone” after an operation.

It was after he had received the lifesaving surgery that the star discovered he had type 1 diabetes.

Speaking candidly about the moment he told his wife Joan Lesley about the diagnosis Rea said: “She pulled the car over and burst into tears.”

Chris has previously said he has to take “34 pills every day” after his health struggles.

His wife Joan was there when the hitmaker wrote the Christmas favourite Driving Home for Christmas.

The pair have been together since they met as 16 year olds in Middlesbrough and it is said Rea has the longest surviving relationship in the music industry.

The couple have two daughters together Josephine, born 16 September 1983, and Julia Christina, born 18 March 1989.

Speaking to Bob Mortimer about its origins, Chris previously said: “I was on the dole when I wrote that.

“My manager had just left me. I’d just been banned from driving.

“My now wife, Joan, had to drive down to London to pick me up in the Mini and take me home, and that’s when I wrote it.”

That Christmas drive up north was a magical one indeed, not only did he write a famous song, he also received a cheque for £15,000 upon stepping through his front door.

His song Fool (if you think it’s over) had become a hit in America and earned him a pretty sum. The timing couldn’t have been better given he was down to his last £200.

It was a while before Driving Home would make any money.

As a design writer, I feel lucky to get to peek inside some of Los Angeles’ most iconic homes.

This year, I visited many places, from Midcentury Modern landmarks by Edward Fickett and Raphael Soriano to humble apartments filled with Facebook Marketplace finds.

The rooms that stayed with me long after I left were not always the most luxurious or expensively furnished. Instead, they were the ones that made me smile and left a lasting impression of the person who lives there.

Here are the 14 rooms that resonated with me this year and the people who live in them who inspired me even more.

A colorful, sun-drenched kitchen in Mount Washington that connects to nature

(Mariah Tauger / For The Times)

Priced out of much of Los Angeles, architect Lindsay Sheron and her husband Daniel bought a vacant hillside lot in Mount Washington and proceeded to design and build their own home. Working over a three-year period, the couple served as general contractors and did much of the work themselves. The kitchen is a standout, featuring bright green custom kitchen cabinets painted Raw Tomatillo by Farrow & Ball, which add vitality to the single-wall layout. A custom metal hood by Practice Fabrication, powder-coated the color of a Pixie tangerine, adds a sense of fun.

“I wanted our house to feel really warm and bring nature inside,” says Lindsay, referring to the Western hemlock tongue and groove planks that she and Daniel installed on the walls and ceilings. “Wood does the heavy lifting in accomplishing that.”

Tour the custom built home here.

In Hollywood, a stunning living room that’s filled with second-hand furnishings

(Christina House / Los Angeles Times)

Caitlin Villarreal felt giddy the first time she stepped inside the Whitley Heights rental, a storied 1926 Mediterranean-style penthouse with towering ceilings, hand-carved wooden beams and a pair of arched bookcases alongside an oversize fireplace.

“It had good energy,” Villarreal said of the 1,500-square-foot apartment she rents in a historic neighborhood where Rudolph Valentino, Charlie Chaplin and Bette Davis once lived. “It’s iconic just by standing tall year after year. It has floor-to-ceiling Old Hollywood windows that blow open unexpectedly just like in the movies. It doesn’t feel like a rental. It feels like a forever home.”

Tour the Hollywood penthouse here.

A Midcentury Modern dining room in Studio City that Raphael Soriano would approve of

(Jason Armond / Los Angeles Times)

Architect Linda Brettler’s list of things she loves about her Raphael Soriano-designed home is long, even though the all-aluminum structure, which was designated a Los Angeles Historic-Cultural Monument in 1997, was in desperate need of updating when she purchased it in 2021. “I like doing projects like this where I get to have my own hand and feel, but I’m still honoring what was here,” Brettler says. “I’m trying to create an idealized version of what the house would look like now.” In the dining room, a reproduction of a Millard Sheets painting, rendered by Cal Poly Pomona students on Tyvek, is mounted on a cork-lined wall. Above the painting, she has mounted a projector screen for movie nights and video games.

Tour the historic all-aluminum home here.

A modern West Hollywood living room decorated with pets in mind

(Kit Karzen / For The Times)

“My original inspiration was to match the furniture to the kitties so I don’t see their cat hair,” anesthesiologist Jeffrey Hamilton says of the West Hollywood condo he shares with his boyfriend David Poli, his cats Romulus and Remus and Poli’s Husky mix, Janeway. “The cats very much informed the color scheme. I find them so handsome; it felt like having matching furniture was practical.”

In the living room, Hamilton chose a camel-colored Curvo sofa in velvet by Goop for CB2, which he found on Facebook Marketplace. Similarly, the accompanying swivel chairs from HD Buttercup and the barstool seats in the kitchen are upholstered in Bengal and Husky-durable textiles that camouflage their rescues pet hair.

“Jeffrey likes to say that everything in his apartment is a rescue, including me,” says Poli jokingly.

Tour the West Hollywood condo here.

A surprising Silver Lake kitchen that doubles as a retro video store

(Juliana Yamada / Los Angeles Times)

Chris Rose fondly remembers the days when he worked at the independent video store I Luv Video in Austin, Texas.

Now an L.A.-based writer, director and producer, Rose, 41, recalls the Austin store’s eclectic assortment of cult oddities and world cinema.

Although he can no longer visit the video store, Rose doesn’t have to go far to rent these days, as he has brought a similar yet distinctive collection to the kitchen of his one-bedroom bungalow in Silver Lake.

Tour the Silver Lake apartment here.

Two college friends transform a Glassell Park living room (and garage) into an art-filled escape

(Juliana Yamada / Los Angeles Times)

Antonio Adriano Puleo didn’t intend to renovate his traditional 1946 bungalow, but after consulting with architectural designer Ben Warwas, who told him he could transform the house into a “forever home,” the artist changed his plans.

“The living room wasn’t big enough, and it featured a huge red brick fireplace that had doors on either side of it, leading to the backyard,” said Warwas.

The living room of the main house is now open and airy, with custom cabinets and millwork by James Melinat that showcase the artwork Puleo made himself and the pieces he has collected for more than 30 years. The living room’s fireplace is gone, but the wooden mantle remains atop a console behind the sofa, graced with a series of colorful ceramic planters by Ashley Campbell and Brian Porray of Happy Hour Ceramics.

“Little tweaks totally transformed the house,” Warwas said.

Tour the house and ADU here.

A fabulous wet bar in a West Hollywood apartment that’s perfect for parties

(Jason Armond / Los Angeles Times)

Growing up in a small town outside of Cleveland, Tyler Piña was fascinated by Los Angeles and the glamour of Hollywood.

“My dad grew up out here, and it’s where my parents met,” says the 33-year-old screenwriter. “I remember looking at old Polaroids of them in the ‘80s and seeing how much fun they had.”

His attraction to Los Angeles, however, was more than just nostalgia. “I was mesmerized by the landscapes and architecture,” he says.

Looking back, he can’t believe he realized his dream of moving to Los Angeles from San Francisco in 2018 and eventually renting a Midcentury Modern penthouse by Edward Fickett steps from the Sunset Strip.

“A Midcentury Modern penthouse on Sunset Boulevard in the heart of West Hollywood, with a bar in the living room? I mean, does it get more iconic? I am, in no way, cool enough to live here,” says Piña.

Tour the Midcentury apartment here.

A bedroom in Beachwood Canyon is transformed into an art-filled office (and occasional guest room)

(Myung J. Chun / Los Angeles Times)

When Natalie Babcock and Samuel Gibson found a listing for a sunny apartment in Beachwood Canyon five years ago, they immediately fell for the two bedroom’s charming built-in bookshelves, faux fireplace, hardwood floors and formal dining room. Practical amenities such as an in-unit laundry and a garage, which are often elusive in Los Angeles rentals, didn’t hurt.

Today, however, the couple says they are most impressed by the sense of belonging they have found in the community just outside their 1928 Spanish fourplex. Here, where tourists and brides in wedding gowns often pose for photographs in the middle of the street in an effort to capture the Hollywood sign in the background, Babcock and Gibson have become part of a larger family. “Everyone knows our dogs’ names,” says Babcock.

The couple’s taste is vibrant, and the colorful interiors reflect their sense of fun and love of design. They painted one wall in Gibson’s office a dramatic Kelly green, which makes the white-trimmed windows and his extensive art collection pop.

“Art is one thing that I am always happy to spend money on,” Gibson says.

Tour the Beachwood Canyon apartment here.

A treasures-filled living room in Eagle Rock that’s a colorful showstopper

(Jason Armond / Los Angeles Times)

Isa Beniston and Scotty Zaletel are romantics. Not just in their love for each other, which they are as vocal about three years in as budding high school crushes, but also in the way they describe the contents of their 412-square-foot one-bedroom apartment. They can recall the season they discovered each treasure — from fruit-shaped throw pillows to more than 30 animal portraits — and the cross streets of the flea markets from which they bought them. They gush about the time they’ve spent together in fabric stores and flooring supply shops as if they were dimly lighted restaurants primed for date night.

“We both just love stuff,” the two said in near-unison.

— Lina Abascal

Tour the 412-square foot apartment here.

A tricked-out garage/ADU in Venice that serves as an office, gym and family hub

(Luke Johnson / Los Angeles Times)

“They’re fun,” architect Aejie Rhyu says of the creative couple Will Burroughs and Frith Dabkowski, as she walked by the undulating two-story ADU she helped them realize.

Rhyu’s assessment helps to explain the joy that permeates the family compound, from the pink Los Angeles Toile wallpaper in the bedroom (humorously adorned with illustrations of L.A.’s beloved mountain lion P-22, the La Brea Tar Pits and Grauman’s Chinese Theatre) to the tricked-out garage on the first floor, which includes overhead bike storage, an espresso maker, a mini-fridge and a large flat-screen TV that allows Sydney-born Burroughs to watch Formula One car races and cricket games at 4 a.m. when his family is asleep.

Burroughs even installed a subwoofer speaker beneath the sofa to give the garage the feel of a movie theater during family movie nights. “Jack went flying off the couch when we watched ‘Top Gun,’ ” he said of their son, laughing.

Tour the two-story ADU with a rooftop deck here.

A serene guest room in Mid-Wilshire that’s a light-filled studio for a textile artist

(Christina House / Los Angeles Times)

After living in her two-bedroom apartment in Los Feliz for more than a decade, Debra Weiss encountered a problem experienced by many renters in Los Angeles: She was evicted.

When her son-in-law spotted a charming two-bedroom apartment near the Los Angeles County Museum of Art on Zillow, her initial reaction was, “I want this,” Weiss said of the fourplex.

The rental had high ceilings, oak floors, ample sunlight, an appealing fireplace, a garage and a washer and dryer.

In the guest room, a wall hanging composed of three separate weavings in a gingham check pattern is embroidered with a series of characters she based on her 5-year-old granddaughter’s drawings. “It’s about people coming together in chaos and supporting each other,” Weiss said.

Even though the process of having to move was stressful, Weiss is happy with her new home and neighborhood. “I take the Metro bus everywhere and hardly ever drive,” she said. “Everything worked out perfectly.”

Tour the sunny Mid-Wilshire fourplex here.

A ’70s-inspired speakeasy/lounge in Highland Park that’s hidden behind a bookcase

(Carianne Older / For The Times)

Standing beneath a glittering tiered chandelier in her pink “cloffice,” designer Dani Dazey shares the essence of her colorful style: “From the wallpaper to the artwork, my home is a reflection of me right now,” she explains. “It’s a personal and hip twist on traditional design.”

Rather than embrace rustic farmhouse style or minimalist Midcentury Modern design as is often the case in Los Angeles, Dazey has taken the Highland Park home she shares with husband Phillip Butler and given it an over-the-top maximalist spin.

The speakeasy lounge, accessible through a hidden door sliding bookcase, is a ‘70s-inspired sanctuary with a modular sofa, curtains and wallpaper in the same floral pattern.

Their home is proof, that our homes should make us happy by reflecting who we are. In Dazey’s case, that translates to bold color, lush textures and retro vibes.

Tour the Highland Park home here.

A memento-filled living room in Long Beach is an ode to ‘the people we love’

(Genaro Molina / Los Angeles Times)

A sense of fun permeates the rooms of Cecilia and Abraham Beltran’s colorful one-bedroom Midcentury apartment in Long Beach.

“We both have a deep passion for Midcentury design and color,” Cecilia shares.

The Beltrans’ apartment encapsulates their design sensibility and “above all, the people we love,” Cecilia says. There’s bold, Midcentury Modern-inspired furniture the couple found on Craigslist, tongue-in-cheek smiling pillows and the “Hole to Another Universe” wall decal by Blik, which can be removed when they move. Peppered throughout the space are mementos from their travels, such as the limited-edition art print “La Famille” purchased on a trip to London in 2023.

Ultimately, Cecilia says, she wants the apartment “to feel like us. I think we pulled it off.”

Tour the Long Beach apartment here.

In Reseda, an apartment where every antique tells a story

(Stephen Ross Goldstein / For The Times)

When Evelyn Bauer, 97, downsized from her four-bedroom home in Sherman Oaks to an apartment in Reseda in 2014, the longtime collector and antiques dealer was forced to relinquish many of her personal belongings.

“Collecting is my passion, my addiction, and I’m so happy to be afflicted with it,” says Bauer, whose two-bedroom, two-bathroom apartment at an independent living facility for seniors is filled with furnishings and decorative arts from her 65 years as a collector.

Step inside her living room, and the vast collection of antiques feels like entering the former Encino Antique Center, where she was once the proprietor during the 1990s. Each item has a story, a memory and a unique charm that she cherishes.

“There’s always room for one more gem,” she says.

Tour the Reseda apartment here.

EastEnders has welcomed back Pat Butcher as Nigel Bates’ dementia symptoms worsen, with Pam St Clement reprising her iconic role

EastEnders has unveiled the dramatic comeback of Pat Butcher as Nigel Bates grapples with escalating dementia symptoms.

As regular viewers of the BBC soap will be aware, Nigel (played by Paul Bradley) is dealing with a diagnosis of early-onset dementia, a key aspect of his return to the show for Christmas 2024.

The debilitating condition leads to confusion and memory loss for Nigel, causing him to conceal his diagnosis and struggle with its progression. On Monday (December 22), the residents of Walford began to embrace the festive season as Nigel’s film was screened at the community centre.

However, after overhearing his wife Julie (Karen Henthorn) and close friend Phil Mitchell (Steve McFadden) arguing about how best to manage his deteriorating dementia, he seeks refuge in The Queen Vic.

Nigel begins to mix up past memories with the present. In his confused state, he is visited by familiar faces from Christmases past – Pat (played by Pam St Clement ).

As Nigel’s mind drifts back to 1990, Pat makes a return to The Queen Vic, where she once served as landlady alongside her husband, Frank (Mike Reid), reports OK!.

On Tuesday (December 23), Pat and her former step-son, Barry Evans (Shaun Williamson), step in to support her old friend Nigel as his dementia symptoms take a sudden turn for the worse, with both she and Barry attempting to help him. This marks the first sighting of Pat in Walford since her ghostly appearance in 2016.

When did Pat Butcher make her EastEnders

Pat, renowned for her bold statement earrings, made her debut in Walford in 1986 and swiftly won over the hearts of viewers.

In 1989, she married businessman Frank in a traditional East End celebration that drew all the locals, before the pair eventually became landlords of The Queen Vic.

Throughout her time on the Square, Pat captivated audiences with her romantic entanglements, four marriages, local feuds, and countless fiery confrontations with her nemesis-turned-best mate, Peggy Mitchell (Barbara Windsor).

Yet on New Year’s Day 2012, the spirited leopard print-loving Walford resident passed away in the arms of her son David Wicks (Michael French).

Pat’s heartbreaking demise came after she was diagnosed with pancreatic cancer. However, that wasn’t the final chapter for the legendary character.

In 2016, Pam returned to reprise her role for a fleeting appearance in Peggy Mitchell’s final and deeply moving episode.

She materialised as a spirit and shared one last heart-to-heart with her dearest friend, Peggy, before her passing.

Expressing her delight about returning to EastEnders, Pam St Clement revealed: “I was both surprised and excited to be asked back to tread the streets of Walford once again and to be involved in Nigel’s touching dementia storyline.

“It was lovely to be welcomed back by those with whom I had worked for so long. It was just like coming home.”

Why did Pam St Clement leave EastEnders?

**For the latest showbiz, TV, movie and streaming news, go to the new **Everything Gossip** website**

Despite captivating EastEnders viewers with her tragic on-screen demise, soap legend Pam never actually wanted her cherished character, Pat, to meet her end. In a 2015 interview with The Mirror, she confessed, “It was very, very difficult. I was saying goodbye to a character I’d inhabited for almost 26 years and, while I had chosen to leave EastEnders, I didn’t want Pat to die”.

She went on to say, “I was adamant there should be a chance for her to return and had been assured by the executive producer she wouldn’t be axed.”

Looking back on her exit, Pam recalled, “When I felt the time had come to hang up the earrings, I took Bryan Kirkwood, the then executive producer, out for dinner and broached the subject of leaving.”

She was firm in her request, stating, “One crucial thing I asked for was that Pat shouldn’t be killed off. Bryan’s response was unequivocal. He assured me that Pat wouldn’t be axed.”

Life after EastEnders for Pam St Clement

In 2015, Pam publicly disclosed for the first time that she had had an affair with a woman. Identifying as bisexual, Pam was previously married to a man named Andrew Gordon in the 1960s, but they later divorced.

In her autobiography The End of The Earring, Pam admitted that coming to terms with her bisexuality was like a “bombshell”. She also revealed having an affair with a woman during a trip to Australia.

Pam added: “That month in Sydney went all too quickly, and we were soon saying our farewells at the airport with promises of reunions back in the UK. I nearly missed the plane, I was so bereft at leaving.”

Eventually, Pam began a romantic relationship with a woman called Diana. However, in her memoir, she confessed that her inclination to “over-care” could occasionally “smother” her partnerships.

Speaking candidly to The Mirror in 2015, Pam revealed she’d had the occasional fling “but nothing ­meaningful”. Then she met Diana, who would become a significant figure in her world.

She explained: “I fell for an attractive woman who was intelligent, witty and fun to be with. Diana and I settled into a happy and stable relationship.

“Looking back, I wonder if I should have stayed on my own. I want to love and be loved, but I am fiercely independent.

“But this was a relationship I couldn’t resist. It was a new experience, exciting and different in every way. We had our own professions but made a home together.”

After her devastating EastEnders departure, Pam made appearances in three Casualty episodes during 2016, though aside from that, she has been relishing a quieter existence away from public attention.

Nevertheless, she did make a return to BBC One in February 2025 to mark EastEnders’ 40th anniversary milestone.

Having spent 13 years absent from Walford, Pam featured alongside Grant Mitchell star Ross Kemp in the documentary EastEnders: 40 Years of the Square.

Throughout the poignant hour-long programme, she spoke openly about her character whilst sharing memories with Ross during their journey on the number 38 bus.

They also took a trip down memory lane, revisiting scenes from a poignant 2016 episode where Pat made a ghostly return to comfort Peggy Mitchell, portrayed by Dame Barbara Windsor, in her final moments.

The duo watched clips featuring their dearly departed co-star, clearly touched by the nostalgic memories. A visibly emotional Pam confessed, “Well, I miss her”, before adding with heartfelt sincerity, “I mean, basically I miss her tremendously”, as she fought back tears.

EastEnders airs Monday to Thursday on BBC One and iPlayer

A SUPERMODEL was reportedly paid an astonishing amount to appear in one of the world’s most famous Christmas films.

Claudia Schiffer appears in the perennial festive favourite Love Actually for one minute  – and earned the equivalent of the average UK salary in just EIGHT seconds.

Richard Curtis, the film’s director, cast the supermodel in brief – but memorable – scenes alongside Liam Neeson’s character Daniel.

On several occasions in the 2003 film, Daniel, recently widowed, tells his love-sick step-son, Sam, played by Thomas Brodie Sangster, that the path of true love rarely runs smooth.

Daniel tells Sam that he need only look to his step-dad for proof after telling him several times he wants to date supermodel Claudia Schiffer.

The pay-off in the film – when it finally arrives – works a treat.

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In one memorable scene, Daniel hits it off with one of Sam’s classmates – played by the supermodel.

The pair then appear on screen loved-up near the end of the film.

Although her appearance is brief, her paycheck for the role in the film proves it was well worth turning up.

As reported by Vogue, in his book ‘How Much?!: The $1000 Omelette … and 1100 Other Astonishing Money Moments’, author Andrew Holmes revealed Schiffer was paid $350,000 for the role.

That works out at £275,000 for the entire screen time – or £4,500 per second.

In contrast, two-time Academy Award winner Emma Thompson, who plays Alan Rickman’s long-suffering wife Karen in the film, has stated she felt she was underpaid for her role.

Thompson’s fee has not been disclosed.

While on Tonight Show Starring Jimmy Fallon, the Tutti Frutti actress said she no longer rewatches Love Actually,

The Las Vegas Museum of Art has revealed new key details of Pritzker Prize-winning architect Diébédo Francis Kéré’s design for the city’s first freestanding museum, which is expected to break ground in 2027.

The earthy red structure will feature a facade of locally sourced stone, and was inspired by the canyons and red rock landscape that stretches beyond the brash, man-made playground of Sin City, Kéré said in an interview alongside the museum’s executive director, Heather Harmon.

“How can I use what is surrounding Las Vegas to create something open and welcoming?” he said. “We started to think about the subtle beauty of the nature, and to bring it into the core of the museum.”

Renderings of the structure, which is situated in Symphony Park, show a cubed modernist building with a large awning that stretches over a bustling entry plaza to provide shade. A curved grand entrance staircase spirals through the center of the museum and is visible from the building’s floor-to-ceiling windows. Cloistered second-floor galleries are meant to provide a peaceful sanctuary for taking in the art.

A concept sketch for the Las Vegas Museum of Art by architect Diébédo Francis Kéré.

(Diébédo Francis Kéré / Las Vegas Museum of Art)

Architect Paul R. Williams’ Guardian Angel Cathedral, which opened in the city in 1963, is cited as a design influence, as are the singular stocky trunk baobab trees of the African savanna. Kéré was born in the village of Gando in the West African country of Burkina Faso, and noted that although the natural environment of his home country is quite different from that of Las Vegas, he was able to find many design parallels for inspiration.

Kéré, who is also a professor at Yale in New Haven, Conn., has made many trips to Las Vegas over the last few years, and received personalized tours of the city and its natural surroundings from Harmon and Elaine Wynn, a museum board member and philanthropist who died in April.

They went to the Valley of Fire State Park, which features fantastical sandstone formations the same color as the museum’s renderings. They also saw various quarries as well as the Hoover Dam. In the city, they visited the west side, which is rooted in the city’s rich African American history, as well as Ward 3 on the east side, which is home to a large Latino population.

“We looked at community spaces, we looked at people in community spaces,” said Harmon. “And we really wanted to have that feeling of understanding as we approached the project — just knowing firsthand who we were building the museum for.”

The 60,000-square-foot building is expected to welcome more than 2.4 million year-round Las Vegas residents, as well as millions of global tourists. The museum is expected to cost about $200 million, including its endowment. The target opening date is in 2029.

Last year, the Los Angeles County Museum of Art announced it would share its collection with the Vegas museum, which does not have plans to become a collecting institution. LACMA director and LVMA founding trustee Michael Govan told The Times that the sharing arrangement is part of a paradigm shift for LACMA, allowing it to expand access to its collection without increasing the physical footprint of its home base. (Critics, including former Times art critic Christopher Knight, disagreed with the move.)

“I think that’s a very 20th century idea — to keep adding wings until you’re a million square feet on Fifth Avenue,” Govan said in an interview at the time.

Thomas Skinner was said to be ‘suing’ the BBC over his early exit from Strictly and has claimed that the BBC ‘rigged’ the votes to orchestrate his elimination from the dance competition

Thomas Skinner has hit back at press attention of his rumoured feud with the BBC in furious statement made on Good Morning Britain. Ahead of the Strictly Come Dancing live final on 20 December, it was reported that Skinner was ‘suing’ the BBC as he believed they had ‘rigged’ the votes to ensure he would be eliminated first, which the BBC strongly denied. The broadcaster made clear that they had not received any legal paperwork and Skinner did not confirm that he was suing.

However, after refusing to appear in the live final, Skinner posted a statement to X where he said he “received an anonymous email claiming to be from a BBC exec with stats, saying I’d received far more votes than it appeared and it wasn’t right”. Following the statement, The Mirror exclusively revealed that Skinner’s voting figures may not be as high as he believes.

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A source pointed to an independent exit poll of 125,000 viewers as “clear evidence of his unpopularity.” It showed how Skinner attracted just 1805 votes, which was the lowest of any contestant on the BBC programme. The source claimed: “The poll – which is larger than an exit poll for a general election – comprehensively shows that Skinner was the least popular contestant by a long way. There is no conspiracy. These are the cold, hard facts.”

Hitting back at the article in a statement shared on Good Morning Britain, Skinner said he was “struggling to understand” why his words on X were getting so much attention. He said: “I don’t hate the BBC – they gave me my big break on The Apprentice. I had discussions with my representatives on Wednesday evening which I believed to be private and confidential and I spoke openly with them in confidence.

“I was obviously gutted when I received the email on the evening I left the show, and at first I didn’t believe it was true. When I raised this in conversation, I was advised by the BBC to seek legal advice. I’ve had a difficult year with the press attention I didn’t seek, and I’m honestly struggling to understand why this continues to escalate. “

Similarly, when approached by The Mirror, Skinner said he did not believe the low voting figures were accurate but refused to reveal how he was able to verify the “anonymous email” his information came from.

He said: “Regarding the anonymous email and verification process, I don’t wish to comment further at this time or release anything publicly. As for the voting figures, I know for a fact that the information you have is not accurate. That said, it doesn’t materially matter to me now, and I’m not looking to contest this publicly.”

Despite “not looking to contest this publicly”, Skinner made a lengthy public statement on X where he insisted his elimination was “unfair” and that a BBC exec had told him that the broadcaster was angry over his friendship with JD Vance.

He wrote: “On the night I left the show, I received an anonymous email claiming to be from a BBC exec with stats, saying I’d received far more votes than it appeared and it wasn’t right. I’ve since had the email independently verified.”

“That same email mentioned the BBC was very angry an nervous simply because I had met JD Vance (USA VICE PRESIDENT). Let me be clear, I’m not a political bloke. Never have been. I just love my country and am patriotic. I’ve been made out by the press to be this political figure. If anyone was to get an opportunity like what I did, they would have taken it. I still think it is mad that a man like me who sells mattresses out of a van can call someone that senior in the world ’s politics a friend now.”

“I have asked to see the official voting figures to back up the ones I was sent in the email but was told they couldn’t be shown to me. And have never been shown in the history of the show. I have spoke about the email I had received to senior people and the BBC welfare team, who btw I genuinely respect. And they was the ones who advised me to get legal advice because of how unfair it all was. (This was not my idea).”

However, a BBC spokesperson said Skinner never shared the email he referenced. They told the Mirror: “”In response to Tom’s latest statement, the BBC said: “Strictly Come Dancing’s public vote is independently overseen and verified to ensure complete accuracy every week. Any claims to the contrary are entirely without foundation. Unfortunately, despite requests for it, Mr Skinner is yet to share the email he references with anyone from the BBC so we are unable to comment on it.”

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HELEN Flanagan looked sensational as she stripped to Santa-themed lingerie for a sexy social media post.

The actress’ sizzling snaps, which saw her posing in a plunging lace bodysuit with white fur trim as well as a red camisole with matching thong, came as she teased “Meet the new Santa Clause”.

The Coronation Street alum’s latest Instagram upload comes after her feud with her ex Scott Sinclair escalated.

Recently, she branded her ex a “piece of s**t” as he lived it up in Abu Dhabi, rather than attending their son’s nativity play.

Yet appearing to put their bad blood to one side, she struck a series of looks while donning her racy Ann Summers clobber.

Helen, 35, was seen perched on her bed as she played around with a bow on her semi-sheer top before writing her own list to Father Christmas himself.

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She then hopped over to wrap some presents under her tree in a fir-trim one piece.

The screen star, best-known for playing Corrie’s Rosie Webster, then held two jugs of milk while donning her Christmassy bodysuit before pouring one into a mug emblazoned with the words “Santa’s little helper”.

She finished off the clip by teasingly untying her one-piece and flashing a cheeky smile to the camera.

In her caption, Helen wrote: “Meet the new Santa Clause.”

A fan wrote: “You look stunning.”

Another put: “Well hello gorgeous.”

A third put: “Wow Helen your so beautiful merry Christmas.”

HUGE CLASH

Helen split from her ex-fiancé in 2022 after 13 years together and they share three children Matilda, 10, Delilah, seven, and Charlie, four.

She recently took to her social media pages to praise her mum for her support in raising their brood.

She is currently starring as The Wicked Queen in a production of Snow White in Liverpool and said her mum, Julia, has practically raised her kids while she treads the boards.

Yet this came after she lashed out at her Bristol Rovers footballer ex Scott after he missed their son Charlie’s nativity play to party at the Formula One.

“You really are a piece of s***,” Helen raged, as she shared Scott’s Instagram post.

“How dare you not turn up to Charlie’s nativity.”

Scott, 36, had posted snaps from his weekend in the United Arab Emirates where he watched Lando Norris secure his maiden Drivers’ Championship title.

“What a weekend-Abu Dhabi F1,” Scott wrote.

He added: “Happy Days, blurry nights..”

Meanwhile Helen posted a snap of her cuddling their son, writing: “Loved Charlie’s nativity. My star, my heartbeat.”

She recently hinted at trouble “co-parenting” with Scott, telling The Sun: “He lives like Somerset and I live in Lancashire. So we live so far away from each other, which is really difficult when you’ve got three young children.

“I hate calling it co-parenting because I don’t really feel like a co-parent to be honest with you anyway.”

Imax is having a moment. More than 50 years after debuting at the 1970 Osaka world’s fair with the 17-minute experimental film “Tiger Child,” the format has become the ascendant king of spectacle. Today, Imax counts 1,829 screens in 89 countries — just 1% of theaters — yet makes up an increasingly vital part of the theatrical box office, with 50% market share growth since 2018 and an estimated $1.2-billion take in 2025. And the company shows no signs of slowing down.

“As long as there are filmmakers who are fans as well as studios who are fans, we’re going to make a difference,” says Chief Executive Richard Gelfond, who acquired the company in 1994 with business partner Bradley Wechsler.

Breaking into mainstream Hollywood didn’t come easy. For decades Imax films were largely documentaries, often about space exploration, nature or discoveries, with systems installed in museums and science centers. The flash point came in 2008 with Christopher Nolan’s “The Dark Knight,” which featured 28 minutes filmed with Imax 70mm cameras. Film buff and industry content creator Lizzy Gonzalez vividly remembers when the Joker (Heath Ledger) unmasks himself during the chaotic bank heist. “It was my earliest Imax experience, and my jaw dropped in awe,” she says. Ever since, she’s been hooked, admitting the premium format is “the only legit movie experience that immerses you in the story.”

Directors are now leaning in, with the “Filmed for Imax” (FFI) lineup expanding to 14 titles in 2025 — doubling last year’s total. The program lets filmmakers shoot with Imax cameras or other approved cameras and provides additional production support, such as a longer window with the equipment and more publicity during release. “In previous years, Imax used to do about 10% of the box office in North America, but [with] FFI movies we’ve averaged about 15%. It means more dollars to whoever makes them and more profit to the studio,” says Gelfond.

Regina Hall in “One Battle After Another.”

(Warner Bros. Pictures)

Not all movies exhibited in Imax formats are shot under the FFI banner — indeed, from James Cameron’s original “Avatar” to Paul Thomas Anderson’s “One Battle After Another,” the majority of Imax releases are instead enhanced using digital media remastering. But movies that take advantage of FFI, including “Sinners,” “Superman” and “F1,” are seeing box-office benefits and a palpable moviegoing experience.

“Today’s audiences are searching for an emotional connection; they want to feel something, to step inside the filmmaker’s vision. That’s exactly what we wanted to give them by shooting in 65mm Imax,” says “Sinners” cinematographer Autumn Durald Arkapaw, who was the first woman to shoot in the format. “When you sit in a dark theater and take in a full 1.43:1, 15-perf Imax image, it fills your field of view, and you finally understand what cinema can be.”

Claudio Miranda, the cinematographer behind Joseph Kosinski’s “Top Gun: Maverick” and “F1,” agrees. “For me, Imax is all about immersion. It brings audiences more into the movie than any other format, surrounding them from the north, south, east and west with the film, which is needed for a story of the size and scope of ‘F1.’ Joe and I operate under the shared understanding that audiences react more viscerally to a film that’s been shot authentically, and they can feel it in their bones if it’s not. So we gravitate towards telling immersive, human stories.”

Imax is improving technical capabilities too, including a new Imax 70mm film camera system nicknamed “The Keighley” in honor of late Chief Quality Officer David Keighley, who oversaw hundreds of Imax projects. Its most significant improvement is reduced noise. The previous model was bulky, heavy and notoriously loud. Thanks to the quieter design, Nolan’s “The Odyssey” will become the first theatrical movie shot entirely on Imax film cameras, something he couldn’t achieve on “Oppenheimer” due to sound issues.

“Brad Pitt” in “F1.”

(Warner Bros. Pictures)

Nolan’s adaptation of Homer’s epic has already caused a stir, as most Imax tickets sold out a year before its release next July. Imax superfan Shane Short, who saw “Oppenheimer” 132 times and once sat next to Arkapaw during a screening of “Sinners,” says it’s a good thing. “What really pulls me into movies is the emotional aspect when connecting with something. For me, it’s hard to get that in a normal theater. Imax is truly the ultimate immersive experience that draws me in.”

Of course, Imax is not the only big-screen game in town. There’s AMC Prime, Cinemark XD, Regal RPX, Dolby Cinema, Real3D and 4DX, to name a few. All share one thing in common: an extra premium for a ticket. “The upcharges for a lot of people are worth it,” says Comscore senior media analyst Paul Dergarabedian. “When you go into Imax or other premium formats, it’s really about the sound and vision coming together. And for the right movie, the right screen, fans who don’t go to the movies every day are going to splurge.”

How much that will cost audiences going forward is left up to theaters. “By way of our agreement, it’s not our place to get involved,” says Gelfond about pricing. “We believe there could be more elasticity if it’s a big release, but again, it’s up to the exhibitor.” Any indication of a price squeeze on consumers will likely surface in the next two years with the forthcoming “Project Hail Mary,” “Supergirl,” “The Batman: Part Two” and “Dune: Part Three,” for which director Denis Villeneuve shot scenes using the new Imax 70mm cameras.

Our guess? Start saving now.

Salfordian comedian Jason Manford was forced to defend himself when Royal Variety Performance viewers went in on him after he hosted the annual televised charity event

Jason Manford got defensive on social media when Royal Variety Performance viewers slated him on social media after it was aired on Sunday. Salford native Jason, 44, hosted the annual charity event, which saw the Prince and Princess of Wales enjoy the show.

But Jason Manford appeared to divide opinion with his jokes about class, opening the show with a quip about his kids being middle class, after he was brought up as a working class lad. Kicking off proceedings on the ITV show, Jason stated: “I’ve created monsters,” before explaining his kids refused warm ‘smashed avocado’, joking that it was actually mushy peas from the chippy.

Although his comedy seemed to go down well with the royals, even getting a chuckle from the Prince of Wales, viewers at home were more critical of the comedian. One viewer commented on social media: “Can’t believe Jason Manford is rehashing all this stuff about his brother and class. Been doing it for years #royalvariety.” Another added: “Nice enough bloke but he ain’t that funny. #RoyalVarietyPerformance.”

A third viewer wrote: “You complete ****hole! 99% of Uk can’t stand u!!” But Jason wasn’t accepting any negativity, replying to the unhinged comment: “Merry Christmas mate.” Not letting go, the viewer added: “You jumped up halibut! You’re a pauper in most eyes!” Jason responded: “And a Happy New Year xx”

Another viewer – who also had no profile picture – commented: “It would be better if he did not shout so much.” On one, Jason added: “It’s a a big room sweetie.”

Someone else commented that they thought Jason is being eyed up for the Strictly job, to which Jason joked: “Funnily no one has called, unless it’s a surprise to me too.” Oblivious, another viewer replied: “No one will either.” Jason got shirty, hitting back: “That was the joke f*** face.”

When another fan commented that Jason was “smashing it”, a disgruntled viewer replied: “We must be watching different shows,” to which Jason said: “Maybe you’re just not in the mood.”

But for every critic, there was praise for Jason’s hosting skills. One viewer posted: “You’re brilliant on Royal Variety! Definitely need to host again next year!” Others realised they’d caught feelings, with one typing: “How good does @JasonManford look!!! I mean DAMMN the crush I have on him wasn’t on the bingo card for 2025 #RoyalVarietyPerformance”

The event, which was recorded in November at the Royal Albert Hall, but aired on Sunday, raises funds for the Royal Variety Charity. The organisation supports entertainers and their families facing hardship and poverty.

For this year’s show, Westlife performed World Of Our Own ahead of their huge tour in their matching black suits and bowties. It was followed by a special performance from the Live Aid musical ‘Just For One Day’ followed, with Sir Bob Geldof and Midge Ure making an appearance to tell the story.

Stephen Fry appeared as Lady Bracknell from The Importance of Being Earnest, while Jessie J performed an emotional version of her track I’ll Never Know Why. Elsewhere, Britain’s Got Talent winner Harry Moulding performed an trick with the help of members of the audience, while Strictly’s Johannes Radebe led a performance from musical Kinky Boots.

Impressionists followed, with impressions of political leaders including Sir Keir Starmer, Donald Trump and Boris Johnson, while Jason went on to take part in a panto section. The show concluded with a Les Misérables performance, which saw 400 performers, including Michael Ball, Matt Lucas, Katy Secombe, Bradley Jaden and Killian Donnelly, mark the show’s 40th anniversary.

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THE Muppet Show is making a 50th birthday comeback — with pop superstar Sabrina Carpenter joining as a special guest. 

Disney has revealed Kermit the Frog, Miss Piggy and the gang are back for a one-off special, more than four decades after the curtain came down on the beloved original series.

The show will stream on Disney+ from February 4, promising fans “music, comedy and a whole lot of chaos” from the original Muppet Theatre.

In a teaser clip, Kermit’s green arm can be seen turning on the lights of an old studio, before placing down a mug with his name on it.

The show originally ran from 1976 to 1981, with a generation of kids singing along to the theme tune: “It’s time to play the music. It’s time to light the lights.”

The series became so popular that big name stars clamoured to be guests, including Sir Elton John, Johnny Cash, Diana Ross, John Cleese and Debbie Harry.

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It was broadcast in more than 100 countries and in 1978 Time magazine called the show “the most popular television entertainment now being produced on Earth”.

The series won a host of awards, including Emmy, Grammy and Bafta gongs.

Despite the lights going out on the main series, the Muppets Tonight talk show ran from 1996 to 1998.

Other short-lived TV projects followed, including a mockumentary series in 2015, the Muppets Now short form series in 2020 and The Muppets Mayhem musical comedy series in 2023.

A host of movies included The Great Muppet Caper in 1981 and The Muppet Christmas Carol in 1992.

The last film, Muppets Most Wanted, in 2014, starred British comedian Ricky Gervais.

Muppets creator Jim Henson died in 1990 and Disney bought the rights in 2004.

Sabrina, who has had four UK No1 singles and two UK No1 albums, is an executive producer for the new show, as is Canadian comedian and actor Seth Rogen, who was in the 2020 series.

Kevin Hart is almost impossible to avoid.

The stand-up comic turned actor has spent the past decade as one of Hollywood’s most bankable and visible stars, headlining megahits like the “Jumanji” films alongside a steady output of comedies and animated features, while still selling out arena tours and releasing hit Netflix comedy specials. Off-screen, his face turns up everywhere: pitching banking apps, tequila and energy drinks.

For a long time, that kind of omnipresence carried real security in Hollywood.

In the era of artificial intelligence, though, that guarantee has begun to erode. A quick Google search for “Kevin Hart AI” turns up unofficial versions of his voice, available with a few clicks.

A series on how the AI revolution is reshaping the creative foundations of Hollywood — from storytelling and performance to production, labor and power.

That helps explain why, one evening last month on the Fox lot, the head of Hart’s entertainment company, Hartbeat, was on an industry panel talking not about box office or release strategies but AI. Jeff Clanagan painted a picture of a landscape in which movie stardom is no longer protected by traditional channels, as attention splinters across platforms and audiences fragment. In that environment, AI can be both a risk and a lever.

“The most valuable resource right now is attention,” Clanagan told the audience of 150 studio executives, filmmakers, investors and technologists gathered at Hollywood X, an invitation-only event focused on responsible adoption of AI. “You’re competing for it everywhere — everybody is always on a second screen. That fragmentation is where the disruption is.”

Hollywood was built on the idea that a small number of stars could reliably command attention and turn it into leverage. As AI and algorithm-driven platforms reshape how attention is created and distributed, even the most recognizable names are newly exposed — not only to dilution but to the prospect of being replaced altogether.

Jeff Clanagan, right, president and chief distribution officer of Kevin Hart’s entertainment company, Hartbeat, speaking on a panel at last month’s Hollywood X event.

(Randall Michelson)

In parts of Asia, synthetic performers are no longer hypothetical. In Japan, the anime-style virtual pop star Hatsune Miku has sold out concerts and headlined festivals. In China, AI hosts run shopping streams on the video platform Douyin. And in the U.S., Lil Miquela, a computer-generated influencer created by the Los Angeles startup Brud, has amassed millions of followers and appeared in major fashion campaigns, including a Calvin Klein ad with Bella Hadid.

For studios, brands and producers, the appeal isn’t hard to see. A virtual performer doesn’t call in sick, miss a shoot or carry off-screen baggage. There’s no aging out of roles, no scheduling crunch. They don’t need trailers, negotiate contracts or arrive with riders, entourages and expense accounts in tow.

The old mythology was that a star might be discovered at Schwab’s lunch counter or in an audition room. Hollywood has always chased the “it factor.” What happens when the performer is, quite literally, an it?

That question came into sharp focus this fall with the appearance of Tilly Norwood, a photorealistic, AI-generated character that took the guise of a rising British actor, styled to read mid-20s and approachable — exactly the kind of star Hollywood is always looking for.

It landed in an industry already on edge. Hollywood was still reeling from strikes, layoffs and a prolonged contraction, with anxiety about AI simmering just below the surface. The response was immediate and visceral.

SAG-AFTRA warned that projects like Tilly risked relying on what the union called “stolen performances,” arguing that AI-generated actors draw on the work of real performers without consent or compensation, concerns that were central to the union’s 2023 strike. On a Variety podcast, Emily Blunt was shown an image of Tilly and paused. “No — are you serious? That’s an AI?” she said. “Good Lord, we’re screwed.”

SAG-AFTRA members march in one “Unity Picket” on strike day 111 at Walt Disney Studios in Burbank on Nov. 1, 2023.

(Myung J. Chun / Los Angeles Times)

Even some of Hollywood’s most tech-forward figures have drawn a line. On the press tour for his latest film, “Avatar: Fire and Ash,” James Cameron — the director who once warned of Skynet in “The Terminator” — called the idea of AI replacing actors “horrifying,” arguing that human performance would become increasingly “sacred.”

Yves Bergquist, an AI researcher who directs the AI in Media Project at the USC Entertainment Technology Center — a think tank supported by major studios and technology companies — expects AI to continue to encroach on territory once reserved solely for humans.

“Will we see AI movie stars?” Bergquist asks. “Probably.” But he draws a line between what the technology can generate and what audiences are willing to invest in emotionally.

“Prince writing his songs is a great story,” he says. “Pushing a button and making music is not. Very soon — it’s already starting — we’re going to have this us-versus-them mentality. These are the machines and we’re the humans. And we’re not the same.”

The actor that didn’t exist

“Are you allowed to speak to me from L.A.?” Eline van der Velden, the creator of Tilly Norwood, asks with a quick, nervous laugh on a video call from London — a nod to how radioactive the subject of synthetic performers has become.

The question isn’t entirely a joke. Three months ago, when Van der Velden presented her latest project at an industry conference in Zurich, it touched off one of Hollywood’s most heated debates yet over AI and performance, one that still hasn’t fully cooled.

Van der Velden, 39, came up as an actor before pivoting into production, eventually landing in London, where she founded Particle6, a digital production company known for short-form video work for broadcasters and major platforms. She was in Zurich to introduce its newest offshoot, Xicoia, an AI studio designed to build and manage original synthetic characters for entertainment, advertising and social media. “It’s not a talent agency — we’re making characters,” she says. “So it’s really like a Marvel universe studio in a way.”

Eline van der Velden, creator of the AI-constructed Tilly Norwood, at Web Summit 2025 in Lisbon, Portugal.

(Florencia Tan Jun/Sportsfile via Getty Images)

Tilly Norwood was meant to be the first and most visible example of that approach. Conceived as a recurring character with an unfolding story arc, Tilly was built to exist across short-form videos and scripted scenarios. As part of the Zurich presentation, Van der Velden screened a short satirical video titled “AI Commissioner,” introducing Tilly as a “100% AI-generated” actor — smiling on a red carpet and breaking down on a talk-show couch.

Other short videos featuring Tilly had already circulated online, including a montage placing her in familiar movie genres and a parody riffing on Sydney Sweeney’s controversial American Eagle jeans ad (“My genes are binary”). The “AI Commissioner” video itself had been posted on YouTube months earlier. By then, photorealistic synthetic characters were no longer novel and similar experiments were spreading online.

In Hollywood, it triggered an immediate backlash. Press accounts out of Zurich, amplified by Van der Velden’s remark that Tilly might soon be signed to an agent, collided with an industry already on edge about AI. Van der Velden was stunned at the intensity of the outcry: “Tilly was meant to be for entertainment,” she says. “It’s not to be taken too seriously. I think people have taken her way too seriously.”

Across the industry, working actors, already facing shrinking opportunities, recoiled at the idea of a fabricated performer potentially taking real jobs. Some called for a boycott of any agents who might take on Norwood. Speaking to The Times, SAG-AFTRA President Sean Astin demanded that the real-life actors used for AI modeling be compensated. “They need to know that it’s happening,” he said. “They need to give permission for it and they need to be bargained with.”

As the coverage ricocheted far beyond the trades and went global, the reaction escalated just as quickly. Asked when she knew Tilly had struck a nerve, Van der Velden answers matter-of-factly: “When I got the death threats. That’s when I was like, oh — this has taken a very different turn.”

Van der Velden understands why the idea of a synthetic performer unsettled people, especially in a business already raw from layoffs, strikes and contraction. “Tilly is showing what we can do with the tech at this moment in time, and that is frightening,” she says. But she argues that much of the backlash rests on fears that, in her view, haven’t yet materialized — at least not in the way people imagine them.

Tilly Norwood, an AI construct created by Particle6.

(Particle6)

“There’s a bad reputation around AI,” she says. “People try to swing all sorts of things at it, like, ‘Oh, it’s taking my job.’ Well, I don’t know of anyone whose acting job has actually been taken by AI. And Tilly certainly hasn’t taken anyone’s job.”

Union representatives argue that displacement is already occurring through subtler mechanisms: background roles increasingly filled by digital doubles, commercials replacing actors with synthetic performers and projects that never get greenlighted because AI offers a cheaper alternative. The impact shows up not in pink slips but in opportunities that vanish before auditions are ever held.

Even as the controversy grew, Van der Velden says she began hearing something else privately. Producers and executives reached out, curious about what Tilly could do, with several asking about placing the character in traditional film or television projects — offers she says she declined. “That’s not what Tilly was made for,” she says.

Van der Velden insists the character was never intended to replace actors, framing Tilly instead as part of a different creative lineage, closer to animation. “I was an actor myself — I absolutely love actors,” she says. “I love pointing a camera at a real actress. Please don’t stop casting actors. That’s not the aim of the game.”

With a background in musical theater and physics, Van der Velden spent her early career in Los Angeles acting, improvising at Upright Citizens Brigade and making YouTube sketches. An alter ego she created, Miss Holland — designed to make fun of rigid beauty standards — won an online comedy award and helped launch her career in the U.K., where she founded Particle6.

Tilly began as an exercise: Could Van der Velden design a virtual character who felt instantly familiar, the kind of approachable young woman audiences would naturally be drawn to? “It’s like building a Barbie doll,” she says, noting at one point she considered making Tilly half robot. “I had fun making her. It was a creative itch.”

She pushes back on the idea that synthetic characters are simply stitched together from parts of real people. “People think you take this actress’ eyes and nose and that actress’ mouth,” she says. “That’s not how it works at all.”

Over six months, a team of about 15 people at Particle6 worked on developing Tilly, generating more than 2,000 visual versions and testing nearly 200 names before selecting Tilly Norwood, one that fit what Van der Velden calls the “English rose” aesthetic they were looking for and wasn’t already taken. “It’s very human-led,” Van der Velden says, likening AI tools to a calculator for creatives. “You need taste. You need judgment. You still have to call the shots.”

Even as the technology advances, the uncanny valley remains a stubborn barrier. Van der Velden says Tilly has improved over the last six months, but only through sustained human steering. “It takes a lot of work to get it right,” she says.

That labor, she says, is what separates an emerging form of storytelling worth taking seriously from AI slop. “I’ve seen some genuinely amazing work coming out of AI filmmaking,” she says. “It’s a different art form but a real one.”

She sees Tilly less as a provocation than as a reflection. “She represents this moment of fear in our industry as a piece of art. But I would say to people: Don’t be fearful. We can’t wish AI away. It’s here. The question is, how do we use it positively?”

Her focus now is on what she calls Tilly’s “inside” — the personality, memory and backstory that give the character continuity over time. That interior life is being built with Particle6’s proprietary system, DeepFame, software designed to give the character memory and behavioral consistency from one appearance to the next.

“People ask me things like what her favorite food is,” Van der Velden says. “I’m not going to answer for Tilly. She has a voice of her own. I’d rather you ask her yourself — very soon.”

Hollywood fights back

While Van der Velden wishes the industry were less afraid of what AI might become, Alexandra Shannon is helping Hollywood arm itself for what’s already here.

As head of strategic development at Creative Artists Agency, one of the industry’s most powerful agencies, Shannon works with actors, filmmakers and estates trying to navigate what generative technology means for their work — and their identities.

The questions she hears tend to fall into two camps. “First is, how do I protect myself — my likeness, my voice, my work?” she says. “And then there’s the flip side: How do I engage with this, but do it safely?”

Those concerns led to the creation of the CAA Vault, a secure repository for approved digital scans of a client’s face and voice. Shannon describes it as a way to capture a likeness once, then allow performers to decide when and where it can be used — for example, in one shot created for one film. It doesn’t eliminate uncertainty, she says, but it gives talent something they’ve rarely had since AI companies entered the picture: control.

“There’s a legitimate way to work with them,” she adds. “Anything outside that isn’t authorized.”

Creative Artists Agency’s headquarters in Century City, where talent representatives are grappling with how to protect clients’ likenesses.

(Robert Gauthier / Los Angeles Times)

Those risks are no longer abstract. Unauthorized AI-generated images and videos resembling Scarlett Johansson have circulated online. Deepfake ads have falsely enlisted Tom Hanks to promote medical products. AI-generated images have placed Taylor Swift in fabricated scenarios she never endorsed. Once a likeness becomes live and responsive, Shannon says, control can erode quickly.

For all the panic around AI, Shannon rejects the idea that digital likeness will undercut human stars overnight. “It’s not about all of a sudden you can work with Brad Pitt and you can do it for a fraction of the cost,” Shannon says. “That is not where we see the market going.”

What CAA is intent on preserving, she says, isn’t just a face or a voice but the accumulated meaning of a career.

“For an individual artist, their body of work is built over years of creative decisions — what roles to take, what brands or companies to work with, and just as importantly, what roles not to do, what companies not to support,” she adds. “That body of work is a fundamental expression of who they are.”

Shannon doesn’t dispute that the tools are improving or that some AI-native personas will find an audience. But she believes their growth will sharpen, not weaken, what distinguishes human performance in the first place. “In a world where there’s this vast proliferation of AI-generated content, people will continue to crave live, shared, human-centered experiences,” she contends. “I think it’s only going to make those things more valuable.”

Not everyone is convinced the balance will tilt so neatly.

“The genie’s out of the bottle,” Christopher Travers says by phone from Atlanta, where he runs Travers Tech, advising companies and individual creators on generative video and digital-identity strategy. “There are now more than a million characters across all sorts of media, from VTubers to AI-generated performers.”

Travers got his start in generative AI with the backing of Mark Cuban, founding Virtual Humans in 2019, a startup focused on computer-generated performers and digital identities. These days, his journey would have been much easier. “It costs nearly nothing now,” he says. “And when cost drops, volume increases. There’s pressure on celebrities to keep up.”

Having watched countless virtual characters come and go, Travers wasn’t particularly impressed with Tilly Norwood herself. What mattered to him was the reaction.

“Tilly is maybe 1% of the story,” he says. “The other 99% is the worry and the fear. What it did was strike a chord. We all needed to have this conversation.”

What stardom looks like now

Few people have spent more time inside Hollywood’s old star-making system than mega-producer Jerry Bruckheimer, whose films like “Beverly Hills Cop,” “Top Gun” and “Pirates of the Caribbean” helped turn actors into global commodities.

Even amid the disruption reshaping Hollywood, he believes the industry still knows how to discover and elevate stars. “It’ll happen,” he told The Times earlier this year. “Timothée Chalamet is a star and Zendaya is a star. Glen Powell is becoming a star — we’re going to bring him up. Damson Idris is going to be a star. Now they have to be smart and make good choices on what they do. That’s up to them.”

Stellan Skarsgård as Luthen Rael in the series “Andor.”

(Des Willie / Lucasfilm Ltd.)

The industry may still know how to make stars, but keeping them there has become harder. Chalamet’s biggest box office successes, like “Wonka” and the “Dune” films, have arrived as part of franchises rather than as standalone vehicles. Powell’s latest film, last month’s remake of “The Running Man,” fell short of expectations.

Bruckheimer himself has been pragmatic about AI. During postproduction on his recent Brad Pitt–led Formula One drama, an AI-based voice-matching tool was briefly used to replicate Pitt’s voice when the actor was unavailable for looping, a demonstration of how AI can extend a star’s reach rather than replace them. “AI is only going to get more useful for people in our business,” he says.

If Hollywood has been having more difficulty launching fresh faces, it has become adept at keeping familiar ones on the screen. AI tools can smooth a face, rebuild a voice or extend a performance long after an actor might otherwise have aged out. Stardom no longer has to end with retirement — or even death.

Stellan Skarsgård, for one, is uneasy with the idea. In recent years, the veteran actor — a current Oscar front-runner for “Sentimental Value” — has been part of two of Hollywood’s most valuable franchises, playing Luthen Rael in the “Star Wars” series “Andor” and Baron Harkonnen in the “Dune” films, roles built to carry on through sequels and spinoffs.

Asked about the prospect of an AI version of himself playing those characters after he’s gone, the 75-year-old Skarsgård bristles. The question carries particular weight. Three years ago he suffered a stroke, an experience that forced a reckoning with his craft and sense of mortality.

“SAG has been very adamant — there was a strike about it,” Skarsgård says. “And I do hope it won’t be like that in the future, that it will be controlled and that money won’t have all the rights.” He pauses. “You should have rights as a person, to your own voice, your own personality.”

Those questions — about control, consent and what survives a person — moved from the abstract to the practical last month at Hollywood X on the Fox lot.

Onstage, Jeff Clanagan mentioned a documentary that Hartbeat, Kevin Hart’s entertainment company, is producing with the estate of comedian Bernie Mac, who died in 2008. Built around Mac’s own audiobook narration, the documentary will rely on authorized existing recordings, not newly generated performances, pairing traditional animation with AI-assisted imagery to visualize moments Mac had already described. Clanagan said the technology offered a faster, less expensive way to bring those scenes to life.

But that took some convincing. An Oscar-winning director attached to the project initially wanted to tell the story entirely through traditional animated reenactments. Clanagan said it took months of persuasion — including creating sample scenes to demonstrate the approach — before that resistance eased. “Once he saw it, he was converted, and now we’re doing a little bit of a hybrid,” he said.

That work, Clanagan added, has become part of the job, not just externally but inside Hartbeat as well. “Part of it is educating the talent community on what you can do and still be aligned,” he said, noting that much of the hesitation comes from fear stoked by headlines and unfamiliarity with the tools. “It’s about helping people understand the process. People are starting to believe.”

As the Hollywood X panel ended, attendees filed out of a theater named for Darryl F. Zanuck, one of the architects of the studio-era star system, then crossed the Fox lot toward a reception. Along the way, they passed by cavernous soundstages, some painted with towering murals: Marilyn Monroe in “The Seven Year Itch,” Julie Andrews in “The Sound of Music,” Bruce Willis in “Die Hard.” Faces from another era, still watching as the industry weighs what will endure.

Death in Paradise star Don Warrington has been happily married to actress Mary Maddocks for many years with the couple sharing two children together

Death in Paradise is set to grace our television screens once more with a Christmas Special in just a few days, promising “even more heart” according to the BBC.

The beloved Death in Paradise Christmas cast makes their way back to Saint Marie for another year of holiday celebrations, though what begins as the ultimate office party quickly descends into darkness.

Broadcasting on December 28 at 8.30pm on BBC One, the BBC reveals: “The office Christmas party of a lifetime takes a dark turn when four co-workers wake up with the hangover from hell to find a stranger shot dead in the pool of their villa.

“DI Mervin Wilson and the team identify the murder weapon, but they’re left baffled after discovering that it was locked in a drawer when the shooting took place… thousands of miles away from the crime scene.”

Running for approximately 90 minutes, the festive episode promises the return of beloved characters, reports the Express.

Earlier this year, the 14th series concluded, leaving fans anxious about Don Warrington’s character Commissioner Selwyn Patterson.

After 14 years on the programme, the actor became a viewer favourite, making his departure in March all the more heartbreaking for audiences.

During the final series of Death in Paradise, Selwyn decided to leave Saint Marie following the loss of his Commissioner role, turning down the opportunity to reclaim his position when it was offered back to him.

Nevertheless, fans must wait patiently to see whether the Commissioner will make his comeback… particularly given his recent appearance in the Christmas special of Beyond Paradise. But who exactly is Don Warrington and what’s his marital status?

Don Warrington is happily married and has been for quite some time. The Death in Paradise actor is currently married to Mary Maddocks, with the couple enjoying many years of marital bliss.

Don prefers to keep his personal life private and away from the public eye, with their exact wedding date remaining a mystery, but it’s clear that his family life continues to thrive away from the limelight.

His wife Mary has herself graced several iconic productions including ITV’s Coronation Street as well as Doctor Who and Midsomer Murders.

She has also directed numerous theatrical productions ranging from musicals to dramas, and even took centre stage in the hit musical The Rocky Horror Show.

Don and Mary are parents to two children, Jacob and Archie, both carving out their own paths in the entertainment industry.

As a playwright and comedian, Archie has contributed to the creation of the 2023 thriller Gassed Up as well as the TV series Intergalactic, receiving full backing from his parents.

It was previously reported that Archie paid tribute to his parents, stating: “Both my parents are actors. My mum, Mary Maddocks, is an actress: she was in The Rocky Horror Show when it was in the West End and my dad is Don Warrington.

“The main thing I get from both of them is they understand the art of performance and the need to perform.”

For the latest showbiz, TV, movie and streaming news, go to the new **Everything Gossip** website

Death in Paradise Christmas special will air December 28 on BBC One.

HELEN Flanagan heaped praise on her mother as the row with her ex Scott Sinclair intensifies.

The Coronation Street star has been lashing out at her at the Bristol Rovers footballer after he missed their son Charlie’s nativity play to party at the Formula One in Abu Dhabi.

Helen split from her ex-fiancé in 2022 after 13 years together and they share three children Matilda, 10, Delilah, seven, and Charlie, four.

She is currently starring as The Wicked Queen in a production of Snow White in Liverpool and said her mum, Julia has practically raised her kids while she treads the boards.

Helen posted a photo of Julia to her Instagram stories cuddling up with Charlie.

“So grateful for my incredible mum who has looked after my children for really the past two months while I’ve been working,” she captioned the post.

JANE ATKINSON

Helen Flanagan is right to call out ex Scott Sinclair – boys need role models

SLEIGH-ING

Helen Flanagan, Kim K & Millie Bobby Brown all dress up as sexy festive queens

“The BEST grandma ever, so lucky to have you mum.”

Helen added: “All the school runs, all the activities, all the school work, all the washing. Love you.”

The star previously opened up to The Sun about the struggles of co-parenting with Scott and relying on her mum for help.

She said: “He lives like Somerset and I live in Lancashire. So we live so far away from each other, which is really difficult when you’ve got three young children.

“I hate calling it co-parenting because I don’t really feel like a co-parent to be honest with you anyway.”

The star is reliant on her mum and dad, who live 15 minutes away, to help with childcare duties, admitting she would “really struggle” without their help.

“I have my children for the rest of the time,” she said. “Which I would never want any other way. I work most days.

“Always back and forth, you know, from London, like a yo-yo as well. My mum’s incredible. She really helps me bring up my children really. I’m very lucky to have that support.”

James Ransone, a character actor who played an impulsive, drug-dealing dock worker in the iconic HBO series “The Wire” and later appeared in horror films “Sinister” and “It: Chapter Two,” died in Los Angeles on Friday. He was 46.

According to the L.A. County medical examiner’s office, Ransone died by suicide.

A native of Maryland, Ransone studied theater at the Carver Center for Arts and Technology in the Baltimore County community of Towson, before breaking into television a few years later.

Ransone appeared in several prominent horror films. He portrayed Max in “The Black Phone,” a film about a teen boy who is abducted by a serial killer. The movie was based on a short story written by Joe Hill — Stephen King’s son — and starred Ethan Hawke. Ransone reprised his role in the sequel, “Black Phone II.”

Ransone appeared in another horror film with Hawke, taking on the role of Deputy in “Sinister.” The movie centers around a writer who finds snuff films in his new house. Ransone also acted alongside Bill Hader, Jessica Chastain and Bill Skarsgård in the follow-up “It: Chapter Two,” playing Eddie Kaspbrak, one of several characters being tormented by killer clown Pennywise.

While promoting the film, he defended the horror genre against those who consider it a “throwaway” category.

“To those people I’ll say, ‘Tell that to William Friedkin or Stanley Kubrick,’” Ransone said in an interview with Anthem Magazine.

He also had roles in the shows “Generation Kill,” “Treme” and “Bosch.” His final TV appearance came in the a second-season episode of Peacock’s comedy crime show “Poker Face,” which aired in June.

But he will likely be remembered most for his turn as Ziggy Sobotka in “The Wire,” a dark and uncompromising drama — hailed as one of the best TV shows of all time — that explored various aspects of Baltimore and its institutions. Ransone appeared in all 12 episodes of the show’s second season, which focused on the decimation of the city’s docks.

He played the son of a dock union leader, whose scheming charisma got him into trouble with other low-level criminals — but also endeared him to some viewers. In one notable story arc, he bought a duck, which he paraded around with a diamond necklace; the bird later died because he fed it too much alcohol.

The critically acclaimed HBO series aired from 2002 to 2008 and starred Dominic West, Michael Kenneth Williams, John Doman, Idris Elba, Wood Harris, Lance Reddick, Wendell Pierce, Frankie Faison, Lawrence Gilliard Jr. and more.

In a statement released to the Baltimore Banner news site, “Wire” creator David Simon called Ransone’s death “grievous and awful.”

“He committed not only to the work but to the camaraderie that turns every good film production into something familial and caring,” said the statement by Simon, who also cast Ransone in “Generation Kill” and “Treme.”

In an interview on MSNBC after the release of the movie “Sinister 2,” Ransone said he was proud of the work he had done on “The Wire” but called it a “real double-edged sword” in that people would forever typecast him as Ziggy. He described himself as a horror film fan and spoke of how working with filmmakers such as Simon, Sean Baker and Spike Lee had opened his eyes to many social inequities.

It wasn’t immediately clear whether Ransone was living in L.A. at the time of his death. A man with his name is listed on the California secretary of state’s website as living in the 700 block of North Martel Avenue, in the Fairfax neighborhood.

LAPD spokesperson Officer Norma Eisenman said that around 2 p.m. Friday a police squad responded to a 911 call about an undetermined death at that location. Inside, she said, officers found a white male who appeared to have taken his own life.

Because foul play isn’t suspected, the case is being handled by the medical examiner’s office, Eisenman said, adding that she could not confirm that the man was Ransone or provide other details about the 911 call.

TMZ reported that Ransone was a married father of two, and wife Jamie McPhee posted a fundraiser for the National Alliance on Mental Illness (NAMI) in her social media profile.

In recent years, Ransone came out as a sexual abuse survivor and also spoke openly about his struggles with addiction.

In 2016, he told Interview Magazine that he had gotten sober at age 27 “after being on heroin for five years.”

“People think I got sober working on the ‘Generation Kill.’ I didn’t. I sobered up six or seven months before that,” he told the publication. “I remember going to Africa and I was going to be there for almost a year. I was number two on the call sheet and I was like, ‘I think somebody made a mistake. This is too much responsibility for me.’”

Ransone in 2021 disclosed that he had been sexually abused by a former tutor at his childhood home in Phoenix, Md. over a six-month span in 1992, according to the Baltimore Banner. He revealed the allegations on Instagram, where he shared a lengthy note that he had sent his alleged abuser, the Banner reported. A police investigation was later launched into the allegations but closed without any charges being filed.

Jimmy Kimmel, the US chat show host, has recorded Channel 4’s 2025 Alternative Christmas Message, during which the 58-year-old star has lauded a “really great year”

US chat show host Jimmy Kimmel has said it has been a “great year” from “a fascism perspective” in his Christmas address.

The presenter, 58, was chosen to deliver Channel 4’s 2025 Christmas Message, an alternative to the monarch’s annual televised address on December 25. Jimmy, who was taken off air by Donald Trump earlier this year, is expected to say: “From a fascism perspective, this has been a really great year.”

The comedian was suspended indefinitely in September following comments he made on ABC’s Jimmy Kimmel Live! after the murder of right-wing activist Charlie Kirk, an ally of the US President. Staff were reportedly “shocked” when the programme was yanked off air minutes before it was due to broadcast.

But Jimmy’s fans expressed their outrage at Mr Trump’s decision, and the programmne was swiftly reinstated. Some of Hollywood’s biggest stars and political figures towards the US administration for infringing on their freedom of speech and free press.

READ MORE: Jimmy Kimmel’s childhood friend Cleto Escobedo’s cause of death revealed

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Mikey Smith

In the Christmas Day address, Jimmy, born in Brooklyn, New York City, will continue by reflecting on the events of the past year, sharing his own personal experiences and insights after being at the centre of one of the stories that shocked the US and its foundational democratic values.

A Channel 4 spokesperson said: “Donald Trump’s return to the White House and wide-ranging impact on the world has been the story of 2025 and it would be hard to think of a better person to address it than Jimmy Kimmel, who has found himself on the front line of America’s battle over free speech.”

The channel’s annual broadcast, which first aired in 1993, aims to bring viewers a message about that year’s events. Kimmel’s address follows on from previous messages delivered by a wide range of presenters, including comedian Chris McCausland who addressed ableism last year after becoming the first blind person to win Strictly Come Dancing.

He playfully said: “Discrimination is never a good thing. Well, I mean sometimes I suppose. Many, many years ago before I got into comedy, I applied to be a spy for MI5. I got down to the last 30 out of 3,000 applicants. The top 1 per cent of potential spies that this country had to offer before they decided no, a blind spy wasn’t what they were looking for but, you know, I think they had a point. I think sometimes discrimination can be vital for the safety of the nation, but usually, we can do better.”

Other presenters have included former president of Iran Mahmoud Ahmadinejad, actor and TV presenter Sir Stephen Fry, whistleblower Edward Snowden, former speaker of the House of Commons John Bercow, and actor Danny Dyer. The Alternative Christmas Message will air on Channel 4 at 5.45pm on Christmas Day.

AN unreleased track by rock legends Queen that “no one has ever heard” will be played publicly for the first time today.

Guitarist Sir Brian May, 78, will broadcast Not For Sale (Polar Bear) on radio station Planet Rock.

It was originally recorded during the sessions for the band’s 1974 album, Queen II, but did not make the final cut.

This remastered version will feature in the 2026 re­release of the album.

While a “bootleg” version of the song by May’s pre-Queen band Smile may already have circulated, he says “no one” has heard this version.

It will be played during Sir Brian’s Planet Rock Christmas Special at 6pm — featuring his favourite seasonal tracks.

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He said: “It’s a song that goes back a very long way, but to my knowledge no one has ever heard this version.

“It’s a work in progress and will appear on the forthcoming rebuild of the Queen II album.

“But I’m sneaking this into my Planet Rock special because I’m fascinated to know what people think about it.”     

Formed in the 1970s, Queen was made up of guitarist Sir Brian, drummer Roger Taylor, late frontman Freddie Mercury and bassist John Deacon.

The group has since had six UK number one singles and 10 UK number one albums with some of their best known songs including Bohemian Rhapsody, Killer Queen, Crazy Little Thing Called Love, and We Are The Champions.